Podcasts about painstaking

For those who haven't heard the announcement I posted, songs from this point on will sometimes be split among multiple episodes, so this is the second part of a two-episode look at the song “Who Knows Where The Time Goes?” by Fairport Convention, and the intertwining careers of Joe Boyd, Sandy Denny, and Richard Thompson. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a forty-one-minute bonus episode available, on Judy Collins’ version of this song. Tilt Araiza has assisted invaluably by editing, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Erratum For about an hour this was uploaded with the wrong Elton John clip in place of “Saturday Sun”. This has now been fixed. Resources Because of the increasing problems with Mixcloud’s restrictions, I have decided to start sharing streaming playlists of the songs used in episodes instead of Mixcloud ones. This Tunemymusic link will let you listen to the playlist I created on your streaming platform of choice — however please note that not all the songs excerpted are currently available on streaming. The songs missing from the Tidal version are “Shanten Bells” by the Ian Campbell Folk Group, “Tom’s Gone to Hilo” by A.L. Lloyd, two by Paul McNeill and Linda Peters, three by Elton John & Linda Peters, “What Will I Do With Tomorrow” by Sandy Denny and “You Never Know” by Charlie Drake, but the other fifty-nine are there. Other songs may be missing from other services. The main books I used on Fairport Convention as a whole were Patrick Humphries' Meet On The Ledge, Clinton Heylin's What We Did Instead of Holidays, and Kevan Furbank's Fairport Convention on Track. Rob Young's Electric Eden is the most important book on the British folk-rock movement. Information on Richard Thompson comes from Patrick Humphries' Richard Thompson: Strange Affair and Thompson's own autobiography Beeswing.  Information on Sandy Denny comes from Clinton Heylin's No More Sad Refrains and Mick Houghton's I've Always Kept a Unicorn. I also used Joe Boyd's autobiography White Bicycles and Chris Blackwell's The Islander.  And this three-CD set is the best introduction to Fairport's music currently in print. Transcript Before we begin, this episode contains reference to alcohol and cocaine abuse and medical neglect leading to death. It also starts with some discussion of the fatal car accident that ended last episode. There’s also some mention of child neglect and spousal violence. If that’s likely to upset you, you might want to skip this episode or read the transcript. One of the inspirations for this podcast when I started it back in 2018 was a project by Richard Thompson, which appears (like many things in Thompson’s life) to have started out of sheer bloody-mindedness. In 1999 Playboy magazine asked various people to list their “songs of the Millennium”, and most of them, understanding the brief, chose a handful of songs from the latter half of the twentieth century. But Thompson determined that he was going to list his favourite songs *of the millennium*. He didn’t quite manage that, but he did cover seven hundred and forty years, and when Playboy chose not to publish it, he decided to turn it into a touring show, in which he covered all his favourite songs from “Sumer Is Icumen In” from 1260: [Excerpt: Richard Thompson, “Sumer is Icumen In”] Through numerous traditional folk songs, union songs like “Blackleg Miner”, pieces by early-modern composers, Victorian and Edwardian music hall songs, and songs by the Beatles, the Ink Spots, the Kinks, and the Who, all the way to “Oops! I Did It Again”: [Excerpt: Richard Thompson, “Oops! I Did it Again”] And to finish the show, and to show how all this music actually ties together, he would play what he described as a “medieval tune from Brittany”, “Marry, Ageyn Hic Hev Donne Yt”: [Excerpt: Richard Thompson, “Marry, Ageyn Hic Hev Donne Yt”] We have said many times in this podcast that there is no first anything, but there’s a reason that Liege and Lief, Fairport Convention’s third album of 1969, and the album other than Unhalfbricking on which their reputation largely rests, was advertised with the slogan “The first (literally) British folk rock album ever”. Folk-rock, as the term had come to be known, and as it is still usually used today, had very little to do with traditional folk music. Rather, the records of bands like The Byrds or Simon and Garfunkel were essentially taking the sounds of British beat groups of the early sixties, particularly the Searchers, and applying those sounds to material by contemporary singer-songwriters. People like Paul Simon and Bob Dylan had come up through folk clubs, and their songs were called folk music because of that, but they weren’t what folk music had meant up to that point — songs that had been collected after being handed down through the folk process, changed by each individual singer, with no single identifiable author. They were authored songs by very idiosyncratic writers. But over their last few albums, Fairport Convention had done one or two tracks per album that weren’t like that, that were instead recordings of traditional folk songs, but arranged with rock instrumentation. They were not necessarily the first band to try traditional folk music with electric instruments — around the same time that Fairport started experimenting with the idea, so did an Irish band named Sweeney’s Men, who brought in a young electric guitarist named Henry McCullough briefly. But they do seem to have been the first to have fully embraced the idea. They had done so to an extent with “A Sailor’s Life” on Unhalfbricking, but now they were going to go much further: [Excerpt: Fairport Convention, “Matty Groves” (from about 4:30)] There had been some doubt as to whether Fairport Convention would even continue to exist — by the time Unhalfbricking, their second album of the year, was released, they had been through the terrible car accident that had killed Martin Lamble, the band’s drummer, and Jeannie Franklyn, Richard Thompson’s girlfriend. Most of the rest of the band had been seriously injured, and they had made a conscious decision not to discuss the future of the band until they were all out of hospital. Ashley Hutchings was hospitalised the longest, and Simon Nicol, Richard Thompson, and Sandy Denny, the other three surviving members of the band, flew over to LA with their producer and manager, Joe Boyd, to recuperate there and get to know the American music scene. When they came back, the group all met up in the flat belonging to Denny’s boyfriend Trevor Lucas, and decided that they were going to continue the band. They made a few decisions then — they needed a new drummer, and as well as a drummer they wanted to get in Dave Swarbrick. Swarbrick had played violin on several tracks on Unhalfbricking as a session player, and they had all been thrilled to work with him. Swarbrick was one of the most experienced musicians on the British folk circuit. He had started out in the fifties playing guitar with Beryl Marriott’s Ceilidh Band before switching to fiddle, and in 1963, long before Fairport had formed, he had already appeared on TV with the Ian Campbell Folk Group, led by Ian Campbell, the father of Ali and Robin Campbell, later of UB40: [Excerpt: The Ian Campbell Folk Group, “Shanten Bells (medley on Hullaballoo!)”] He’d sung with Ewan MacColl and A.L. Lloyd: [Excerpt: A.L. Lloyd, “Tom’s Gone to Hilo” ] And he’d formed his hugely successful duo with Martin Carthy, releasing records like “Byker Hill” which are often considered among the best British folk music of all time: [Excerpt: Martin Carthy and Dave Swarbrick, “Byker Hill”] By the time Fairport had invited him to play on Unhalfbricking, Swarbrick had already performed on twenty albums as a core band member, plus dozens more EPs, singles, and odd tracks on compilations. They had no reason to think they could actually get him to join their band. But they had three advantages. The first was that Swarbrick was sick of the traditional folk scene at the time, saying later “I didn’t like seven-eighths of the people involved in it, and it was extremely opportune to leave. I was suddenly presented with the possibilities of exploring the dramatic content of the songs to the full.” The second was that he was hugely excited to be playing with Richard Thompson, who was one of the most innovative guitarists of his generation, and Martin Carthy remembers him raving about Thompson after their initial sessions. (Carthy himself was and is no slouch on the guitar of course, and there was even talk of getting him to join the band at this point, though they decided against it — much to the relief of rhythm guitarist Simon Nicol, who is a perfectly fine player himself but didn’t want to be outclassed by *two* of the best guitarists in Britain at the same time). And the third was that Joe Boyd told him that Fairport were doing so well — they had a single just about to hit the charts with “Si Tu Dois Partir” — that he would only have to play a dozen gigs with Fairport in order to retire. As it turned out, Swarbrick would play with the group for a decade, and would never retire — I saw him on his last tour in 2015, only eight months before he died. The drummer the group picked was also a far more experienced musician than any of the rest, though in a very different genre. Dave Mattacks had no knowledge at all of the kind of music they played, having previously been a player in dance bands. When asked by Hutchings if he wanted to join the band, Mattacks’ response was “I don’t know anything about the music. I don’t understand it… I can’t tell one tune from another, they all sound the same… but if you want me to join the group, fine, because I really like it. I’m enjoying myself musically.” Mattacks brought a new level of professionalism to the band, thanks to his different background. Nicol said of him later “He was dilligent, clean, used to taking three white shirts to a gig… The application he could bring to his playing was amazing. With us, you only played well when you were feeling well.” This distinction applied to his playing as well. Nicol would later describe the difference between Mattacks’ drumming and Lamble’s by saying “Martin’s strength was as an imaginative drummer. DM came in with a strongly developed sense of rhythm, through keeping a big band of drunken saxophone players in order. A great time-keeper.” With this new line-up and a new sense of purpose, the group did as many of their contemporaries were doing and “got their heads together in the country”. Joe Boyd rented the group a mansion, Farley House, in Farley Chamberlayne, Hampshire, and they stayed there together for three months. At the start, the group seem to have thought that they were going to make another record like Unhalfbricking, with some originals, some songs by American songwriters, and a few traditional songs. Even after their stay in Farley Chamberlayne, in fact, they recorded a few of the American songs they’d rehearsed at the start of the process, Richard Farina’s “Quiet Joys of Brotherhood” and Bob Dylan and Roger McGuinn’s “Ballad of Easy Rider”: [Excerpt: Fairport Convention, “Ballad of Easy Rider”] Indeed, the whole idea of “getting our heads together in the country” (as the cliche quickly became in the late sixties as half of the bands in Britain went through much the same kind of process as Fairport were doing — but usually for reasons more to do with drug burnout or trend following than recovering from serious life-changing trauma) seems to have been inspired by Bob Dylan and the Band getting together in Big Pink. But very quickly they decided to follow the lead of Ashley Hutchings, who had had something of a Damascene conversion to the cause of traditional English folk music. They were listening mostly to Music From Big Pink by the Band, and to the first album by Sweeney’s Men: [Excerpt: Sweeney’s Men, “The Handsome Cabin Boy”] And they decided that they were going to make something that was as English as those records were North American and Irish (though in the event there were also a few Scottish songs included on the record). Hutchings in particular was becoming something of a scholar of traditional music, regularly visiting Cecil Sharp House and having long conversations with A.L. Lloyd, discovering versions of different traditional songs he’d never encountered before. This was both amusing and bemusing Sandy Denny, who had joined a rock group in part to get away from traditional music; but she was comfortable singing the material, and knew a lot of it and could make a lot of suggestions herself. Swarbrick obviously knew the repertoire intimately, and Nicol was amenable, while Mattacks was utterly clueless about the folk tradition at this point but knew this was the music he wanted to make. Thompson knew very little about traditional music, and of all the band members except Denny he was the one who has shown the least interest in the genre in his subsequent career — but as we heard at the beginning, showing the least interest in the genre is a relative thing, and while Thompson was not hugely familiar with the genre, he *was* able to work with it, and was also more than capable of writing songs that fit in with the genre. Of the eleven songs on the album, which was titled Liege and Lief (which means, roughly, Lord and Loyalty), there were no cover versions of singer-songwriters. Eight were traditional songs, and three were originals, all written in the style of traditional songs. The album opened with “Come All Ye”, an introduction written by Denny and Hutchings (the only time the two would ever write together): [Excerpt: Fairport Convention, “Come All Ye”] The other two originals were songs where Thompson had written new lyrics to traditional melodies. On “Crazy Man Michael”, Swarbrick had said to Thompson that the tune to which he had set his new words was weaker than the lyrics, to which Thompson had replied that if Swarbrick felt that way he should feel free to write a new melody. He did, and it became the first of the small number of Thompson/Swarbrick collaborations: [Excerpt: Fairport Convention, “Crazy Man Michael”] Thompson and Swarbrick would become a brief songwriting team, but as much as anything else it was down to proximity — the two respected each other as musicians, but never got on very well. In 1981 Swarbrick would say “Richard and I never got on in the early days of FC… we thought we did, but we never did. We composed some bloody good songs together, but it was purely on a basis of “you write that and I’ll write this, and we’ll put it together.” But we never sat down and had real good chats.” The third original on the album, and by far the most affecting, is another song where Thompson put lyrics to a traditional tune. In this case he thought he was putting the lyrics to the tune of “Willie O'Winsbury”, but he was basing it on a recording by Sweeney’s Men. The problem was that Sweeney’s Men had accidentally sung the lyrics of “Willie O'Winsbury'” to the tune of a totally different song, “Fause Foodrage”: [Excerpt: Sweeney’s Men, “Willie O’Winsbury”] Thompson took that melody, and set to it lyrics about loss and separation. Thompson has never been one to discuss the meanings of his lyrics in any great detail, and in the case of this one has said “I really don't know what it means. This song came out of a dream, and I pretty much wrote it as I dreamt it (it was