Podcast appearances and mentions of Paul Simon

In this episode, Kirk and Paul look at artists from the Garden State, but not artists from the soundtrack to that shitty movie by that fuckface Zach Braff, except Paul Simon's in both.

A Norwegian musician, novelist, and interdisciplinary artist whose work defies easy categorization, Jenny Hval has built a reputation for music that blends experimental pop, spoken word, noise, and electronic textures—often paired with provocative lyrics exploring the politics of the body, gender identity, desire, and the intersection of art and intimacy. Her critically acclaimed solo albums, including Apocalypse, Girl (2015), Blood Bitch (2016), and Classic Objects (2022), are known for their fearless exploration of taboo and vulnerability, often framed through surreal, dreamlike narratives. In parallel with her music, Hval has authored several novels—including Paradise Rot and Girls Against God—which mirror her sonic work in their poetic, sensory, and transgressive style. A frequent collaborator across disciplines, Hval also creates live performances that incorporate theatrical elements, scent, sound installations, and spoken word. Her newest record, Iris Silver Mist, was released by 4AD on May 2, 2025. In this episode, she discusses how songs by Suzanne Vega, One Dove, and Paul Simon informed her development as an artist.See omnystudio.com/listener for privacy information.

This week's show, after Jim sings some Beths: brand new Neko Case, Idlewild, Tombstones in Their Eyes, Wet Leg, Echodrone, Superchunk, and Jeffrey Runnings, plus The Moody Blues, Desmond Dekker, David Bowie, Don Gibson, Paul Simon, Mama Cass, and Bill ...

durée : 01:58:54 - 1975, année pléthorique (3/3) : Voyages et vagabondages - par : Thierry Jousse - Pour le troisième et dernier épisode de notre feuilleton spécial 1975, nous visiterons des contrées musicales variées et croiserons quelques stars de la période, comme Paul Simon, Pink Floyd ou Herbie Hancock… Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Paul Simon's bittersweet lyrics set the stage for this raw and funny exploration of why even life-changing insights often slip through our fingers. Raghunath and Kaustubha unpack the slippery nature of spiritual determination — and how each of us can make the simple but bold choice to live a meaningful life before the clock runs out. This episode blends music, humor, and timeless wisdom from the Śrīmad-Bhāgavatam. Highlights include: •⁠  ⁠What Paul Simon teaches us about missing our moment •⁠  ⁠How Kamsa fell back into old ways after glimpsing wisdom — and why we do too •⁠  ⁠Why meaning matters more than magnitude in what we do •⁠  ⁠The elements of a Vishnu-centered society — and the surprising roles of cows and brahmanas Don't let your breakthroughs slip away — tune in now! SB 10.4.28-41 ********************************************************************* LOVE THE PODCAST? WE ARE COMMUNITY SUPPORTED AND WOULD LOVE FOR YOU TO JOIN! Go to https://www.wisdomofthesages.com WATCH ON YOUTUBE: https://youtube.com/@WisdomoftheSages LISTEN ON ITUNES: https://podcasts/apple.com/us/podcast/wisdom-of-the-sages/id1493055485 CONNECT ON FACEBOOK: https://facebook.com/wisdomofthesages108

Paul Simon's bittersweet lyrics set the stage for this raw and funny exploration of why even life-changing insights often slip through our fingers. Raghunath and Kaustubha unpack the slippery nature of spiritual determination — and how each of us can make the simple but bold choice to live a meaningful life before the clock runs out. This episode blends music, humor, and timeless wisdom from the Śrīmad-Bhāgavatam. Highlights include: •⁠  ⁠What Paul Simon teaches us about missing our moment •⁠  ⁠How Kamsa fell back into old ways after glimpsing wisdom — and why we do too •⁠  ⁠Why meaning matters more than magnitude in what we do •⁠  ⁠The elements of a Vishnu-centered society — and the surprising roles of cows and brahmanas Don't let your breakthroughs slip away — tune in now! SB 10.4.28-41 ********************************************************************* LOVE THE PODCAST? WE ARE COMMUNITY SUPPORTED AND WOULD LOVE FOR YOU TO JOIN! Go to https://www.wisdomofthesages.com WATCH ON YOUTUBE: https://youtube.com/@WisdomoftheSages LISTEN ON ITUNES: https://podcasts/apple.com/us/podcast/wisdom-of-the-sages/id1493055485 CONNECT ON FACEBOOK: https://facebook.com/wisdomofthesages108

Dean Richards, entertainment reporter for WGN, joins Bob Sirott to provide the latest news in entertainment. Bob and Dean share Paul McCartney’s U.S. tour announcement and Dean’s interview with the actors from the new “Superman” movie. They also share details about “The Big Bang Theory” spin-off show and why Paul Simon’s daughter is upset with […]

(Airdate: 7.10.25) Lulu Simon, daughter of Paul Simon, is dragging Richard Gere for selling her childhood home to developers after allegedly promising to “take care of the land.” She's mad. Like “hope my dead pets haunt you” mad. Gere hasn't responded—but we're guessing he's keeping the lights on at night. Then, it's Tom Brady and Sofia Vergara, who may be heating up Ibiza with what insiders are calling a “summer romance.” It started on a superyacht, and yes, Tom asked to sit next to her. Smooth, TB12. Real smooth. And finally, Hugh Grant fell asleep in the Royal Box at Wimbledon—right behind Queen Camilla. We love a British nap, but Hugh… what the hell were you thinking? And @HalleBerry Listen to the daily Van Camp and Morgan radio show at: https://vancampandmorgan.com/stations buy us a coffee    

'Hate Him': Paul Simon's Daughter Slams Richard Gere for Selling Her Childhood Home to Developers Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

This episode features Jake Sumner, director of the music documentary Ron Delsener Presents. The film explores the life and legacy of legendary music impresario Ron Delsener, with insights from an impressive roster of interviewees including Billy Joel, Patti Smith, Bruce Springsteen, Paul Simon, Art Garfunkel, and Bette Midler. As the son of Sting (of The Police), Jake brings a unique perspective to the project, having known Delsener personally and wanting to uncover the story behind his iconic status. Jake discusses how the documentary came together during the pandemic and shares some of the wild stories featured in the film.

This performance used with permission from Jamey Haddad. Jamey Haddad holds a singular position in the world of jazz and contemporary music. Haddad's musical voice transcends styles and trends, and the universal quality of his playing has attracted many international collaborations with artists including Yo-Yo Ma, Paul Simon, and Sting. Among many accomplishments, Jamey partnered with, among others, Venezuelan pianist Leo Blanco on Under One Sun, a multi-generational multi-national world music collective. Though the full group doesn't get together often, Leo was kind enough to grace our stage in a mini reunion of sorts in the second night of a two night stand that features Jay Ashby on trombone, Kip Reed on bass and Patrick Duke Graney on drums along side Jamey Haddad on percussion and Leo Blanco on piano. Waltz #5 - Blanco Africa Latino - Blanco Lawns - Blanco Colors of the South - Blanco For more information on our program, visit thebopstop.org and click on the Live at the Bop Stop Radio Show link.

Daft Punk Feat Pharrell Williams - Get Lucky Miley Cyrus - Nothing Breaks Like A Heart Sabrina Carpenter - Taste Bruno Mars - Treasure Breakbot Feat. Irfane - Baby I'm Yours Madonna - Express Yourself Teddy Swims - The Door Duffy - Mercy Paul Simon - You Can Call Me Al The Clash - Rock The Casbah Billie Eilish - Lunch Kiss - I Was Made For Lovin' You Kavinsky - Nightcall (Dustin N' Guyen remix) Weezer - Island In The Sun Michael Jackson - Bad Sophie And The Giants - In The Dark (Purple Disco Machine remix) Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

SummaryIn this engaging conversation, "Mullet Man", also known as Jay Trepanier, shares his unique journey from a hockey fan to a rising music star. He discusses the impact of social media on his career, the importance of taking breaks from music, and his connection with the Ottawa Senators. Mullet Man reflects on his musical influences, the challenges of songwriting in different languages, and his commitment to community engagement. He also emphasizes the significance of physical health in maintaining a long-lasting music career and shares his aspirations for future projects. Be sure to check out his band Leverage for Mountains on Sunday July 13 at Bluesfest!TakeawaysMullet Man's journey began unexpectedly at a hockey game.Social media played a crucial role in Mullet Man's rise to fame.Taking breaks from creating music is essential for artists.Mullet Man's physical health is a priority for longevity in music.The connection with the Ottawa Senators has opened new opportunities.Songwriting in French presents unique challenges for Mullet Man.Mullet Man's musical influences include John Mayer and Paul Simon.Community involvement is important to Mullet Man's identity as an artist.Mullet Man enjoys engaging with fans at events and performances.Future music projects may include English songs and collaborations.Chapters00:00 Introduction to Mullet Man04:00 The Journey of Mullet Man07:09 The Impact of Social Media10:26 Musical Influences and Early Beginnings13:16 The Evolution of Mullet Man's Look16:19 Community Engagement and Giving Back19:07 Fun and Quirky Questions22:05 Closing Thoughts and Future Aspirations35:44 Musical Choices for Bank Heists37:55 The Mullet Man's NHL Aspirations40:55 Upcoming Music Projects and Collaborations42:45 Songwriting in English vs. French47:25 Dream Venues and Performance Goals50:29 Navigating the Music Industry56:04 Songs to Avoid Playing58:12 Decade of Music Preferences01:03:22 Dawg and Gus 1.mp3

Kenny Ascher returns to The Paul Leslie Hour. Are you here? Let's be honest with one another from the get-go. You're here, I'm here, we're all here tuned into episode number 1,076 of The Paul Leslie Hour. For the SECOND time, we're joined by the great artist Kenny Ascher for a personal interview. We just knew, “we're going to go back there someday.” Kenny is the co-writer of timeless songs like “Rainbow Connection” and “You and Me Against the World,” both written with Paul Williams. And Kenny Ascher is also an acclaimed pianist and appeared on recordings from John Lennon, Paul Simon, James Taylor, Carly Simon, and so many others. Before we bring out the kind Kenny, real quick please subscribe to Paul Leslie's YouTube channel and ring that bell. Also, consider throwing a buck or two into the tip jar right here. And with that, let's start the show.

The Cadieux House has a dark past: in 1955, it was the site of the never-solved murder of its owner, Dennis Blaine. Cadieux himself was alleged to be having an affair with Dennis's wife, the stunningly beautiful Rebecca. It seems like yesterday's headlines, but then someone starts killing people with a connection to the house. The home's new owner—bestselling novelist Brownwyn Merrick—may be using the house to launch a fictionalized account of the 1955 crime. But someone may not want her to. Just how far will Bronwyn's armed bodyguard go to protect her?ABOUT THE AUTHOR:Over the years, Richard J. Koreto has been a magazine writer, website manager, textbook editor. novel and merchant seaman. He was born and raised in New York City, graduated from Vassar College, and has wanted to be a writer ever since reading The Naked and the Dead. In addition to his novels, he has published short stories in Ellery Queen's Mystery Magazine, Alfred Hitchcock's Mystery Magazine,the 2020 Boucheron Anthology, and Paranoia Blues: Crime Fiction Inspired by the Songs of Paul Simon. His current series features Wren Fontaine, an architect who finds mysteries in the historic homes she renovates. He and his wife have two grown daughters, and they divide their time between Rockland County, New York, and Martha's Vineyard, Mass.