the sixties), and didn't spend very long analyzing it. So interpret as you wish – or replace with your own lines.” But in the context of the traffic accident that had killed his tailor girlfriend and a bandmate, and injured most of his other bandmates, the lyrics about lonely travellers, the winding road, bruised and beaten sons, saying goodbye, and never cutting cloth, seem fairly self-explanatory: [Excerpt: Fairport Convention, “Farewell, Farewell”] The rest of the album, though, was taken up by traditional tunes. There was a long medley of four different fiddle reels; a version of “Reynardine” (a song about a seductive man — or is he a fox? Or perhaps both — which had been recorded by Swarbrick and Carthy on their most recent album); a 19th century song about a deserter saved from the firing squad by Prince Albert; and a long take on “Tam Lin”, one of the most famous pieces in the Scottish folk music canon, a song that has been adapted in different ways by everyone from the experimental noise band Current 93 to the dub poet Benjamin Zephaniah to the comics writer Grant Morrison: [Excerpt: Fairport Convention, “Tam Lin”] And “Matty Groves”, a song about a man killing his cheating wife and her lover, which actually has a surprisingly similar story to that of “1921” from another great concept album from that year, the Who’s Tommy. “Matty Groves” became an excuse for long solos and shows of instrumental virtuosity: [Excerpt: Fairport Convention, “Matty Groves”] The album was recorded in September 1969, after their return from their break in the country and a triumphal performance at the Royal Festival Hall, headlining over fellow Witchseason artists John and Beverly Martyn and Nick Drake. It became a classic of the traditional folk genre — arguably *the* classic of the traditional folk genre. In 2007 BBC Radio 2’s Folk Music Awards gave it an award for most influential folk album of all time, and while such things are hard to measure, I doubt there’s anyone with even the most cursory knowledge of British folk and folk-rock music who would not at least consider that a reasonable claim. But once again, by the time the album came out in November, the band had changed lineups yet again. There was a fundamental split in the band – on one side were Sandy Denny and Richard Thompson, whose stance was, roughly, that Liege and Lief was a great experiment and a fun thing to do once, but really the band had two first-rate songwriters in themselves, and that they should be concentrating on their own new material, not doing these old songs, good as they were. They wanted to take the form of the traditional songs and use that form for new material — they wanted to make British folk-rock, but with the emphasis on the rock side of things. Hutchings, on the other hand, was equally sure that he wanted to make traditional music and go further down the rabbit hole of antiquity. With the zeal of the convert he had gone in a couple of years from being the leader of a band who were labelled “the British Jefferson Airplane” to becoming a serious scholar of traditional folk music. Denny was tired of touring, as well — she wanted to spend more time at home with Trevor Lucas, who was sleeping with other women when she was away and making her insecure. When the time came for the group to go on a tour of Denmark, Denny decided she couldn’t make it, and Hutchings was jubilant — he decided he was going to get A.L. Lloyd into the band in her place and become a *real* folk group. Then Denny reconsidered, and Hutchings was crushed. He realised that while he had always been the leader, he wasn’t going to be able to lead the band any further in the traditionalist direction, and quit the group — but not before he was delegated by the other band members to fire Denny. Until the publication of Richard Thompson’s autobiography in 2022, every book on the group or its members said that Denny quit the band again, which was presumably a polite fiction that the band agreed, but according to Thompson “Before we flew home, we decided to fire Sandy. I don't remember who asked her to leave – it was probably Ashley, who usually did the dirty work. She was reportedly shocked that we would take that step. She may have been fragile beneath the confident facade, but she still knew her worth.” Thompson goes on to explain that the reasons for kicking her out were that “I suppose we felt that in her mind she had already left” and that “We were probably suffering from post-traumatic stress disorder, though there wasn't a name for it back then.” They had considered inviting Trevor Lucas to join the band to make Denny more comfortable, but came to the (probably correct) conclusion that while he was someone they got on well with personally, he would be another big ego in a band that already had several, and that being around Denny and Lucas’ volatile relationship would, in Thompson’s phrasing, “have not always given one a feeling of peace and stability.” Hutchings originally decided he was going to join Sweeney’s Men, but that group were falling apart, and their first rehearsal with Hutchings would also be their last as a group, with only Hutchings and guitarist and mandolin player Terry Woods left in the band. They added Woods’ wife Gay, and another couple, Tim Hart and Maddy Prior, and formed a group called Steeleye Span, a name given them by Martin Carthy. That group, like Fairport, went to “get their heads together in the country” for three months and recorded an album of electric versions of traditional songs, Hark the Village Wait, on which Mattacks and another drummer, Gerry Conway, guested as Steeleye Span didn’t at the time have their own drummer: [Excerpt: Steeleye Span, “Blackleg Miner”] Steeleye Span would go on to have a moderately successful chart career in the seventies, but by that time most of the original lineup, including Hutchings, had left — Hutchings stayed with them for a few albums, then went on to form the first of a series of bands, all called the Albion Band or variations on that name, which continue to this day. And this is something that needs to be pointed out at this point — it is impossible to follow every single individual in this narrative as they move between bands. There is enough material in the history of the British folk-rock scene that someone could do a 500 Songs-style podcast just on that, and every time someone left Fairport, or Steeleye Span, or the Albion Band, or Matthews’ Southern Comfort, or any of the other bands we have mentioned or will mention, they would go off and form another band which would then fission, and some of its members would often join one of those other bands. There was a point in the mid-1970s where the Albion Band had two original members of Fairport Convention while Fairport Convention had none. So just in order to keep the narrative anything like wieldy, I’m going to keep the narrative concentrated on the two figures from Fairport — Sandy Denny and Richard Thompson — whose work outside the group has had the most influence on the wider world of rock music more broadly, and only deal with the other members when, as they often did, their careers intersected with those two. That doesn’t mean the other members are not themselves hugely important musicians, just that their importance has been primarily to the folk side of the folk-rock genre, and so somewhat outside the scope of this podcast. While Hutchings decided to form a band that would allow him to go deeper and deeper into traditional folk music, Sandy Denny’s next venture was rather different. For a long time she had been writing far more songs than she had ever played for her bandmates, like “Nothing More”, a song that many have suggested is about Thompson: [Excerpt: Fotheringay, “Nothing More”] When Joe Boyd heard that Denny was leaving Fairport Convention, he was at first elated. Fairport’s records were being distributed by A&M in the US at that point, but Island Records was in the process of opening up a new US subsidiary which would then release all future Fairport product — *but*, as far as A&M were concerned, Sandy Denny *was* Fairport Convention. They were only interested in her. Boyd, on the other hand, loved Denny’s work intensely, but from his point of view *Richard Thompson* was Fairport Convention. If he could get Denny signed directly to A&M as a solo artist before Island started its US operations, Witchseason could get a huge advance on her first solo record, while Fairport could continue making records for Island — he’d have two lucrative acts, on different labels. Boyd went over and spoke to A&M and got an agreement in principle that they would give Denny a forty-thousand-dollar advance on her first solo album — twice what they were paying for Fairport albums. The problem was that Denny didn’t want to be a solo act. She wanted to be the lead singer of a band. She gave many reasons for this — the one she gave to many journalists was that she had seen a Judy Collins show and been impressed, but noticed that Collins’ band were definitely a “backing group”, and as she put it “But that's all they were – a backing group. I suddenly thought, If you're playing together on a stage you might as well be TOGETHER.” Most other people in her life, though, say that the main reason for her wanting to be in a band was her desire to be with her boyfriend, Trevor Lucas. Partly this was due to a genuine desire to spend more time with someone with whom she was very much in love, partly it was a fear that he would cheat on her if she was away from him for long periods of time, and part of it seems to have been Lucas’ dislike of being *too* overshadowed by his talented girlfriend — he didn’t mind acknowledging that she was a major talent, but he wanted to be thought of as at least a minor one. So instead of going solo, Denny formed Fotheringay, named after the song she had written for Fairport. This new band consisted at first of Denny on vocals and occasional piano, Lucas on vocals and rhythm guitar, and Lucas’ old Eclection bandmate Gerry Conway on drums. For a lead guitarist, they asked Richard Thompson who the best guitarist in Britain was, and he told them Albert Lee. Lee in turn brought in bass player Pat Donaldson, but this lineup of the band barely survived a fortnight. Lee *was* arguably the best guitarist in Britain, certainly a reasonable candidate if you could ever have a singular best (as indeed was Thompson himself), but he was the best *country* guitarist in Britain, and his style simply didn’t fit with Fotheringay’s folk-influenced songs. He was replaced by American guitarist Jerry Donahue, who was not anything like as proficient as Lee, but who was still very good, and fit the band’s style much better. The new group rehearsed together for a few weeks, did a quick tour, and then went into the recording studio to record their debut, self-titled, album. Joe Boyd produced the album, but admitted himself that he only paid attention to those songs he considered worthwhile — the album contained one song by Lucas, “The Ballad of Ned Kelly”, and two cover versions of American singer-songwriter material with Lucas singing lead. But everyone knew that the songs that actually *mattered* were Sandy Denny’s, and Boyd was far more interested in them, particularly the songs “The Sea” and “The Pond and the Stream”: [Excerpt: Fotheringay, “The Pond and the Stream”] Fotheringay almost immediately hit financial problems, though. While other Witchseason acts were used to touring on the cheap, all packed together in the back of a Transit van with inexpensive equipment, Trevor Lucas had ambitions of being a rock star and wanted to put together a touring production to match, with expensive transport and equipment, including a speaker system that got nicknamed “Stonehenge” — but at the same time, Denny was unhappy being on the road, and didn’t play many gigs. As well as the band itself, the Fotheringay album also featured backing vocals from a couple of other people, including Denny’s friend Linda Peters. Peters was another singer from the folk clubs, and a good one, though less well-known than Denny — at this point she had only released a couple of singles, and those singles seemed to have been as much as anything else released as a novelty. The first of those, a version of Dylan’s “You Ain’t Goin’ Nowhere” had been released as by “Paul McNeill and Linda Peters”: [Excerpt: Paul McNeill and Linda Peters, “You Ain’t Goin’ Nowhere”] But their second single, a version of John D. Loudermilk’s “You’re Taking My Bag”, was released on the tiny Page One label, owned by Larry Page, and was released under the name “Paul and Linda”, clearly with the intent of confusing particularly gullible members of the record-buying public into thinking this was the McCartneys: [Excerpt: Paul and Linda, “You’re Taking My Bag”] Peters was though more financially successful than almost anyone else in this story, as she was making a great deal of money as a session singer. She actually did another session involving most of Fotheringay around this time. Witchseason had a number of excellent songwriters on its roster, and had had some success getting covers by people like Judy Collins, but Joe Boyd thought that they might possibly do better at getting cover versions if they were performed in less idiosyncratic arrangements. Donahue, Donaldson, and Conway went into the studio to record backing tracks, and vocals were added by Peters and another session singer, who according to some sources also provided piano. They cut songs by Mike Heron of the Incredible String Band: [Excerpt: Linda Peters, “You Get Brighter”] Ed Carter, formerly of The New Nadir but by this time firmly ensconced in the Beach Boys’ touring band where he would remain for the next quarter-century: [Excerpt: Linda Peters, “I Don’t Mind”] John and Beverly Martyn, and Nick Drake: [Excerpt: Elton John, “Saturday Sun”] There are different lineups of musicians credited for those sessions in different sources, but I tend to believe that it’s mostly Fotheringay for the simple reason that Donahue says it was him, Donaldson and Conway who talked Lucas and Denny into the mistake that destroyed Fotheringay because of these sessions. Fotheringay were in financial trouble already, spending far more money than they were bringing in, but their album made the top twenty and they were getting respect both from critics and from the public — in September, Sandy Denny was voted best British female singer by the readers of Melody Maker in their annual poll, which led to shocked headlines in the tabloids about how this “unknown” could have beaten such big names as Dusty Springfield and Cilla Black. Only a couple of weeks after that, they were due to headline at the Albert Hall. It should have been a triumph. But Donahue, Donaldson, and Conway had asked that singing pianist to be their support act. As Donahue said later “That was a terrible miscast. It was our fault. He asked if [he] could do it. Actually Pat, Gerry and I had to talk Sandy and Trevor into [it]… We'd done these demos and the way he was playing – he was a wonderful piano player – he was sensitive enough. We knew very little about his stage-show. We thought he'd be a really good opener for us.” Unfortunately, Elton John was rather *too* good. As Donahue continued “we had no idea what he had in mind, that he was going to do the most incredible rock & roll show ever. He pretty much blew us off the stage before we even got on the stage.” To make matters worse, Fotheringay’s set, which was mostly comprised of new material, was underrehearsed and sloppy, and from that point on no matter what they did people were counting the hours until the band split up. They struggled along for a while though, and started working on a second record, with Boyd again producing, though as Boyd later said “I probably shouldn't have been producing the record. My lack of respect for the group was clear, and couldn't have helped the atmosphere. We'd put out a record that had sold disappointingly, A&M was unhappy. Sandy's tracks on the first record are among the best things she ever did – the rest of it, who cares? And the artwork, Trevor's sister, was terrible. It would have been one thing if I'd been unhappy with it and it sold, and the group was working all the time, making money, but that wasn't the case … I knew what Sandy was capable of, and it was very upsetting to me.” The record would not be released for thirty-eight years: [Excerpt: Fotheringay, “Wild Mountain Thyme”] Witchseason was going badly into debt. Given all the fissioning of bands that we’ve already been talking about, Boyd had been stretched thin — he produced sixteen albums in 1970, and almost all of them lost money for the company. And he was getting more and more disillusioned with the people he was producing. He loved Beverly Martyn’s work, but had little time for her abusive husband John, who was dominating her recording and life more and more and would soon become a solo artist while making her stay at home (and stealing her ideas without giving her songwriting credit). The Incredible String Band were great, but they had recently converted to Scientology, which Boyd found annoying, and while he was working with all sorts of exciting artists like Vashti Bunyan and Nico, he was finding himself less and less important to the artists he mentored. Fairport Convention were a good example of this. After Denny and Hutchings had left the group, they’d decided to carry on as an electric folk group, performing an equal mix of originals by the Swarbrick and Thompson songwriting team and arrangements of traditional songs. The group were now far enough away from the “British Jefferson Airplane” label that they decided they didn’t need a female vocalist — and more realistically, while they’d been able to replace Judy Dyble, nobody was going to replace Sandy Denny. Though it’s rather surprising when one considers Thompson’s subsequent career that nobody seems to have thought of bringing in Denny’s friend Linda Peters, who was dating Joe Boyd at the time (as Denny had been before she met Lucas) as Denny’s replacement. Instead, they decided that Swarbrick and Thompson were going to share the vocals between them. They did, though, need a bass player to replace Hutchings. Swarbrick wanted to bring in Dave Pegg, with whom he had played in the Ian Campbell Folk Group, but the other band members initially thought the idea was a bad one. At the time, while they respected Swarbrick as a musician, they didn’t think he fully understood rock and roll yet, and they thought the idea of getting in a folkie who had played double bass rather than an electric rock bassist ridiculous. But they auditioned him to mollify Swarbrick, and found that he was exactly what they needed. As Joe Boyd later said “All those bass lines were great, Ashley invented them all, but he never could play them that well. He thought of them, but he was technically not a terrific bass player. He was a very inventive, melodic, bass player, but not a very powerful one technically. But having had the part explained to him once, Pegg was playing it better than Ashley had ever played it… In some rock bands, I think, ultimately, the bands that sound great, you can generally trace it to the bass player… it was at that point they became a great band, when they had Pegg.” The new lineup of Fairport decided to move in together, and found a former pub called the Angel, into which all the band members moved, along with their partners and children (Thompson was the only one who was single at this point) and their roadies. The group lived together quite happily, and one gets the impression that this was the period when they were most comfortable with each other, even though by this point they were a disparate group with disparate tastes, in music as in everything else. Several people have said that the only music all the band members could agree they liked at this point was the first two albums by The Band. With the departure of Hutchings from the band, Swarbrick and Thompson, as the strongest personalities and soloists, became in effect the joint leaders of the group, and they became collaborators as songwriters, trying to write new songs that were inspired by traditional music. Thompson described the process as “let’s take one line of this reel and slow it down and move it up a minor third and see what that does to it; let’s take one line of this ballad and make a whole song out of it. Chopping up the tradition to find new things to do… like a collage.” Generally speaking, Swarbrick and Thompson would sit by the fire and Swarbrick would play a melody he’d been working on, the two would work on it for a while, and Thompson would then go away and write the lyrics. This is how the two came up with songs like the nine-minute “Sloth”, a highlight of the next album, Full House, and one that would remain in Fairport’s live set for much of their career: [Excerpt: Fairport Convention, “Sloth”] “Sloth” was titled that way because Thompson and Swarbrick were working on two tunes, a slow one and a fast one, and they jokingly named them “Sloth” and “Fasth”, but the latter got renamed to “Walk Awhile”, while “Sloth” kept its working title. But by this point, Boyd and Thompson were having a lot of conflict in the studio. Boyd was never the most technical of producers — he was one of those producers whose job is to gently guide the artists in the studio and create a space for the music to flourish, rather than the Joe Meek type with an intimate technical knowledge of the studio — and as the artists he was working with gained confidence in their own work they felt they had less and less need of him. During the making of the Full House album, Thompson and Boyd, according to Boyd, clashed on everything — every time Boyd thought Thompson had done a good solo, Thompson would say to erase it and let him have another go, while every time Boyd thought Thompson could do better, Thompson would say that was the take to keep. One of their biggest clashes was over Thompson’s song “Poor Will and the Jolly Hangman”, which was originally intended for release on the album, and is included in current reissues of it: [Excerpt: Fairport Convention, “Poor Will and the Jolly Hangman”] Thompson had written that song inspired by what he thought was the unjust treatment of Alex Bramham, the driver in Fairport’s fatal car crash, by the courts — Bramham had been given a prison sentence of a few months for dangerous driving, while the group members thought he had not been at fault. Boyd thought it was one of the best things recorded for the album, but Thompson wasn’t happy with his vocal — there was one note at the top of the melody that he couldn’t quite hit — and insisted it be kept off the record, even though that meant it would be a shorter album than normal. He did this at such a late stage that early copies of the album actually had the title printed on the sleeve, but then blacked out. He now says in his autobiography “I could have persevered, double-tracked the voice, warmed up for longer – anything. It was a good track, and the record was lacking without it. When the album was re-released, the track was restored with a more confident vocal, and it has stayed there ever since.” During the sessions for Full House the group also recorded one non-album single, Thompson and Swarbrick’s “Now Be Thankful”: [Excerpt, Fairport Convention, “Now Be Thankful”] The B-side to that was a medley of two traditional tunes plus a Swarbrick original, but was given the deliberately ridiculous title “Sir B. McKenzie’s Daughter’s Lament For The 77th Mounted Lancers Retreat From The Straits Of Loch Knombe, In The Year Of Our Lord 1727, On The Occasion Of The Announcement Of Her Marriage To The Laird Of Kinleakie”: [Excerpt: Fairport Convention, “Sir B. McKenzie’s Daughter’s Lament For The 77th Mounted Lancers Retreat From The Straits Of Loch Knombe, In The Year Of Our Lord 1727, On The Occasion Of The Announcement Of Her Marriage To The Laird Of Kinleakie”] The B. McKenzie in the title was a reference to the comic-strip character Barry McKenzie, a stereotype drunk Australian created for Private Eye magazine by the comedian Barry Humphries (later to become better known for his Dame Edna Everage character) but the title was chosen for one reason only — to get into the Guinness Book of Records for the song with the longest title. Which they did, though they were later displaced by the industrial band Test Dept, and their song “Long Live British Democracy Which Flourishes and Is Constantly Perfected Under the Immaculate Guidance of the Great, Honourable, Generous and Correct Margaret Hilda Thatcher. She Is the Blue Sky in the Hearts of All Nations. Our People Pay Homage and Bow in Deep Respect and Gratitude to Her. The Milk of Human Kindness”. Full House got excellent reviews in the music press, with Rolling Stone saying “The music shows that England has finally gotten her own equivalent to The Band… By calling Fairport an English equivalent of the Band, I meant that they have soaked up enough of the tradition of their countryfolk that it begins to show all over, while they maintain their roots in rock.” Off the back of this, the group went on their first US tour, culminating in a series of shows at the Troubadour in LA, on the same bill as Rick Nelson, which were recorded and later released as a live album: [Excerpt: Fairport Convention, “Sloth (live)”] The Troubadour was one of the hippest venues at the time, and over their residency there the group got seen by many celebrities, some of whom joined them on stage. The first was Linda Ronstadt, who initially demurred, saying she didn’t know any of their songs. On being told they knew all of hers, she joined in with a rendition of “Silver Threads and Golden Needles”. Thompson was later asked to join Ronstadt’s backing band, who would go on to become the Eagles, but he said later of this offer “I would have hated it. I’d have hated being on the road with four or five miserable Americans — they always seem miserable. And if you see them now, they still look miserable on stage — like they don’t want to be there and they don’t like each other.” The group were also joined on stage at the Troubadour on one memorable night by some former bandmates of Pegg’s. Before joining the Ian Campbell Folk Group, Pegg had played around the Birmingham beat scene, and had been in bands with John Bonham and Robert Plant, who turned up to the Troubadour with their Led Zeppelin bandmate Jimmy Page (reports differ on whether the fourth member of Zeppelin, John Paul Jones, also came along). They all got up on stage together and jammed on songs like “Hey Joe”, “Louie Louie”, and various old Elvis tunes. The show was recorded, and the tapes are apparently still in the possession of Joe Boyd, who has said he refuses to release them in case he is murdered by the ghost of Peter Grant. According to Thompson, that night ended in a three-way drinking contest between Pegg, Bonham, and Janis Joplin, and it’s testament to how strong the drinking culture is around Fairport and the British folk scene in general that Pegg outdrank both of them. According to Thompson, Bonham was found naked by a swimming pool two days later, having missed two gigs. For all their hard rock image, Led Zeppelin were admirers of a lot of the British folk and folk-rock scene, and a few months later Sandy Denny would become the only outside vocalist ever to appear on a Led Zeppelin record when she duetted with Plant on “The Battle of Evermore” on the group’s fourth album: [Excerpt: Led Zeppelin, “The Battle of Evermore”] Denny would never actually get paid for her appearance on one of the best-selling albums of all time. That was, incidentally, not the only session that Denny was involved in around this time — she also sang on the soundtrack to a soft porn film titled Swedish Fly Girls, whose soundtrack was produced by Manfred Mann: [Excerpt: Sandy Denny, “What Will I Do With Tomorrow?”] Shortly after Fairport’s trip to America, Joe Boyd decided he was giving up on Witchseason. The company was now losing money, and he was finding himself having to produce work for more and more acts as the various bands fissioned. The only ones he really cared about were Richard Thompson, who he was finding it more and more difficult to work with, Nick Drake, who wanted to do his next album with just an acoustic guitar anyway, Sandy Denny, who he felt was wasting her talents in Fotheringay, and Mike Heron of the Incredible String Band, who was more distant since his conversion to Scientology. Boyd did make some attempts to keep the company going. On a trip to Sweden, he negotiated an agreement with the manager and publisher of a Swedish band whose songs he’d found intriguing, the Hep Stars. Boyd was going to publish their songs in the UK, and in return that publisher, Stig Anderson, would get the rights to Witchseason’s catalogue in Scandinavia — a straight swap, with no money changing hands. But before Boyd could get round to signing the paperwork, he got a better offer from Mo Ostin of Warners — Ostin wanted Boyd to come over to LA and head up Warners’ new film music department. Boyd sold Witchseason to Island Records and moved to LA with his fiancee Linda Peters, spending the next few years working on music for films like Deliverance and A Clockwork Orange, as well as making his own documentary about Jimi Hendrix, and thus missed out on getting the UK publishing rights for ABBA, and all the income that would have brought him, for no money. And it was that decision that led to the breakup of Fotheringay. Just before Christmas 1970, Fotheringay were having a difficult session, recording the track “John the Gun”: [Excerpt: Fotheringay, “John the Gun”] Boyd got frustrated and kicked everyone out of the session, and went for a meal and several drinks with Denny. He kept insisting that she should dump the band and just go solo, and then something happened that the two of them would always describe differently. She asked him if he would continue to produce her records if she went solo, and he said he would. According to Boyd’s recollection of the events, he meant that he would fly back from California at some point to produce her records. According to Denny, he told her that if she went solo he would stay in Britain and not take the job in LA. This miscommunication was only discovered after Denny told the rest of Fotheringay after the Christmas break that she was splitting the band. Jerry Donahue has described that as the worst moment of his life, and Denny felt very guilty about breaking up a band with some of her closest friends in — and then when Boyd went over to the US anyway she felt a profound betrayal. Two days before Fotheringay’s final concert, in January 1971, Sandy Denny signed a solo deal with Island records, but her first solo album would not