Looks Unfamiliar is a podcast in which writer and occasional broadcaster Tim Worthington talks to a guest about some of the things that they remember that nobody else ever seems to.Joining Tim this time is writer Paul Whitelaw, who's collecting items in the Balowski house to prove that he remembers Legal Man by Belle And Sebastian, Spider-Man Strikes Back, The Secret Vampire Soundtrack EP by Bis, Bruce Willis' The Return Of Bruno and the The Young Ones computer game. Along the way we'll be explaining how to get annoyed at not seeing an episode of The Amazing Spider-Man that you've seen without realising, declining to take style tips from a Karl Howman Mod, casting aspersions on Paul Simon's improv skills and attempting to get past the loading screen of The World According To Smith And Jones The Game.You can find more editions of Looks Unfamiliar at http://timworthington.org/.If you enjoy Looks Unfamiliar, you can help to support the show by buying us a coffee here. It does not require any sugar, sugar or indeed Kandy Pop.

We pay tribute to a musical giant, focusing on the moment where is started to get the recognition he deserved, and a cover where everyone reinforced that recognition. Surfer Girl, originally by The Beach Boys, covered by Paul Simon.  Outro music is Brian Wilson, by Barenaked Ladies.

This performance used with permission from Jamey Haddad. Jamey Haddad holds a singular position in the world of jazz and contemporary music. Haddad's musical voice transcends styles and trends, and the universal quality of his playing has attracted many international collaborations with artists including Yo-Yo Ma, Paul Simon, and Sting. Jamey is a frequent performer and an honored guest on the program, and he brings to the table unique arrangement with some of the midwest's best performers. This performance was the first of a sold out two night stand and features Chris Coles on saxophone, John Shannon on guitar, Ian Ashby on bass and Jamey Haddad on drums and percussion. From June 6th, 2024 it's Jamey Haddad…Live at the Bop Stop. River Man - Drake Questar - Jarrett In a Sentimental Mood - Ellington Love and Life - Creque The Wind Up - Jarrett For more information on the program, visit our website at thebopstop.org and click on the Live at the Bop Stop Radio Show link.

Pacific Street Blues & AmericanaListeners Choice: Celebrating the Fourth of July June 29, 2025 1. George Benson / How You've Changed2. T Bone Walker / Bobby Sox Baby 3. Johnny Adams / I Only Miss Her4. Charles Brown / Gloomy Sunday 5. Simon and Garfunkel / America6. Paul Simon & Rhiannon Giddens / American Tune (Pat Rosenthal) 7. Keb Mo / America the Beautiful (Ken Kriker)8. Ray Charles / Oh What a Beautiful Morning (Ken Kriker)9. Blue House & the Rent to Own Horns (Joe Putjender) 10. Sly & the Family Stone / Ev'ry Day People 11. James Brown / Living in America (Tim Regler) 12. Pops Staples / America13. Frank Sinatra / The House I Live In (Tim Regler) 14. Dean Martin / Do You Believe This Town 15. Woody Guthrie / This Land is Your Land (Lisa Glenn) 16. U2 / Jesus Christ 17. Taj Mahal & Keb Mo / Waiting on the World 18. Nat Cole Trio / (Get Your Kicks on) Route 66 19. Chuck Berry / Promised Land 20. Johnny Cash / I've Been Everywhere21. Tommy Castro / Rip This Joint 

Jacob Rodriguez delivers the latest entertainment news on:- Paul Simon canceling concerts due to back pain.- Matt Reeves finishes the script for "The Batman II."- Dick Van Dyke misses a comedy event due to illness.

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

"Turn up your radio and let me hear the songSwitch on your electric lightThen we can get down to what is really wrongTurn it up, turn it up, little bit higher radio"Terrific advice for the 1st Sunday of Summer and also your opportunity to show your support for The SoCal Sound and Super Sounds Of The 70's during our End Of Fiscal Year Pledge Drive. I'll be asking for your support this afternoon along with Batdorf and Rodney, The Band, Paul Simon, War, The Doors, Jay Ferguson, Art Garfunkel, Gino Vanelli, Led Zeppelin, Eric Clapton, Seals & Crofts, Steely Dan, America, The Byrds, Steve Miller Band, Bob Welch, Grand Funk Railroad, Gerry Rafferty, Jefferson Airplane, Fleetwood Mac, Sly & The Family Stone, Graham Nash, Deep Purple and Van Morrison...If you've been listening all these years please show your love with your donation that supports this terrific Radio Station. Please select Super Sounds Of The 70's upon checkout so I receive credit for your donation. We have a variety of Thank You Gifts for your generosity and support. Please call 818-677-3636 or go to www.thesocalsound.org

"The summer wind, came blowin' in from across the seaIt lingered there to touch your hair and walk with meAll summer long we sang a song then strolled that golden sand Two sweethearts and the summer wind..."Please join me this 1st afternoon of Summer for 2 hours of "Music Without Boundaries" on this weeks Whole 'Nuther Thing. Joining us are Love, NRBQ, Foreigner, Big Brother & The Holding Company, Deep Purple, Counting Crows, Christopher Cross, The Stray Cats, Doobie Brothers, Everly Brothers, Jeff Buckley, Steely Dan, Elvis Presley, Paul Simon, Van Morrison, The Patti Smith Group, Jeff Beck, Fleetwood Mac, The Beach Boys, Nat King Cole, The Jamies, Billy Stewart, Moby Grape, Jefferson Airplane, Quicksilver Messenger Service, Jan & Dean, Vanilla Fudge and Frank Sinatra.