end up produced by Joe Boyd. Instead, The North Star Grassman and the Ravens was co-produced by Denny, John Wood — the engineer who had worked with Boyd on pretty much everything he’d produced, and Richard Thompson, who had just quit Fairport Convention, though he continued living with them at the Angel, at least until a truck crashed into the building in February 1971, destroying its entire front wall and forcing them to relocate. The songs chosen for The North Star Grassman and the Ravens reflected the kind of choices Denny would make on her future albums, and her eclectic taste in music. There was, of course, the obligatory Dylan cover, and the traditional folk ballad “Blackwaterside”, but there was also a cover version of Brenda Lee’s “Let’s Jump the Broomstick”: [Excerpt: Sandy Denny, “Let’s Jump the Broomstick”] Most of the album, though, was made up of originals about various people in Denny’s life, like “Next Time Around”, about her ex-boyfriend Jackson C Frank: [Excerpt: Sandy Denny, “Next Time Around”] The album made the top forty in the UK — Denny’s only solo album to do so — and led to her once again winning the “best female singer” award in Melody Maker’s readers’ poll that year — the male singer award was won by Rod Stewart. Both Stewart and Denny appeared the next year on the London Symphony Orchestra’s all-star version of The Who’s Tommy, which had originally been intended as a vehicle for Stewart before Roger Daltrey got involved. Stewart’s role was reduced to a single song, “Pinball Wizard”, while Denny sang on “It’s a Boy”: [Excerpt: Sandy Denny, “It’s a Boy”] While Fotheringay had split up, all the band members play on The North Star Grassman and the Ravens. Guitarists Donahue and Lucas only play on a couple of the tracks, with Richard Thompson playing most of the guitar on the record. But Fotheringay’s rhythm section of Pat Donaldson and Gerry Conway play on almost every track. Another musician on the album, Ian Whiteman, would possibly have a profound effect on the future direction of Richard Thompson’s career and life. Whiteman was the former keyboard player for the mod band The Action, having joined them just before they became the blues-rock band Mighty Baby. But Mighty Baby had split up when all of the band except the lead singer had converted to Islam. Richard Thompson was on his own spiritual journey at this point, and became a Sufi – the same branch of Islam as Whiteman – soon after the session, though Thompson has said that his conversion was independent of Whiteman’s. The two did become very close and work together a lot in the mid-seventies though. Thompson had supposedly left Fairport because he was writing material that wasn’t suited to the band, but he spent more than a year after quitting the group working on sessions rather than doing anything with his own material, and these sessions tended to involve the same core group of musicians. One of the more unusual was a folk-rock supergroup called The Bunch, put together by Trevor Lucas. Richard Branson had recently bought a recording studio, and wanted a band to test it out before opening it up for commercial customers, so with this free studio time Lucas decided to record a set of fifties rock and roll covers. He gathered together Thompson, Denny, Whiteman, Ashley Hutchings, Dave Mattacks, Pat Donaldson, Gerry Conway, pianist Tony Cox, the horn section that would later form the core of the Average White Band, and Linda Peters, who had now split up with Joe Boyd and returned to the UK, and who had started dating Thompson. They recorded an album of covers of songs by Jerry Lee Lewis, the Everly Brothers, Johnny Otis and others: [Excerpt: The Bunch, “Willie and the Hand Jive”] The early seventies was a hugely productive time for this group of musicians, as they all continued playing on each other’s projects. One notable album was No Roses by Shirley Collins, which featured Thompson, Mattacks, Whiteman, Simon Nicol, Lal and Mike Waterson, and Ashley Hutchings, who was at that point married to Collins, as well as some more unusual musicians like the free jazz saxophonist Lol Coxhill: [Excerpt: Shirley Collins and the Albion Country Band, “Claudy Banks”] Collins was at the time the most respected female singer in British traditional music, and already had a substantial career including a series of important records made with her sister Dolly, work with guitarists like Davey Graham, and time spent in the 1950s collecting folk songs in the Southern US with her then partner Alan Lomax – according to Collins she did much of the actual work, but Lomax only mentioned her in a single sentence in his book on this work. Some of the same group of musicians went on to work on an album of traditional Morris dancing tunes, titled Morris On, credited to “Ashley Hutchings, Richard Thompson, Dave Mattacks, John Kirkpatrick and Barry Dransfield”, with Collins singing lead on two tracks: [Excerpt: Ashley Hutchings, Richard Thompson, Dave Mattacks, John Kirkpatrick and Barry Dransfield with Shirley Collins, “The Willow Tree”] Thompson thought that that album was the best of the various side projects he was involved in at the time, comparing it favourably to Rock On, which he thought was rather slight, saying later “Conceptually, Fairport, Ashley and myself and Sandy were developing a more fragile style of music that nobody else was particularly interested in, a British Folk Rock idea that had a logical development to it, although we all presented it our own way. Morris On was rather more true to what we were doing. Rock On was rather a retro step. I'm not sure it was lasting enough as a record but Sandy did sing really well on the Buddy Holly songs.” Hutchings used the musicians on No Roses and Morris On as the basis for his band the Albion Band, which continues to this day. Simon Nicol and Dave Mattacks both quit Fairport to join the Albion Band, though Mattacks soon returned. Nicol would not return to Fairport for several years, though, and for a long period in the mid-seventies Fairport Convention had no original members. Unfortunately, while Collins was involved in the Albion Band early on, she and Hutchings ended up divorcing, and the stress from the divorce led to Collins developing spasmodic dysphonia, a stress-related illness which makes it impossible for the sufferer to sing. She did eventually regain her vocal ability, but between 1978 and 2016 she was unable to perform at all, and lost decades of her career. Richard Thompson occasionally performed with the Albion Band early on, but he was getting stretched a little thin with all these sessions. Linda Peters said later of him “When I came back from America, he was working in Sandy’s band, and doing sessions by the score. Always with Pat Donaldson and Dave Mattacks. Richard would turn up with his guitar, one day he went along to do a session with one of those folkie lady singers — and there were Pat and DM. They all cracked. Richard smashed his amp and said “Right! No more sessions!” In 1972 he got round to releasing his first solo album, Henry the Human Fly, which featured guest appearances by Linda Peters and Sandy Denny among others: [Excerpt: Richard Thompson, “The Angels Took My Racehorse Away”] Unfortunately, while that album has later become regarded as one of the classics of its genre, at the time it was absolutely slated by the music press. The review in Melody Maker, for example, read in part “Some of Richard Thompson’s ideas sound great – which is really the saving grace of this album, because most of the music doesn’t. The tragedy is that Thompson’s “British rock music” is such an unconvincing concoction… Even the songs that do integrate rock and traditional styles of electric guitar rhythms and accordion and fiddle decoration – and also include explicit, meaningful lyrics are marred by bottle-up vocals, uninspiring guitar phrases and a general lack of conviction in performance.” Henry the Human Fly was released in the US by Warners, who had a reciprocal licensing deal with Island (and for whom Joe Boyd was working at the time, which may have had something to do with that) but according to Thompson it became the lowest-selling record that Warners ever put out (though I’ve also seen that claim made about Van Dyke Parks’ Song Cycle, another album that has later been rediscovered). Thompson was hugely depressed by this reaction, and blamed his own singing. Happily, though, by this point he and Linda had become a couple — they would marry in 1972 — and they started playing folk clubs as a duo, or sometimes in a trio with Simon Nicol. Thompson was also playing with Sandy Denny’s backing band at this point, and played on every track on her second solo album, Sandy. This album was meant to be her big commercial breakthrough, with a glamorous cover photo by David Bailey, and with a more American sound, including steel guitar by Sneaky Pete Kleinow of the Flying Burrito Brothers (whose overdubs were supervised in LA by Joe Boyd): [Excerpt: Sandy Denny, “Tomorrow is a Long Time”] The album was given a big marketing push by Island, and “Listen, Listen” was made single of the week on the Radio 1 Breakfast show: [Excerpt: Sandy Denny, “Listen, Listen”] But it did even worse than the previous album, sending her into something of a depression. Linda Thompson (as the former Linda Peters now was) said of this period “After the Sandy album, it got her down that her popularity didn't suddenly increase in leaps and bounds, and that was the start of her really fretting about the way her career was going. Things only escalated after that. People like me or Martin Carthy or Norma Waterson would think, ‘What are you on about? This is folk music.'” After Sandy’s release, Denny realised she could no longer afford to tour with a band, and so went back to performing just acoustically or on piano. The only new music to be released by either of these ex-members of Fairport Convention in 1973 was, oddly, on an album by the band they were no longer members of. After Thompson had left Fairport, the group had managed to release two whole albums with the same lineup — Swarbrick, Nicol, Pegg, and Mattacks. But then Nicol and Mattacks had both quit the band to join the Albion Band with their former bandmate Ashley Hutchings, leading to a situation where the Albion Band had two original members of Fairport plus their longtime drummer while Fairport Convention itself had no original members and was down to just Swarbrick and Pegg. Needing to fulfil their contracts, they then recruited three former members of Fotheringay — Lucas on vocals and rhythm guitar, Donahue on lead guitar, and Conway on drums. Conway was only a session player at the time, and Mattacks soon returned to the band, but Lucas and Donahue became full-time members. This new lineup of Fairport Convention released two albums in 1973, widely regarded as the group’s most inconsistent records, and on the title track of the first, “Rosie”, Richard Thompson guested on guitar, with Sandy Denny and Linda Thompson on backing vocals: [Excerpt: Fairport Convention, “Rosie”] Neither Sandy Denny nor Richard Thompson released a record themselves in 1973, but in neither case was this through the artists’ choice. The record industry was changing in the early 1970s, as we’ll see in later episodes, and was less inclined to throw good money after bad in the pursuit of art. Island Records prided itself on being a home for great artists, but it was still a business, and needed to make money. We’ll talk about the OPEC oil crisis and its effect on the music industry much more when the podcast gets to 1973, but in brief, the production of oil by the US peaked in 1970 and started to decrease, leading to them importing more and more oil from the Middle East. As a result of this, oil prices rose slowly between 1971 and 1973, then very quickly towards the end of 1973 as a result of the Arab-Israeli conflict that year. As vinyl is made of oil, suddenly producing records became much more expensive, and in this period a lot of labels decided not to release already-completed albums, until what they hoped would be a brief period of shortages passed. Both Denny and Thompson recorded albums at this point that got put to one side by Island. In the case of Thompson, it was the first album by Richard and Linda as a duo, I Want to See the Bright Lights Tonight: [Excerpt: Richard and Linda Thompson, “I Want to See the Bright Lights Tonight”] Today, I Want to See the Bright Lights Tonight is widely regarded as one of the greatest albums of all time, and as one of the two masterpieces that bookended Richard and Linda’s career as a duo and their marriage. But when they recorded the album, full of Richard’s dark songs, it was the opposite of commercial. Even a song that’s more or less a boy-girl song, like “Has He Got a Friend for Me?” has lyrics like “He wouldn’t notice me passing by/I could be in the gutter, or dangling down from a tree” [Excerpt: Richard and Linda Thompson, “Has He got a Friend For Me?”] While something like “The Calvary Cross” is oblique and haunted, and seems to cast a pall over the entire album: [Excerpt: Richard and Linda Thompson, “The Calvary Cross”] The album itself had been cheap to make — it had been recorded in only a week, with Thompson bringing in musicians he knew well and had worked with a lot previously to cut the tracks as-live in only a handful of takes — but Island didn’t think it was worth releasing. The record stayed on the shelf for nearly a year after recording, until Island got a new head of A&R, Richard Williams. Williams said of the album’s release “Muff Winwood had been doing A&R, but he was more interested in production… I had a conversation with Muff as soon as I got there, and he said there are a few hangovers, some outstanding problems. And one of them was Richard Thompson. He said there’s this album we gave him the money to make — which was I Want to See the Bright Lights Tonight — and nobody’s very interested in it. Henry the Human Fly had been a bit of a commercial disappointment, and although Island was altruistic and independent and known for only recording good stuff, success was important… Either a record had to do well or somebody had to believe in it a lot. And it seemed as if neither of those things were true at that point of Richard.” Williams, though, was hugely impressed when he listened to the album. He compared Richard Thompson’s guitar playing to John Coltrane’s sax, and called Thompson “the folk poet of the rainy streets”, but also said “Linda brightened it, made it more commercial. and I thought that “Bright Lights” itself seemed a really commercial song.” The rest of the management at Island got caught up in Williams’ enthusiasm, and even decided to release the title track as a single: [Excerpt: Richard and Linda Thompson, “I Want to See the Bright Lights Tonight”] Neither single nor album charted — indeed it would not be until 1991 that Richard Thompson would make a record that made the top forty in the UK — but the album got enough critical respect that Richard and Linda released two albums the year after. The first of these, Hokey Pokey, is a much more upbeat record than their previous one — Richard Thompson has called it “quite a music-hall influenced record” and cited the influence of George Formby and Harry Lauder. For once, the claim of music hall influence is audible in the music. Usually when a British musician is claimed to have a music ha