The president tried to halt observances of the Juneteenth holiday but Americans celebrated anyway, the FDA is scrapping guidelines on daily alcohol limits, we're in for a very hot weekend across the country, and a special nuke-proof plane was spotted landing in Washington, D.C. as Trump contemplates bombing Iran. Legendary singer and songwriter Paul Simon sits for an extended, wide-ranging interview with Stephen Colbert that touches on the meaning behind the lyrics on his latest album, ‘Seven Psalms,' and stories from his over 50-year career in music. Head to The Late Show's YouTube channel to watch Paul's performance! To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Introducing, Music Industry Legend, Scot McCracken! A&R (Artist & Repertoire aka artist development) legend, Record Label/Incubator/Artist Developer Scot has over 30 years of experience managing and developing such world-class artists as Rihanna, The Black Eyed Peas, Joan Osborne, 98 Degrees,and The Fugees! We discuss his philosophies on artist development and music promotion including his 'new concepts' for developing and breaking artists in the Streaming/Social Media Age. Scot brings us his latest future rock star band Backhand Blue and their first single "Potassium"! Website: https://backhandblue.com Instagram: @backhandblueofficial His father, session musician Hugh McCracken, was the only session cat to play with all four Beatles, was the first member of Paul McCartney's Wings and played/recorded with everyone from Aretha Franklin and Billy Joel to Paul Simon and Steely Dan and frequently brought his son Scot to sessions astarting at a young age! What was it like as a small child experiencing life in the studio and interacting with music LEGENDS? How did that impact his career and passion for music? All this and 9 hot new tracks for your Summer parties! TRACK LIST: "OMG!" - Tiesto, Sexy Redd "Hand That Feeds" - Halsey & Amy Lee "Turn Around" - Jermaine Dupri, T.I., Young Dro, 2 Chainz "Palace" - Thirteendegrees, BNYX "Potassium" - Backhand Blue "LIKE WOAH!" - Gabe McNeal "Cielo Drive" - Picture Parlour "Tell Me Where U Go (Beat Thrillerz Remix)" - Clean Bandit, Tiesto, and Leony "REWIND" - Nikita, the Wicked, and Darby "Get Gutsy" - Airbourne Learn more about your ad choices. Visit megaphone.fm/adchoices

Episode 045: Cultural Ctrl+C, Ctrl+V! This week, we're stealing the mic (appropriately) with Professor Paul joining Geoff, Russ, and Dave for a musical trial of artistic theft that's gonna make ethnomusicologists rage-tweet faster than you can say "sampling"! We're putting cultural appropriation on blast, examining how artists like Elvis Presley, Vanilla Ice, Dynamite Hack, Jimmie Rodgers, Eric Clapton, and Paul Simon turned "borrowing" into an art form that raises as many questions as it does cash. Also, the guys get into a philosophical conversation about the band Train.   Apple Podcasts Instagram Spotify Playlist Official Site Listener Listens - Doja Cat - Instagram

"And the cat's in the cradle and the silver spoonLittle boy blue and the man on the moonWhen you comin' home sonI don't know when, but we'll get together then, DadWe're gonna have a good time then"Miss my Dad every day, lets celebrate Fatherhood together on this week's Super Sounds Of The 70's. Joining us are Joe Walsh, Joni Mitchell, Buddy Miles, Cat Stevens, Elton John, Jackson Browne, Lee Michaels, Stephen Stills, Lenny Kravitz, Chewy Marble, Paul  Simon, Jimi Hendrix, David Crosby, Graham Nash, The Kinks and Neil Young. We'll also pay tribute to two key contributors to the "Soundtrack Of Our Lives", Brian Wilson and Sly Stone.

Mike's new album is called The Sound of Muscle Shoals.   He's waited almost 20 years to round up the next generation of Swampers and record at the world-famous FAME Studios in Muscle Shoals. Wow - was it worth the wait?  Mike Farris lives and sings The Sound of Muscle Shoals. The sound is a mix of blues, soul and country. The NY Times called it Indigenous American Music. The same sound that came from Etta, Aretha, Boz, Paul Simon, Wilson Pickett, Neil Young, Percy Sledge, Bob Dylan, Peter Gabriel, The Staple Singers and many more. Long before heading for FAME studios, Mike had to clean up his life, and he talks about hitting rock bottom. That's when his wife said, "We're going to do something different this time.  We'll start by talking about the why's. Why, when you start getting successful,  you self-destruct?" Mike said, "That scared the hell out of me."   Mike is many years clean now, and he's riding the Slow Train to Muscle Shoals.  Enjoy The Sound of Mike Farris!!

El 12 de junio de 2015 nos dejó Fernando Brant, autor de más de 300 letras de canciones desde que Milton Nascimento casi le obligó a escribir la de 'Travessia' en 1967. Escuchamos algunas canciones con letras suyas en grabaciones de Milton Nascimento ('San Vicente', 'Travessia'), Nana Caymmi ('Ponta de areia'), Elis Regina ('Canção da América'), María Bethânia y Milton Nascimento ('Cançoes e momentos'), Toninho Horta con Lô Borges y Pat Metheny ('Manuel, o audaz'), Lô Borges ('Durango kid'), Boca Livre ('Credo'), Mônica Salmaso ('O que foi feito de Vera'), Joyce Moreno ('Saudade dos avioes da Panair. Conversando no bar'), Djavan ('Milagre dos peixes'), Dori Caymmi ('Sentinela'), Flávio Venturini & Marina Machado ('O vendedor de sonhos') y Milton Nascimento y Paul Simon ('O vendedor de sonhos'). Escuchar audio

Send us a textJoin me this week for a special Father's Day episode featuring my seven favorite songs about fathers. While rock music is abundant with songs about mothers, tracks about dads are less common, and often less flattering. I'll share the range of songs about fathers, exploring stories of regret, resilience, and the complexities of fatherhood through songs by legends like Bruce Springsteen, The Temptations, Paul Simon, and more. Tune in for a heartfelt tribute to the men that shape our lives, for better and sometimes for worse. All this week on The Rock-N-Roll Show Podcast!00:00 Introduction to the Rock-N-Roll Show Podcast01:38 Themes in Songs About Fathers03:08 Song #7: Cat's in the Cradle by Harry Chapin05:38 Song #6: The Living Years by Mike and the Mechanics09:19 Song #5: Father and Daughter by Paul Simon12:00 Song #4: Papa Was a Rolling Stone by The Temptations15:32 Song #3: Independence Day by Bruce Springsteen19:40 Song #2: I'll Be Your Man by Zac Brown Band22:48 Song #1: Isn't She Lovely by Stevie Wonder25:05 Conclusion and Podcast Details===========================Connect with us on social media!YouTubeInstagram TikTok Facebook