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Muss shares a story about how his mother-in-law makes popcorn

Prayer is a trade to be learned. We must be apprentices and serve our time at it. Painstaking care, much thought, practice and labor are required to be a skillfull tradesman in prayer. To support this ministry financially, visit: https://www.oneplace.com/donate/1170/29

Painstaking analysis of algorithms designed to manage and obscure elections. In Skeptiko episode 646 Dr...

Jaylon Johnson breaks down fateful Hail Mary in painstaking detail & Tony Romo tries to put himself into a 'That's Montez' episode (Hour 4) full 2225 Mon, 28 Oct 2024 23:05:02 +0000 giOSSLQLkPTm5CV0NA6v5uYVG0mcYcsj sports Spiegel & Holmes Show sports Jaylon Johnson breaks down fateful Hail Mary in painstaking detail & Tony Romo tries to put himself into a 'That's Montez' episode (Hour 4) Matt Spiegel and Laurence Holmes bring you Chicago sports talk with great opinions, guests and fun. Join Spiegel and Holmes as they discuss the Bears, Blackhawks, Bulls, Cubs and White Sox and delve into the biggest sports storylines of the day. Recurring guests include Bears cornerback Jaylon Johnson, former Bears coach Dave Wannstedt, former Bears center Olin Kreutz, Cubs manager Craig Counsell, Cubs second baseman Nico Hoerner and MLB Network personality Jon Morosi. Catch the show live Monday through Friday (2 p.m. - 6 p.m. CT) on 670 The Score, the exclusive audio home of the Cubs and the Bulls, or on the Audacy app. 2024 © 2021 Audacy, Inc. Sports

Like the British cycling world for a brief period earlier this month, episode 86 of the road.cc Podcast has gone Box Hill crazy. We sat down with Dom Jackson and Tobias Dahlhaus of the London-based team Foran Cycling – two of the figures behind arguably one of the most ambitious (and successful) Strava KOM/QOM attempts of all time – to find out how Dom, winner of the prestigious Rás Tailteann international stage race earlier this year, cracked the most attempted and arguably the most prestigious Strava KOM of them all, Box Hill. With meticulous planning, spreadsheets, a bunch of willing pals pulling turns on each bend or sweeping and marshalling corners, a curious pre-effort diet, and two immaculately shaved arms, Dom rode an outrageous time of 4:05, at an average speed of 33.7km/h – eight seconds quicker than pro cyclist Rory Townsend who had taken the KOM just days earlier. Will we see a sub-4 clocked soon on Box Hill's slopes? It's like the four-minute mile barrier all over again! We also squeezed some climbing tips out of Dom and Tobias, both highly accomplished bike racers, and got some further advice on locating and smashing some Strava KOMs for ourselves… when we've put some more training in.At the start of the episode, we also welcome tech writer Emily Tillett for our new regular opening section on the ‘week in cycling' with presenter Ryan Mallon, which this week focuses on the current trouble at Ineos and asks: Are bikes becoming better value again? Let us know what you think of our new sound at podcast@road.cc 

The deep very low frequency song of the blue whale is difficult for us to hear. Depending on what device you're listening on, it might be too low for your speakers. 我们人耳很难听到蓝鲸发出的低沉、低频的叫声。你在这段音频中能不能听到它们的叫声取决于你使用的音频播放设备，因为蓝鲸叫声的频率可能低于一些扬声器可播放的频率范围。 But it's the tell-tale loud pulsing call of the world's largest animal, and it's what scientists managed to capture with an underwater "sound trap" – a microphone and recording rig planted on the sea floor near the Seychelles for a whole year. 作为世界上最大的动物，蓝鲸发出的叫声颇具辨识度，响亮而富有节奏感。帮助科学家们记录到这种叫声的设备是一种水下 “声音陷阱”，它由一个麦克风和录音装置组成，被放置在塞舌尔附近水域的海床上一整年。Painstaking analysis of all those hours of sound revealed that blue whales spend months in the tropical waters around the tiny island nation. 科学家们对录制的大量音频进行了细致的分析，发现蓝鲸在小面积岛国塞舌尔周围的热带水域生活了几个月的时间。 The researchers have described this as a conservation win – evidence that the population has recovered decades after a ban on commercial whaling. 研究人员称蓝鲸的回归是一个动物保护的成功案例 —— 在禁止商业捕鲸几十年后，蓝鲸的数量已经恢复。 词汇表frequency 频率tell-tale 泄露秘密的，足以辨识的pulsing 脉冲的，节奏强烈的recording rig 录音装置painstaking 精心的，仔细的whaling 捕鲸（活动）

A former judge, Catherine Marchi-Uhel has spent a lifetime pursuing justice. Now, leading the quest for accountability for atrocities and war crimes committed in the Syrian civil war, she finds comfort in survivors' resilience and their determination to move on with their lives. “In Syria, I was really struck by this lack of revenge. I haven't seen many people wanting revenge. They want justice. And that's really a very powerful attitude.” Since 2016, the UN's IIIM (International, Impartial and Independent Mechanism) has been helping investigate and prosecute the most serious atrocities committed in Syria during the devastating conflict. In this episode, Catherine Marchi-Uhel, head of the IIIM, reflects on the painstaking job of documenting brutality, the importance of preserving evidence, and how she keeps faith in the face of humanity's darkest crimes.

Prayer is a trade to be learned. We must be apprentices and serve our time at it. Painstaking care, much thought, practice and labor are required to be a skillfull tradesman in prayer. To support this ministry financially, visit: https://www.oneplace.com/donate/1170/29

We come right out with our lone email for the week with Travis who wants to know how we would spend the day with Werner Herzog. The tragic loss of a billionaire and some other peeps in the Titanic OceanGate sub is absolutely the fault of the OceanGate CEO Stockton Rush. Ricky Wood is a funny guy who was in Confess, Fletch which Mike enjoyed, but Luke loathed. Anthony Fauci has a complicated past beyond just Covid stuff. Jim Breuer has changed a great deal since the days of Goat Boy. The PGA Tour accepted the Saudis into their tour as investors. Does it matter? Is the Saudi Arabian government any worse in their actions over history than the government of the United States? Nobody seems to care if Saudi money infiltrates every avenue of the economy. Jason Alexander has issues apparently. It all starts with the McDLT in 1985 but he also has derogatory things to say about the game of Cricket. Jerry Seinfeld loathed Mitzi Shore who owned the Comedy Store stand-up until she died in 2018. Seinfeld may be a very petty dude. Govier is excited because the NBA Draft was Thursday night (fast forward Dave & Eric) and Victor Wembanyama is the future of humankind. Black Mirror is so good that Luke and Mike had to turn it off before. Luke compared it to watching Brawl In Cell Block 99 & Dragged Over Concrete back to back. Mike has some Central Michigan University memories of his long lost roommate Ron. Thanks to him the Xzihibit classic Paparazzi was introduced to Govier's world. Then there is plenty of Papa Roach & Magic Man. We love you all! Really! We are very pleased with our little world that together we have formed thanks to this show. This show has no substance to it without you listening and emailing. We close the show with The Guillotine by The Coup. If any of our nonsense provokes your thoughts, please share them with us at isitsafepod@gmail.com

Several days after Lisa Marie Presley was laid to rest at Graceland in Memphis, Tenn., her mother, Priscilla Presley, took to social media to express her gratitude for the public's outpouring of love.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Chris Schmidt and Elijah Herbel open this show by reacting to what Trev Alberts said on his monthly radio appearance. Brandon Vogel joins to continue that conversation before Jeremiah Sirles joins to preview Nebraska-Wisconsin. Later, Gary Barnett joins to discuss the possibility of Lance Leipold landing in Lincoln, and Danny Burke joins for another edition of Burke's Best Bets.Hail Varsity Radio is brought to you by Currency.An Exclusive Offer For Hail Varsity Radio Show Podcast Listeners!Get your subscription to Hail Varsity at a discount! Use Coupon Code: GBRA Hurrdat Media Production. Hurrdat Media is a digital media and commercial video production company based in Omaha, NE. Find more podcasts on the Hurrdat Media Network and learn more about our other services today on HurrdatMedia.com.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

The good thing about hitting rock bottom? There's only one way left to go, and that's up. In part two of Aaron's two-part special edition, hear how The OG of the ICSP bounces back after failed relationships, drug abuse and suicide attempts. 