Backstage Business: What Rockstars Taught Me About Success, Strategy with Joe OwensWriter / Producer / EntrepreneurJoe Owens is a seasoned writer, film producer, and business coach with a dynamic career spanning decades. With roots in the music industry, Joe has worked behind the scenes with legends like The Rolling Stones, David Bowie, and Paul Simon, gaining rare insights into the inner workings of creative success at the highest level.As the author of "Welcome to the Jungle", "Madhouse", and "The Rockstar Real Estate Agent", Joe explores themes of music industry mastery, mental health, and business specialization in the modern world. His latest book,"Feelin' Groovy", offers Baby Boomers an inspiring, practical roadmap for aging well and staying vibrant.In the film world, Joe's expertise spans content development, fundraising, and hands-on production—making him a versatile voice on storytelling, creative entrepreneurship, and building impactful projects from the ground up.Whether your audience is interested in creativity, business, aging with purpose, or thriving in high-pressure industries, Joe brings engaging stories, actionable insights, and a fresh perspective that resonates with audiences of all ages..Link:https://www.joeowensbooks.com/Support PEG by checking out our Sponsors:Download and use Newsly for free now from www.newsly.me or from the link in the description, and use promo code “GHOST” and receive a 1-month free premium subscription.The best tool for getting podcast guests:https://podmatch.com/signup/phantomelectricghostSubscribe to our Instagram for exclusive content:https://www.instagram.com/expansive_sound_experiments/Subscribe to our YouTube https://youtube.com/@phantomelectricghost?si=rEyT56WQvDsAoRprRSShttps://anchor.fm/s/3b31908/podcast/rssSubstackhttps://substack.com/@phantomelectricghost?utm_source=edit-profile-page

Ron Delsener Presents is equal parts all-access pass to New York's greatest gigs - featuring some of contemporary music's most iconic artists who performed in them; and a portrait story of the legendary figure who brought these shows together, rock concert promoter and impresario Ron Delsener.The upcoming doc on the legendary concert promoter features exclusive interviews with Ron Delsener, Billy Joel, Patti Smith, Bruce Springsteen, Steven Van Zandt, Jon Bon Jovi, Art Garfunkel, Paul Simon, Lenny Kaye, Gene Simmons, Paul Stanley, Verdine White, Lorne Michaels, Bette Midler, Jimmy Buffett, Cher and many more.Directed by award-winning filmmaker Jake Sumner, marking his impressive feature directorial debut. Along with Ron Delsener Presents, Sumner is also directing the documentary Seaweed Stories which will be narrated by Forest Whitaker and is currently in production on a doc on contemporary artist and designer KAWS. Sumner is also known for directing the acclaimed short documentaries "Fantastic Man:Who is William Onyeabor?", Channel 4's "I Was There When House Took Over The World", and 2019's "Bob of the Park", which won the Grand Jury Prize at DOC NYC. Other short films include 2015's "The Plastic Age", featuring Pharrell Williams, and "Magic Hats", which was featured in Banksy's large scale art project 'Dismaland'.The film is produced by award-winning RadicalMedia and will be released by Abramorama in theaters beginning May 30th.Check out the trailer:Https://www.youtube.com/watch?v=cEH0-CBQVdw Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-unplugged-totally-uncut--994165/support.

The boys bust out their leather pants, play rhyming games with boomer names, and use the scientific method to conduct an autopsy on the corpse of Paul Simon's solo hit, “50 Ways to Leave Your Lover.” News items and digressions include Hitler, Shelley Duval, and camel toe.

Ron Delsener Presents is equal parts all-access pass to New York's greatest gigs - featuring some of contemporary music's most iconic artists who performed in them; and a portrait story of the legendary figure who brought these shows together, rock concert promoter and impresario Ron Delsener.The upcoming doc on the legendary concert promoter features exclusive interviews with Ron Delsener, Billy Joel, Patti Smith, Bruce Springsteen, Steven Van Zandt, Jon Bon Jovi, Art Garfunkel, Paul Simon, Lenny Kaye, Gene Simmons, Paul Stanley, Verdine White, Lorne Michaels, Bette Midler, Jimmy Buffett, Cher and many more.Directed by award-winning filmmaker Jake Sumner, marking his impressive feature directorial debut. Along with Ron Delsener Presents, Sumner is also directing the documentary Seaweed Stories which will be narrated by Forest Whitaker and is currently in production on a doc on contemporary artist and designer KAWS. Sumner is also known for directing the acclaimed short documentaries "Fantastic Man:Who is William Onyeabor?", Channel 4's "I Was There When House Took Over The World", and 2019's "Bob of the Park", which won the Grand Jury Prize at DOC NYC. Other short films include 2015's "The Plastic Age", featuring Pharrell Williams, and "Magic Hats", which was featured in Banksy's large scale art project 'Dismaland'.The film is produced by award-winning RadicalMedia and will be released by Abramorama in theaters beginning May 30th.Check out the trailer:Https://www.youtube.com/watch?v=cEH0-CBQVdw Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-like-it-s-live--4113802/support.

Rosemary Butler Live on Game Changers With Vicki Abelson Part 2 Rosemary Butler has sung with everyone on every song I love. Pretty damn close. In this, our 2nd sitdown, Rose picked up where we left off, post Paul & Ringo, The Rolling Stones, and Three Dog Night - see Part 1 for those fab stories, and took us through Bonnie Raitt, Jackson Browne, Linda Ronstadt, James Taylor, The Section, Kenny Loggins, Michael McDonald (her first student, who taught her to create her own unique voice), Neil Diamond (on his Christmas album… to which Neil said, I'm Jewish, why am I doing this) Joe Cocker, Johnny Mathis, The Bish, Willie Nelson, David Lindley (the most fun), Warren Zevon, Alan Parsons, Don Henley, Bruce Springsteen (when he was sleeping under the Jersey pier with his guitar), Billy Joel, Joni Mitchell (her idol), and Paul Simon. Rosemary's voice intermingles magically with all of them. Stories, stories, more stories about hero after shero. Peter Asher, she credits with opening the doors. Teaching and sharing what she's learned and what she knows, you too can study with the master - reach out at RosemaryButler.com. And, catch her Live with The Tribe at their 10th anniversary celebration at The Canyon Club in L.A. where it all started. I'm so grateful for this opportunity to traverse a career and a life brilliantly lived. The road, the buses, the food, the fun, and the hit music her iconic voice is synonymous with. Can I ever hear Running on Empty and not think of her… no way. Love the Rosemary Butler! Rosemary Butler Live on Game Changers With Vicki Abelson Part 2 Wednesday, 5/21/25, 5 PM PT, 8 PM ET Streamed Live on my Facebook & YouTube Replay Links: https://bit.ly/3Fj8Syt https://www.youtube.com/watch?v=dgO9MJHZNj4

They're two great tastes that taste great together. They are the chocolate and peanut butter of music. We will never tire of this reference. Gen X forever. Anyway, here in Top Ten Unique Voices That Sound Great Together, we wrap things up with Gabe Scalone and finish our count down of those unlikely and unique voice combos that sound incredible when those combos combine. Picks 5-1 are featured here in Part 2.If you missed Part 1, start here:https://www.podomatic.com/podcasts/alltimetopten/episodes/2025-05-12T04_00_00-07_00There ain't nothin' wrong with the music heard in this here playlist, people. Enjoy this collection of all the songs heard in Parts 1 & 2, bumper songs included.https://open.spotify.com/playlist/78hjDFayS2pOntnFB9DdDJ?si=8cd1fd45b2714508We've lowered our prices, but not our standards over at the ATTT Patreon! Those who are kindly contributing $2 a month are receiving an exclusive monthly Emergency Pod episode featuring our favorite guests and utilizing our patent-pending improv format in which we miraculously pull a playlist out of thin air. The Old Boy Himself Ryan Blake joined for May's bonus episode.Find out more at https://www.patreon.com/c/alltimetoptenWe're having a blast chatting it up about music over on the ATTT Facebook Group. Join us and start a conversation!https://www.facebook.com/groups/940749894391295

Here are some songs from your life, "Backstreet Girl" by the Rolling Stones, "Joey" by Bob Dylan, "Road to Nowhere" by the Talking Heads, "Boy In The Bubble" by Paul Simon, "July Fourth, Asbury Park", better known as "Sandy" by Bruce Springsteen and the E Street Band, "Wouldn't It Be Nice" by the Beach Boys. They all rely heavily on the accordion. "Wouldn't It Be Nice" is the biggest shock. Even if you know that song, it might never have occurred to you that Brian Wilson uses I'm pretty sure two accordions to make the primary propulsive musical fabric of that song. The last two decades of indie music ought to have normalized the accordion - Tom Waits, REM, Arcade Fire, The Decemberists... I could go on. It has also endured years of ridicule here in the United States, even while it remained beloved and esteemed in Argentina, Paris, and almost everywhere else in the world. Now, it's enjoying a renaissance here in the States. This hour, we celebrate that with accordion rock stars of all styles. You'll meet a man who is reclaiming the accordion, outfitting his latest version with MIDI controls, so it can mimic voice and other instruments, a woman who specializes in klezmer, and a man who plays his accordion in a trio alongside a guitar and tuba. You also meet other accordion rock stars, including James Fearnley from The Pogues. Just try to tell him that the squeezebox isn’t cool. GUESTS: Cory Pesaturo: Multiple award-winning accordion player from Rhode Island Christina Crowder: Accordion player who specializes in klezmer and other Eastern European styles, and is a member of the Accordion/Violin/Viola trio, Bivolita Will Holshouser: Accordion player and founder of the accordion/guitar/tuba trio, Musette Explosion James Fearnley: Accordion player for The Pogues and the author of the memoir, Here Comes Everybody, The Story of The Pogues. He’s also a composer, and a founding member of The Low And Sweet Orchestra Join the conversation on Facebook and Twitter. Subscribe to The Noseletter, an email compendium of merriment, secrets, and ancient wisdom brought to you by The Colin McEnroe Show. The Colin McEnroe Show is available as a podcast on Apple Podcasts, Spotify, Amazon Music, TuneIn, Listen Notes, or wherever you get your podcasts. Subscribe and never miss an episode. Colin McEnroe and Chion Wolf contributed to this show, which originally aired on August 7, 2014.Support the show: http://www.wnpr.org/donateSee omnystudio.com/listener for privacy information.

NEW FOR MAY 15, 2025 A shutter click of great music . . . Too Many Cameras- The Best Radio You Have Never Heard Vol. 508 1. Camera Camera - Renaissance 2. Into The Lens - Yes 3. The Cinema Show (live) - Genesis 4. Lady Stardust (live) - David Bowie 5. I Love Her Shadow - Arcade Fire 6. Rats - Suzanne Vega 7. My Generation (live) - The Who 8. Tears Of A Clown - The English Beat 9. The Crunge (early) - Led Zeppelin 10. Things We Said Today - The Beatles 11. I've Just Seen A Face (live) - Paul Simon and Paul McCartney 12. Brooklyn (early) - Steely Dan 13. Sunday Sermon - Booker T and The MGs 14. Amoreena (live) - Elton John 15. Rooster (live unplugged) - Alice In Chains 16. Walking The Dog (live unplugged) - Aerosmith 17. Take It Easy - Jackson Browne 18. Can't Find My Way Home (live) - The Allman Brothers Band w/ Sheryl Crow 19. Love My Way (live unplugged) - Richard Butler 20. Trippin's Billies (live unplugged) - Dave Matthews Band 21. Love On A Farmboys Wages / Grass / Senses Working Overtime (live unplugged) - XTC 22. Just The Same / Proclamation (live) - Gentle Giant The Best Radio You Have Never Heard. Exposing more than just great music. Accept No Substitute. Click to leave comments on the Facebook page.