For William Campbell and his team from Lick Observatory, it had been a long journey. It took months to sail from California to Australia, travel the full width of the country, then sail to a remote beach on the western coast. It took weeks more for the team of 30 men and five women to set up its equipment. And all of that to see five minutes of darkness — a total solar eclipse — 100 years ago today. Campbell and his team were trying to confirm observations made during an eclipse in 1919. If they were successful, they'd provide key proof of Albert Einstein's theory of gravity. Einstein published his theory in 1915. Among other things, it predicted that stars and other massive objects would “warp” the space around them. The effect could be seen during a total eclipse. Astronomers would measure the positions of stars that appeared near the Sun. If Einstein was right, there'd be a tiny shift compared to the usual positions of the stars. Observations in 1919 confirmed Einstein's theory. But there were questions about the results. So astronomers tried again in 1922. Campbell's team was one of several to make the attempt. And it was the most successful by far. Its pictures showed more than a hundred stars around the Sun. Painstaking analysis confirmed that the light of the stars closest to the Sun had been deflected by the Sun's gravity — once again proving Einstein right.  Script by Damond Benningfield Support McDonald Observatory

Brenden Schaeffer dives into the Cardinals 1-0 over the Cubs on Monday at Wrigley as Jordan Montgomery throws a Maddux, a 99-pitch one-hitter. Oh, and Albert Pujols went deep AGAIN. 693. His latest heroics inspired the question: Is this the greatest stretch of his MLB career? Brenden researched that question for about an hour and came up with some fascinating results. You won't wanna miss this pod! --- Send in a voice message: https://anchor.fm/bschaeffer12/message

Position of Neutrality is a study of the manner of living suggested by the founders of A.A. which was recorded in the book Alcoholics Anonymous. The story of how many thousands of men and women have recovered from alcoholism.

Prayer is a trade to be learned. We must be apprentices and serve our time at it. Painstaking care, much thought, practice and labor are required to be a skillfull tradesman in prayer. To support this ministry financially, visit: https://www.oneplace.com/donate/1170/29

Tor, Zach, and Belly do a comprehensive, meticulous, and PAINSTAKING set review of the upcoming Magic: The Gathering set Commander Legends: Battle for Baldur's Gate. We also decide the color identities of late night hosts and brew our own CLB commander decks. Timestamps: (7:20) True Detective Season 1 (10:30) Late Night Host Secret Lair (18:00) Housekeeping (19:00) Voicemail  (27:00) The Cold Open??? (30:00) MTG Twitter (38:00) The All-Seeing Algorithm  (45:15) The Cold Open (47:45) CLB SET REVIEW (52:20) Belly's Corner: Dwarf Report (1:04:10) CLB SET REVIEW (1:08:12) Background Praise (1:14:45) Tor's Tirade (1:22:50) SVIRFNEBLIN (1:26:20) History Lesson w/ Tor (1:33:30) Commander Deck Techs (1:58:10) MEA CULPA Follow us on Twitch! twitch.tv/iloveyoumanatv twitch.tv/bellytelevision ILYM Plugs Mike Lester's Upcoming Shows: https://linktr.ee/Justmikelester Patreon: https://www.patreon.com/iloveyoumana/ Discord: https://discord.gg/VeVs3g2 IG: https://www.instagram.com/Iloveyoumana/ Twitter: https://twitter.com/ILoveYouMana ILYM Theme: dmoon Editing: Micah/Belly

Painstaking new techniques for archiving social media posts could provide crucial evidence in future prosecutions.

Painstaking new techniques for archiving social media posts could provide crucial evidence in future prosecutions.

In this episode, John Beauchamp speaks to Dr Łukasz Krzywka, a veteran of forty years at Wrocław University's Institute of Art History, on the restoration of the Aula Leopoldyńska, known as the Leopoldina, a pearl of 18th century baroque art and architecture. The space was named in honour of the university's founder, Emperor Leopold I, and principally designed by the Austrian architect and painter Christophorus Tausch, while a number of artists from across the lands came to make the hall mostly what it is today. Why mostly? This is a renovation of a renovation, and details have been lost over the centuries, says Dr Krzywka. Photo: PAP/Maciej Kulczyński

HELP ME GET MY LEGO IDEAS PROJECT TO 10K VOTES!LEGO Ideas Amethyst Geode! Please support Ukraine in away you can.  If you'd like to help Click Here to Donate"I'm an AFOL and MOC designer from the Netherlands

When the going gets tough...well we can tend as humans to stay in the familiar insanity of misery and push come to shove...ORRR by baby steps we can RISE to the challenging occasion of the FAVOR of our Creator, our fam, or our peeps....I encourage all to listen with open minds and hearts as I am sickly today..but this body, mind, soul, and heart were created for healing and taking on the battles! --- Send in a voice message: https://anchor.fm/kristen-peterson6/message Support this podcast: https://anchor.fm/kristen-peterson6/support

A Pep Talk for the Painstaking. Connect with Racquel online: Racquel's Website Twitter Buy her books!

Visit us at: www.jamesfantastik.com Get Your FREE 5 STEPS to Uplevel UR Public Speaking / Communication Skills @mrfantastik.live    We put on our Fantastik attire today is Veteran's Day. When I am cutting. This particular podcast. And so I have a black shirt on and I can't think of what the name of this is. It's light. purple.  I had the name of this thing. I got chartreuse of my mind. And that's not it either. And when the good Lord gives it back to me, I'll tell you. But if you lavender, lavender blue dilly dilly. Okay. Thank you. Thank you, Lord. Thank you. Speaking of wait. So anyhow. On this. So I am dressed. In my black shirt and this lavender tie and I have my veteran's hat on to salute all my fellow veterans. The ones that went before me and have come after. And I appreciate all the families who have lost, loved ones. Throughout the Decades. We're at the century mark now. So anywho. It's veteran's day. So if you're a vet or. A family who has a veteran. Thank you for everything that you've done. No. I said I always like to say after the Funtastic. Tire.  We then, of course, a pill you in that. I am a Christian. And so when I refer to my higher power, I will use words like God creator, Jesus, holy spirit, heavenly father. So on and so forth. I encourage you.  If you don't already have. An inspirational source, please, please, please. Consider making that a very high priority. Very high priority. So.  The last week in our last episode. We were talking about the what-ifs in life. And that's episode number 10. So check that out. I think you will. You will enjoy that. It's, another form of excuse is the way I look at it. Okay. And then our episode today, it's, it's entitled to get out of my way. Or get out of your way. I'm going to do it. First-person gets out of my way. This is a. This, this, this. Hits very close to home for me. And You know, I, I always am interesting how the Bible has things. I mean, it's great, it's the greatest instruction book ever. As far as I'm concerned. But in Exodus. 20 verse three. It says thou shall have no other gods before me. And it goes on and it gives you more details. And then it says for, I am a jealous God. So.  You know, I guess. The question is, well, what are these other gods? I believe. The port for myself. I said, I, I, you know, I'm going to do this. First-person. As, as difficult as it is to do. What are those other gods? Well, I feel it's. Worry doubt and fear.  I think it's our ego. Our possessions. Our lack of faith.  And. Also. Superiority. Which ties in with our ego. I mean, we can have an ego that doesn't promote superiority, but in most cases, it does that.  So the reason that this hits a raw nerve for me. Is that you know, I'm. I've been blessed in life. Because I have applied myself. I have said in previous episodes, I am a lifelong learner. And every coin has two sides. So of if I choose to. Declare that title then. I have to be willing to walk the talk and continue to learn and continue to share. So what's been so tough about this is that I've had an amazing. Radio career and. You know, I. Semi tire for several semi-retired.  There are days that I'm also semi-tired. Yeah.  Oh my goodness. But anyhow, I semi semi-retired and I knew I had more to give back and so on. So I started studying. Yeah, I am a life coach. And I started studying with that and all these different seminars and because of my success that I had in radio. This was all through my Eagle. That's all I can tell you. I, it, it, it's painful. To minute, but it was my Eagle because I thought. That is the door in this internet marketing maze. We'll just swing right open. All right. Then here comes, Mr. Fantastic. Let us all bow down and yeah, the data. Well, I, you know, again, that didn't happen in the radio business for me either till I got my first. The radio station is on the air. It took five years of work, five years of. Painstaking work. Okay. So you know, again, How could have I forgotten that? All that time, because you know, it's just, it blows my mind.  But my ego got in the way. So the other, the other part is that you know, we.  We have a check the ego at the door. And the other aspect of this w it's it has been a great learning experience. Because I have grown. From No. Many doors. We'll get wide open for me. But I realize that. God's the Potter and I am the clay. And so for all of us, the question is how flexible is that? Clay is clay nice and soft and moldable. Or is it. As hard as a rock. I think that. Some of the solutions to this. Oh, getting rid of. Worry doubt and fear as other gods.  The main reason I feel that we have that is that we're looking forward. We. Well, what's going to happen tomorrow. What's going to happen next week. How will things be a year from now or 10 years from now? Instead of focusing on this moment and that, you know, that, that scripture. In the Bible, it talks about Do not worry about the moral. Today has enough trouble of its own.  And it also says, you know what I mean? Jesus said you will. We'll have trouble in this life, but fear not for, I. I will overcome the world. So focusing on today being, being here. All right. I was writing this and putting this together and, and I got all sorts of different text messages from friends. Thank me for my service in this veteran state. And I normally have a. A little bit more.  and fantastic attire on than I do today. When I. For, for the folks that are on the video side of this thing. All right. At which they know. I guess that's, I guess I'm explaining this for you folks that are listening to the podcast. So we need to be flexible. Be gotta be flexible.  We've got to let God direct the orchestra.  And you know, when you're a type a personality as I am, it is a that becomes a little challenging, particularly, you know, I've been, I have been seeking God's help my whole life, except there are some times, you know, that I want to do it on my time. And of course, that is. You know, it's impossible. Too. Understand. God's timing. You know, in God's timing a thousand years could be a day. Wow. So we have to be flexible. Step aside. Let God be there in the orchestra directing position. And listen. Listen to the still small voice. What is the still small voice telling us to do? And then the next thing is, of course, Act. Want the still small voice is telling us. It's not about me. It's not about you. It's about what skills do we have? How can we make it? Our fellow man. Better. As we make ourselves better in our desire to serve. Now I know this man I have been serving says, oh, it's just a kid growing up on the farm. Okay. And that's what makes this so painful for me? To bring this, you know, it's, it's, it's an open wound.  So some more solutions, flexible moldable play. Letting God do the directing. And of course, I pray consistently and continuously. Now I. I have been doing a great job on that. You know, I always feel when we earn a compliment. We should receive the compliment and it's okay for us to compliment ourselves when we have done a great job. It's just that simple. It is just that simple. When we have done a great job. Okay. It's all right. Just like I said, there, I am very proud.  By the way, my muscle is growing. In regards to. The consistent and continuous prayer. And I can tell you. Prayer does work. My friend. Prayer does work. So get out of my own way, get out of your own way. When we choose to do that.  We will be amazed how the doors open and I, I am, you know, the doors are starting to open. For Mr. Fantastic. And on so thankful. That I am learning God's lessons. And trying not to have to repeat them too many times. So. I want to encourage you to keep taking the next step. Keep taking the next step. Okay, keep going, keep going, keep going. If not now. When. If not me. Who.  Thank you very much for your time. Thank you for being a lifelong learner. This is your day to grow and glow.  Make today the most. Fantastik day of your life.

Necessary But Painstaking Attention To Detail, Tomlin Firm Rebuttal And Fast 5 by Ed Lane

Marathon Zoom sessions. Painstaking geographic descriptions. And the slow struggle toward something like consensus. We head inside the final days of the Congressional redistricting commission's work to see how they're trying to get it done.

Marathon Zoom sessions. Painstaking geographic descriptions. And the slow struggle toward something like consensus. We head inside the final days of the Congressional redistricting commission's work to see how they're trying to get it done.