This week we're doing something a little different and making one GIANT Golden Egg which contains aaalll our favorite character/scene/relationship headcanon songs. We've got submissions from Paul Simon to Ghost to (somehow) Randy Travis. Listen along and tell us your thoughts! Here is the playlist on Apple Music: https://music.apple.com/us/playlist/ffh-ultimate-ww-playlist/pl.u-WBjRsdRLkq8**We're having trouble sharing the link for Spotify, but you'll find it by searching "FFH- The Ultimate Wizarding World Playlist"**Support the showSupport FFH on Patreon: patreon.com/thefoxandthefoxhoundFollow us!IG: @thefoxandthefoxhoundTikTok: @thefoxandthefoxhound

Actualmente, 2 de cada 10 personas que se encuentran con Isabel Vázquez por la calle o en cualquier de los mil eventos a los que acude esta intelectual de referencia la felicitan por lo bien que toca el piano. Nuestro trabajo aquí es seguir insistiendo fuertemente en esa línea hasta que al menos 4 ó 5 personas de cada diez le digan ‘joé, Isabel, qué bien tocas el piano, tía'. ¡Adelante, Isabel! Karaoke: Estuve en New York, fue genial, Su cultura gira, brilla, salta, Uhhh uhhhhuhhhhh Vete a New York, es vital Tienes freedom, moda, people, arte y tú uuuuuuuuuuu Todo el tiempo en la rueda, derrapando para dejarse ir. La rutina te azota. te golpea, cualquiera diría que eres el hazmerreir.Un día de pronto te escapas, ves el hueco, hay puerta de embarque para ti.Estás en Harlem, hermano. Bienvenido a Madison con 43 street.Tengo entradas para el Whitney Museum, vas a flipar con Amy Sherald. Oh my goss, qué mirada, hermanos de la raza negra os quiero, Black Lives Matter, hey man, what the fuck mielmano del Bronx. Busquen sus pinturas, Amy Sherald, Canelita en rama. Me he tomado un Old Fashion en el Blue Note, soy el super héroe Marvel que te dé la gana sobrevolando Vanderbilt, he visto a Carlito Brigante serpenteando por Grand Central to Brian de Palma. Y Hugh Jackman todo el rato en el Radio City Music Hall, levantando la pierna. Pero es que en junio, en el Beacon Theatre, Miley Cirus un día y otro día Paul Simon, tócate el melocotón. Y creo que me he cruzado con Denzel Washington, carajo, que está haciendo Otelo en Broadway. ¿Pero esto qué es? Bajando Bleecker Street me puse triste y bien perfumado, en Washington Square fui feliz cuánta maría y cuánta gente libre, dios mío, 153.000 portadas del New Yorker en la free exhibition de la Public Library. Se le ha caído la chiva a Abraham Lincoln, el del Lincoln Center, al escucharle a Pedro tanta diatriba vs Trump en el homenaje Almodóvar a sí mismo. Etc etc. 

Actualmente, 2 de cada 10 personas que se encuentran con Isabel Vázquez por la calle o en cualquier de los mil eventos a los que acude esta intelectual de referencia la felicitan por lo bien que toca el piano. Nuestro trabajo aquí es seguir insistiendo fuertemente en esa línea hasta que al menos 4 ó 5 personas de cada diez le digan ‘joé, Isabel, qué bien tocas el piano, tía'. ¡Adelante, Isabel! Karaoke: Estuve en New York, fue genial, Su cultura gira, brilla, salta, Uhhh uhhhhuhhhhh Vete a New York, es vital Tienes freedom, moda, people, arte y tú uuuuuuuuuuu Todo el tiempo en la rueda, derrapando para dejarse ir. La rutina te azota. te golpea, cualquiera diría que eres el hazmerreir.Un día de pronto te escapas, ves el hueco, hay puerta de embarque para ti.Estás en Harlem, hermano. Bienvenido a Madison con 43 street.Tengo entradas para el Whitney Museum, vas a flipar con Amy Sherald. Oh my goss, qué mirada, hermanos de la raza negra os quiero, Black Lives Matter, hey man, what the fuck mielmano del Bronx. Busquen sus pinturas, Amy Sherald, Canelita en rama. Me he tomado un Old Fashion en el Blue Note, soy el super héroe Marvel que te dé la gana sobrevolando Vanderbilt, he visto a Carlito Brigante serpenteando por Grand Central to Brian de Palma. Y Hugh Jackman todo el rato en el Radio City Music Hall, levantando la pierna. Pero es que en junio, en el Beacon Theatre, Miley Cirus un día y otro día Paul Simon, tócate el melocotón. Y creo que me he cruzado con Denzel Washington, carajo, que está haciendo Otelo en Broadway. ¿Pero esto qué es? Bajando Bleecker Street me puse triste y bien perfumado, en Washington Square fui feliz cuánta maría y cuánta gente libre, dios mío, 153.000 portadas del New Yorker en la free exhibition de la Public Library. Se le ha caído la chiva a Abraham Lincoln, el del Lincoln Center, al escucharle a Pedro tanta diatriba vs Trump en el homenaje Almodóvar a sí mismo. Etc etc. 

Paul Simon flew under the radar with a show in town last night, and our own Krystina Ray was in attendance.  Also,  Post Malone is doing something pretty cool for his show tomorrow!

Another informatve and lively musical journey into traveling for shows. losses and legacies, ticketing issues, and more. In the spotlight Paul Simon, Knuckleheads, The Cult, The Alarm, English Beat, Led Zeppelin, Sam Fender, and many others. Join us!