How exactly are we to love our brothers and sisters with Christian charity? What exactly does love look like? Am I living out love like it’s supposed to look like? GV2 Links: Patreon Twitter IG FB

Painstaking' * Part Of Speech — Adjective. * Adverb — Painstakingly. * Pronunciation — * Pains as usual, pains, * taking as usual, taking. * Meaning — * With great care and attention, and a lot of efforts. * Etymology — * The word painstaking has been derived from the English words pain and taking. * Mnemonic — * If you take a lot of pain and efforts to complete a project, it means that it was a painstaking endeavour. * Sentences — * His thesis has made him undergo a painstaking journey. (Adjective, with great care and attention, and a lot of efforts) * She works assiduously as she wants to complete her painstaking research soon. (Adjective, with great care and attention, and a lot of efforts) * The tome is a painstakingly written book with a smorgasbord of facts. (Adverb, carefully, and correctly with efforts) * The police officials conducted a painstaking investigation but they couldn't catch the astute thief red-handed. (Adjective, with great care and attention, and a lot of efforts) * She has become a painstaking virtuoso in her field because of her perseverance. (Adjective, with great care and attention, and a lot of efforts) * Painstaking study always bears fruit as it enhances the horizons of knowledge. (Adjective, with great care and attention, and a lot of efforts) * Synonyms — careful, thorough, earnest, meticulous, etc. * Antonyms — half-hearted, careless, negligent, etc. * Quick revision of previously learnt words — * Assiduously — with intense efforts. * Tome — a large book. * Smorgasbord — a large collection of something * Idom :High and mighty * Meaning — * One who behaves as if he were superior. * Sentences — * He is high and mighty and never gives ear to anyone's advice. (One who behaves as if he were superior) * Gives ear to — pays heed to. * She is high and mighty and insults others off and on. (One who behaves as if he were superior) * Off and on — frequently. * The new dress suited her to a nicety and she started behaving like a high and mighty person. (One who behaves as if he were superior) * To a nicety — perfectly. * He cleaned the room, put up the wall hangings, the whole nine yards and never behaved like a high and mighty one. (One who behaves as if he were superior) * The whole nine yards — entire thing. * * Phrasal verb #Cut out * Meaning — * To stop functioning. * Sentences — * The car kept cutting out and they couldn't begin the journey. (Wasn't functioning) * The pen had cut out and be had to get a new one. (Stopped functioning) * You should buy a new watch if this cuts out. (Stopped functioning) * They bought a new television set as the old one kept cutting out. (Wasn't functioning)

Senate Majority Leader Chuck Schumer proclaimed Tuesday night that Democrats are “very proud” of the $3.5 trillion budget agreement he had just unveiled, before adding: “We know we have a long way to go.” “Long” is one way to put it. “Painstaking” and “treacherous” are a few others. Here are the dynamics we're watching as the whipping operation gets underway. Raghu Manavalan is the host of POLITICO's Playbook. Jenny Ament is the senior producer for POLITICO Audio.  Irene Noguchi is the executive producer of POLITICO Audio.

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In this episode, I continue with the information from the "What Does the Big Book Say?" workshop.In this episode: Step Nine- Our real purpose- Going to enemies- Dodging creditors- "Painstaking"- Promises, promises

In this episode of The Dive Locker Podcast we explore the importance and benefits about having a painstaking hiring process.

Phoenix RisingThis is Part Two of on Step Four of the 12 Step Program.  I will be discussing Step Four "Made a Fearless and Moral Inventory of Ourselves".  The 12 Step Program is one of the greatest gifts available  to address the BIGGEST ADDICTION IN THE WORLD - OUR THINKING!  Ask yourself if you have made a decision to surrender? If you struggle answering this question, that's your EGO!  Looking forward to sharing more on Step Four.Phoenix Rising Addiction Center has created these videos to inform and educate people of the biggest addiction of the world found in our excessive, compulsive, and repetitive thoughts and thinking.  These are found internally and externally through pain and suffering with various addictions (such as substance abuse, alcoholism, drug addiction, sex addiction, gambling addiction, stress, anxiety, loneliness, not good enough, etc, etc, etc.) If you want to be free and not a slave of the thinking, we are here to help.SPOTIFY PODCASThttps://open.spotify.com/show/18bMXrireMGwGOLN8i0Stj?si=73ARsL4HQcyalaFHYTSOnQAPPLE  PODCASThttps://phoenixrisingpodcast.buzzsprout.comYOUTUBE https://youtube.com/c/PhoenixRisingAddictionCenter Support the show (https://cash.app/$phoenixrisingac)

Interview episode with Blaker Nate. The N Word, when, where, who can say it, and why. Friends, white friends, benefits of having white friends, true colors, and whitetivities. Gorilla Glue lady, clout, doing things for clout, sponsor deals, And possible mascotot change. Rap, word play in rap, Meek Mill getting dragged In the media for poorly worded bar. Rap culture, slang, Tooka Pack, and name dropping dead homies in songs. Culture, sneaker culture, sneaker flipping, and business. Drip, Swag, fashion, Hip-Hop, and Hip-Hop Culture. And American meddling wherever we are not invited. Pete And Patt Henny Talk Is also Recorded on Video. https://www.youtube.com/channel/UCO2s-OkCoab4U451FO9mkgw InstaGram: https://instagram.com/hennytalk1?igshid=1qypymi6avcm

To support this ministry financially, visit: https://www.oneplace.com/donate/1170/29 Prayer is a trade to be learned. We must be apprentices and serve our time at it. Painstaking care, much thought, practice and labor are required to be a skillfull tradesman in prayer.

Intro In the stage of work in the last days,man has seen God's love,His judgment and chastisement.God supplies,supports,enlightens and guides man,so man will come to see His intentions and to see the truth He bestows on mankind.Verse 1 God does not always discipline and chasten,nor does He always show tolerance and patience.Instead,He provides for each person in different ways,at their own stages,according to statures and qualities.He does many things for man at a great cost man can't see.Verse 2 God's love is real: Through the grace of God,man skirts disaster time after time and again.And through all of this God tolerates man's weakness.He'll judge and chastise,so people will realize man's corruption.Man will come to understand his essence is satanic.Chorus 1 That which God provides and His guidance show man truth's essence,so they will know what people need,the road that they should take,the worth and meaning of life,and how to walk the road.Verse 3 God's ways of working are a ceaseless effort to help man's heart awaken,so that man can realize who guides and supports him,where mankind came from,who's kept him living,who's the Creator and who to worship.So man will know what road to walk and know how to come to God.Chorus 2 It's all to help man's heart revive,so man can know what's in God's heart,so human beings can comprehend the care and thought behind the work that God performs to save humankind.Verse 4 When man's heart awakens,man no longer wishes to keep on living with corrupt disposition,but instead seek truth to satisfy God.Then he'll be able to break free from Satan and be harmed no longer.Satan will lose all control,man will be deceived no more.Outro Instead man will cooperate in God's work and His words to satisfy God's heart,thus will attain fear of God,shunning evil.This is why God began His work.This is why God began His work.Adapted from The Word Appears in the Flesh

Sarah Reed was an award-winning creative producer and single mother of two, when two events shattered her world. The first was a brush with death when a burst appendix left her unconscious for nine hours in A & E, followed by a four-day stint in intensive care. Four weeks later her dad called to say that her mum, Mary, had been diagnosed with Alzheimer’s disease. Sarah describes this as one of the worst days of her life.Before the diagnosis she and her mum hadn’t been that close; Sarah had left their home in Faversham, Kent for art school at 16, since when her life had been busy, revolving around her demanding film work and bringing up her children.Over the next decade, as Mary’s dementia progressed, a newfound bond developed between them. “We learnt a new, more grown-up confidence with one another”, says Sarah. “And learnt how to laugh at our shortcomings”. Sarah and her siblings supported their parents as best they could but their father struggled to cope and in 2000 Mary moved into a care home. Sarah soon realised that while kindly and well-meaning, the staff had little or no communication training – and her frustration developed into a passion to try to help carers provide better care. Over the course of the next few years, as her dad died and her mum was forced to move care homes, twice, Sarah’s knowledge of dementia grew and with it a belief that staff couldn’t hope to develop a relationship with their charges if they didn’t know anything about them, and in order to find out about them they needed to be able to communicate with them. Sarah decided to act. At a personal level she compiled an album of photographs from her mother’s early childhood right through to her years as a great grandmother. When Mary saw the album she glowed with pleasure – although confused by the present, her mum was brought alive by the past.And thus the idea for Sarah’s award-winning Many Happy Returns Chatterbox Cards was conceived. Painstaking research into not just dementia, but compassion, philosophy and reminiscence therapy, led to cards skilfully designed to prompt conversations with older people. Two thousand cards based around the 1940s were launched in 2008. The sets sold out in three months. Today, some 9,000 sets – of 1940s and ‘50s cards – can be found in care settings, libraries, schools and private homes around the UK. Sarah went on to develop interactive communication workshops to help care staff communicate more meaningfully with residents. She believes that “Good communication sits at both the heart and pinnacle of good care”. Mary died in 2009, aged 92. Dementia may have taken her mum from her, but Sarah tells me that it also, in a way, gave back. “Caring for a loved one helps teach you a love you did not know was possible”, she says. “It’s a feeling of understanding, forgiveness and, eventually, closure”. See acast.com/privacy for privacy and opt-out information.

Painted pottery, stone tools, rock art on cave walls – these are what come to mind when we think of artifacts of our region's deep human past. But in the study of prehistory here, one of the most exciting recent finds has come in a subtler guise. During the last decade, archeologists have begun to document trails – prehistoric routes and pathways – in the Chihuahuan Desert. The research relies on new technology – and painstaking fieldwork. And though it's new, it has the potential to shed light on the richness of social relations and ceremonial life, and the ways ancient societies related to this desert-mountain land. Archeologists have studied ancient trails in the Southwes... Hosted by for KRTS

Should we expect good news from baseball now that Rob Manfred has implemented a 60-game season? Mariners Insider Shannon Drayer joins Tom, Jake, and Stacy to discuss to start off the second hour. In Four Down Territory, should we be surprised that the Seahawks have interest in adding Antonio Brown? On The Timeline, who did Brett Favre compare Colin Kaepernick to?

"Isolation" is a song from Joy Division's second/final album, "Closer," released in 1980. We recorded this version on Thursday March 19th, 2020, while self-isolating at home in Los Angeles, California. All of our upcoming shows have been cancelled. Lyrics: In fear every day, every evening He calls her aloud from above Carefully watched for a reason Painstaking devotion and love Surrendered to self preservation From others who care for themselves A blindness that touches perfection But hurts just like anything else Isolation Isolation Isolation Mother I tried please believe me I'm doing the best that I can I'm ashamed of the things I've been put through I'm ashamed of the person I am Isolation Isolation Isolation But if you could just see the beauty These things I could never describe These pleasures a wayward distraction This is my one lucky prize Isolation Isolation Isolation Isolation Isolation Credits: Released March 20, 2020 Recorded, performed, produced, and mixed by YACHT Mastered by Rob Dennler Support us on Bandcamp: https://yacht.bandcamp.com/track/isolation-single

Painstaking forensic analysis of a murder victim leads police to a suspect, who turned out to be the same person who made what he thought was an anonymous 911-call.

Take the pledge against plastic and put a stop to it - at it's production. #thefightagainstplastic #cleanuptheplanet #planetoverplastic #oceanconservacy #greenerthoughtspodcast Resources from the podcast: 1) https://www.bmj.com/content/366/bmj.l4786 - Journal article, 2) https://www.nationalgeographic.org/projects/plastic/ - National Geographic - Plastics, 3) Go to nationalgeogephic.com/environment/plasticpledge/ - Plastics Pledge, 4) The Ocean Conservacy Cleanup Signup Page - https://oceanconservancy.org/trash-free-seas/international-coastal-cleanup/ Related podcast episodes: 1) https://anchor.fm/greenerthoughtspodcast/episodes/The-Most-Littered-Plastic-Item-on-the-Planet-e528vo, 2) https://anchor.fm/greenerthoughtspodcast/episodes/Easily-Reducing-Your-Plastic-Waste-11-Different-Ways-e38lm6, 3) https://anchor.fm/greenerthoughtspodcast/episodes/The-Cost-We-Cannot-Afford-2-5B-Yearly-Because-of-Ocean-Plastic--New-Prize-Giveaway-e3o38r, 4) https://anchor.fm/greenerthoughtspodcast/episodes/The-NEW-Forever-Plastic--Closed-Loop-Recycling-Backed-by-Science--New-Prize-Giveaway-e3voje, 5) https://anchor.fm/greenerthoughtspodcast/episodes/A-Question-of-Grocery-Checkout-Bag-Politics--New-Prize-Giveaway-e44av8, 6) https://anchor.fm/greenerthoughtspodcast/episodes/Mountains-of-Plastic-Mess-in-Malaysia-and-Vows-of-How-to-End-Them-e46gm1, and 7) https://anchor.fm/greenerthoughtspodcast/episodes/Plastics-Not-Posh--Englands-Largest-Retailers-Plastic-Bag-Sales-Fell-By-90-In-the-Past-4-Years-e4rafe Desktop/Mobile: Podcast page (main): https://anchor.fm/greenerthoughtspodcast Supporting Greener Thoughts: https://anchor.fm/greenerthoughtspodcast/support Voice Message Greener Thoughts: https://anchor.fm/greenerthoughtspodcast/message --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/greenerthoughtspodcast/message Support this podcast: https://anchor.fm/greenerthoughtspodcast/support

Behind the scenes at Forensic Science Ireland in Garda HQ to hear how it's now possible to identify cold case missing persons from bone fragment DNA & discover the incredible range of forensic methods used to solve crime with guest Dr Tom Hannigan. ForensicScienceIreland.ie

Socio-Economic Rights and Accountability Project (SERAP) has launched its latest publication titled Uncovering Corruption in Nigeria: A Manual for Investigative Journalists. The manual was presented by journalist and human rights activist Richard Akinnola at an interactive session for investigative journalists from across Nigeria which held at the CITIHEIGHT Hotel, Lagos. According to Akinnola, “The public has a right of access to information which is a public concern and of which the public ought to know. The newspapers, TV and radio stations are the agent, so to speak of the public to collect the information and to tell the public of it. In support of the right of access, they should not, in general, be compelled to disclose their source of information. Neither by means of discovery by trial nor by questions or cross-examination at the trial nor by subpoena.” The manual published with the support of the National Endowment for Democracy (NED) read in part: “Painstaking research and patience are the dual hallmarks of an investigative journalist. Fortunately, google is everybody’s friend. You need to check and double check whatever your sources are giving you. Anyone who walks to you to give you documents incriminating someone has a purpose or agenda, and it may not be altruistic. “Corruption is not just when someone in public office is engaged in financial malfeasance. It encompasses abuse of office and public morality.” --- Send in a voice message: https://anchor.fm/mapradiong/message

Wednesday dons some earmuffs. Wednesday's sign is redundant. Shadow waits for his cue. Find out more at https://the-world-beyond-the-tale.pinecast.co This podcast is powered by Pinecast. Try Pinecast for free, forever, no credit card required. If you decide to upgrade, use coupon code r-514c69 for 40% off for 4 months, and support The World Beyond The Tale - The Page-A-Day American Gods Podcast.

Painstaking preparation is the key to your future. Whatever you want must be preceded by preparation.

If you didn’t think AJ DUNK *all caps* would talk about a memorial service, WRONG *all caps*. Take a minute to relive what happened. If you think it isn’t true, listen to what the guest has to say. It all checks out, so check it out.

The man behind The Holy Dark, John Miller is on the couch this week. He's talking about what "Gloom Folk" means to him, what it was like growing up a fraternal twin and the youngest of 7 super artistic kids from two super artistic (and also religious) parentsand the duality of them translating Rammstein lyrics to ensure they're "safe" to listen to, but sharing their love of the Beatles, the Kinks and more with the family.  He and Jake talk about their respective experiences growing up in the church and how church values weren't always "home" values, the ways music played a role in their grade and high school years and John divulges that he never learned to read music, completely faking his years through playing trumpet in concert, marching and jazz bands. John also talks openly about the trauma he faced as a child, dealing with death at a very young age including his oldest brother taking his own life. He shares the story of how he found out at 20 that for an entire year as a kid he was home-schooled because of it (though he had no recollection of it.) The two also discuss medication and John talks about sneaking to a doctor behind his parents backs who wanted him to seek aid from a pastor instead, and being prescribed anti-depressants that he would be banned from taking when they found out, leaving him to self medicate. All that, more, AND a track from The Holy Dark called "Poison Oak" Find John and the Holy Dark at www.theholydarkband.com  ---------- Check out www.DragonWagonShop.com for awesome Elaborate shirts and mugs! Elaborate is a part of the Dragon Wagon Radio independent podcast network. Visit www.dragonwagonradio.com for more!

Metalhead friends are always taking quizes to share how metal they are on social media, hear our results. The battle begins and in 30 seconds or less we describe random metal bands without premeditation. In closing, 2017 death metal releases and...

They say X marks the spot, you will find out if that is true in this episode. AJ DUNK *all caps* find another real guest. If you only had $80 and a suitcase, what would you do?

Drug overdose is now the leading cause of death among Americans under the age of 50.  In 2016, the United States (U.S.) Centers for Disease Control and Prevention (CDC) released a seminal guideline for primary care clinicians regarding opioid prescribing. These guidelines are now being implemented by clinicians, insurers, and healthcare institutions. The Transforming Opioid Prescribing in Primary Care (TOPCARE) study sought to assess the impact of a multicomponent care management intervention on opioid stewardship in four primary care centers. Guest Authors:  Lucas Hill and Jennifer Shin Music by Good Talk 

AJ DUNK *all caps* welcomes a guest that breaks another stereotype by accident. Jay Battle goes on tour with the UniverSOUL circus and things don’t always go right. It all comes together in the end.

Happy Tuesday!! SOME of our work is pretty easy. But sometimes we have tasks that require a LOT of concentration. The task is complex, it's complicated. There are many things that need to be perfect. Hmm...relationships can be like that, too, right?!! Well, today I'll give you a word that PERFECTLY describes those tasks. I want you to USE that word today! Have a super Tuesday, Coach Shane     Today’s English expression and dialog: painstaking Ugh~ Doing this dictation is painstaking. Well, yes, but it’s gonna really help. HOW? It’ll show you where your weaknesses are.   Subscribe on iTunes and get this English podcast EVERY DAY! PLEASE support my sponsors: (Get a free AUDIO BOOK!) Study English, FREE ENGLISH LESSONS, on our YouTube channels: Support the Let’s Master English team! On PayPal: Send to Or you can go here:

Join A.Raquel and Mahoghani Dawn as they broadcast LIVE from Studio 3408 in Atlanta, Georgia. They will discuss “How Painstaking Events Are Affecting Our Community.” Also stopping by the studio will be entertainment and celebrity blogger Ray Cornelius (www.raycornelius.com) who fill us in on the latest news out of Hollywood and who'd doing what in entertainment. Listen in LIVE and call in to join the dialogue by calling (773) 897-3986. Remember…“where there's NO DIALOGUE, there's NO CONVERSATION!”

Welcome to IRL Talk! This is episode 1 where Faith and Jason talk about the new Apple announcements of the iPad Air, Mac Pro, MacBook Pro, and iPad Mini with Retina Display. They also talk about movies including what your choice of movie theater seats says about you as well as a review of Gravity. Gravity the movie, not the force that attracts a body towards the center of any other physical body having mass. Show Notes Theme Music Audible Mischief by Zachary Korpi Coin Ring Tone IRL Talk Graphics By Jakub Świadek of Painstaking. Jakub Świadek on Twitter. Painstaking on Dribbble. If you review IRL Talk in iTunes and submit the contact form, you could get a free shirt! Apple Announcements Mac Pro MacBook Pro iPad Air iPad Mini Movie Talk! What your cinema seat says about you (via @caseyliss) Why Do We Eat Popcorn at the Movies? Gravity (The Movie) Discussion Poking Holes in the Gravity Trailer with NASA's Help Are Puppies The Secret To Productivity? This is our awesome logo.

We’re going to HeroesCon! If you’re going to be in Charlotte, North Carolina this weekend, come find us and say hello! Your beloved hosts will be moderating some panels and wandering around the con all weekend. This week Brett (X-Men devotee) and Ben (self-described Trekkie) join forces to read two of the strangest crossover stories in comic book history: Star Trek/X-Men #1 (1996) by Scott Lobdell (with art provided by pretty much everyone that ever worked at Top Cow) and Star Trek: The Next Generation/X-Men: Second Contact #1 (1998) by Dan Abnett, Ian Edginton and Cary Nord. Spoiler: these books are actually pretty good, crazy as they may be. Topics discussed include: the Top Cow hip hop crew; are the X-Men helping out Star Trek, or vice versa?; Gary Mitchell and other villain names; the relative sizes of things in outer space; the late ‘90s multimedia craze; and how to induce sentimentality with judicious use of time travel and alternate realities. Where’s Matt? Well, due to technical difficulties (which also made this episode late) we had to re-record this one, and schedules did not work out. But we were able to salvage some audio from the first session, so his comments are here too. These issues are out of print, so enjoy looking at some of these excerpts as you listen. Star Trek/X-Men #1 Scotty says “Laddie” a lot Gladiator in space Did he just punch my ship?“ Detailed Wolverine, featureless Scotty. Dr. McCoy? Check out Wolverine’s bone claws! Wolverine speaking to an instrument panel. Friend of yours? Bishop is impossibly buff. Cyclops throws Phoenix under the bus. Gary/Proteus is defeated, everyone go home. Gambit flirting with Uhura. Star Trek: The Next Generation/X-Men: Second Contact #1 Painstaking attempt at continuity. Brief cameo by The Thunderbolts. Colussus sneaking up on Mr. Data, who is dressed like your dad. Kang and his color-coded costume. The far flung future of 2013. Battle of Wolf 359. John Proudstar serving aboard the USS Saratoga. Kitty is growing up, right? Kitty destroys a sentinel. Kitty finally sees her mind travel. Kitty Pryde kissing Wesley Crusher. Riker and Banshee (two of Brett’s crushes) team up. Wolverine gave Worf a cigar. Computer coloring creates Deanna Troibot. You can also watch/read (most) of the first comic on YouTube. And, as always, you can click the comic book covers to purchase these issues on MyComicShop.com. See you at HeroesCon! "Benjamin Ragheb / Star Trek X-Men Comics" originally appeared at http://mattandbrettlovecomics.com/podcast/2013/star-trex-men.html

Painstaking studies of his “hexaphenylethane” and its reactivity convinced Gomberg that he had prepared the first trivalent carbon compound, triphenylmethyl radical, the discovery of which marked the emergence of fundamental organic chemistry in America. Isotopic labeling could decide whether protonated cyclopropane plays a role in Friedel-Crafts alkylation. C-13 NMR spectra of aldehydes and ketones show how characteristic chemical shifts are established empirically. The carbonyl group is thermodynamically stable but kinetically reactive. Its acid- and base-catalyzed reactions often involve loss of an [gr]α-proton to form an enol or enolate intermediate. Carboxylic acids display four fundamentally different reaction patterns. Acid-catalyzed hydrolysis of acetals illustrates a multistep reaction mechanism involving the carbonyl group. Complete course materials are available at the Open Yale Courses website: http://oyc.yale.edu This course was recorded in Spring 2011.

Spark finds out how ponies and parties play an important part in the weavings by Adela Akers. Original air date: May 2007.

Mad Men is a series on the cable network AMC, set in the New York ad world of the 1960's.  While the show showcases a variety of real world products, not all of them pay for the privilege.