Many mark the start of the singer-songwriter genre to have begun when Carole King released her second studio album, the iconic Tapestry. As would be expected from a singer-songwriter, all of the songs on the album were either written or co-written by King.  Tapestry is considered one of the greatest albums of all time in the soft rock genre.Born Carol Joan Klein in Manhattan, King began piano lessons at four years of age.  Her upbringing included friendship with Paul Simon and dating Neil Sedaka.  In the 50's at the age of 17 she met and married Jerry Goffin with whom she would team up on songwriting through the 60's - King writing the music and Goffin writing the lyrics.  They had several successful songs during the 60's including "Pleasant Valley Sunday" (The Monkees), "I'm Into Something Good" (Herman's Hermits), and "Up On the Roof" (the Drifters).  King and Goffin divorced by 1968, and King moved to Laurel Canyon in Los Angeles to re-start her recording career.Tapestry features both new and old songs of Carole King's catalog.  Several new friends from the Laurel Canyon area appear on the album, including James Taylor and Joni Mitchell.  Fellow songwriter Toni Stern co-wrote two of the songs, including the hit "It's Too Late."The album was a hit, spending 313 weeks on the Billboard Charts (second only to "Dark Side of the Moon" in time on the chart).  It also was a critical success, taking the Grammy for Album of the Year at the 1972 Grammy awards.  King announced her retirement from music in May 2012, but has done a few things since then, including a live performance of Tapestry in Hyde Park in 2016.  Friend of the show Greg Lyon sits in for Wayne while Bruce presents this soft rock album for this week's podcast.TapestryThe title track to the album is a look back on life as a colorful combination of threads woven into a picture or pattern, but not one intended to last.  This is a deeper cut which was not released as a single.Where You LeadSeveral songs became hits for other artists while the album was still on the charts, including this one.  Barbara Streisand recorded this song for her 1971 album, and it reached number 40.  The song takes its inspiration from the book of Ruth in the Bible.  It was also the theme song for the television series "Gilmore Girls."  Toni Stern collaborated with King to write this song.  You've Got a FriendThis is another song which became a hit for another artist.  James Taylor did this on his 1971 album, "Mud Slide Slim and the Blue Horizon," making it to number 1 on the US charts.  The two albums were being produced concurrently, and Taylor, Joni Mitchell, and Danny Kortchmar perform on both King's version and on Taylor's version.  King has said the song is a response to the line in James Taylor's "Fire and Rain" which says "I've seen lonely times when I could not find a friend."  So Far AwayJames Taylor is on acoustic guitar for this piece, and King is on piano.  It went to number 14 on the Billboard Hot 100 and was on the charts in September 1971.  It starts with a focus on the physical distance between lovers, then moves on to emotional distance.  ENTERTAINMENT TRACK:Main theme from the serial Danger Island (from the television series “The Banana Splits Adventure Hour”) This live action 10-minute adventure short appeared as a part of "The Banana Splits Adventure Hour," which concluded this month. STAFF PICKS:Ain't No Sunshine by Bill WithersLynch leads off the staff picks with Withers' breakthrough single from his debut album, "Just As I Am."  The inspiration for this song was the 1962 film "Days of Wine and Roses," which portrays two characters who were alcoholics.  The idea is that someone may not be right for you, but you miss them regardless.  Signs by Five Man Electrical Band"And the sign said 'long haired freaky people need not apply!"  Rob brings us a signature song from a Canadian band.  The song originally appeared as a B-side to a less successful song called "Hello Melinda Goodbye," but became successful on its own.  Frontman Les Emerson wrote this song after seeing so many billboards in Los Angeles which obscured the natural scenery.Whatcha See Is Whatcha Get by The DramaticsGreg features the title song from the debut album of R&B group The Dramatics.  This song contrasting the fakeness of people with the authenticity of the singer went to number 9 on the Billboard Hot 100 and number 3 on the R&B chart.  It fuses a Motown feel with a Latin undertone.Thin Line Between Love and Hate by The PersuadersBruce brings us a cautionary tale about a guy who comes home late at night, finding his girl smiling and ready to cook him some dinner.  He learns his lesson when he wakes up in the hospital, beaten to within an inch of his life.  This song by a New York R&B group made it to number 15 on the US charts.  INSTRUMENTAL TRACK:The Rock by Atomic RoosterWe close out with an instrumental from a British rock band originally co-formed by prog rock organist Vincent Crane and percussionist Carl Palmer. Thanks for listening to “What the Riff?!?” NOTE: To adjust the loudness of the music or voices, you may adjust the balance on your device. VOICES are stronger in the LEFT channel, and MUSIC is stronger on the RIGHT channel.Please follow us on Facebook https://www.facebook.com/whattheriffpodcast/, and message or email us with what you'd like to hear, what you think of the show, and any rock-worthy memes we can share.Of course we'd love for you to rate the show in your podcast platform!**NOTE: What the Riff?!? does not own the rights to any of these songs and we neither sell, nor profit from them. We share them so you can learn about them and purchase them for your own collections.

MUSICFans all over social media have reported that System of a Down's groundbreaking 2001 album Toxicity is no longer on Spotify. After checking the platform ourselves, we can confirm that it's gone, though it's unclear what happened. IN OTHER SOAD news; Seven Hours After Violet, the band featuring System of a Down's Shavo Odadjian, have released a video for their track "Float." Check it out on YouTube. One of the most iconic photos of Blondie's Debbie Harry has inspired a new action figure. Michael Bolton's brain cancer treatments have impacted his short-term memory, speech, and mobility. He was diagnosed with an aggressive glioblastoma back in December of 2023 when he had emergency surgery. Jon Bon Jovi, Billy Joel, Paul Simon and Bruce Springsteen are featured in the trailer for Ron Delsener Presents, a documentary about New York concert promoter Ron Delsener. Check it out on YouTube. The film opens in New York City on May 30th. Selena Gomez unfollowed her bestie Theresa Marie, days after she was seen having dinner alone with Benny Blanco. It's also rumored that Benny is subscribed to Theresa's OnlyFans account. Lorde's fourth album, "Virgin", will be released June 27th. Check out the trailer for "Bono: Stories of Surrender". It premieres May 30th on Apple TV+. There's something extra memorable about a singer who only needs to go by ONE name. People over at Ranker.com are voting for their favorite one-name singer. TV Dick Van Dyke is releasing a book in November called "100 Rules for Living to 100: An Optimist's Guide to a Happy Life". He turns 100 on December 13th. MOVING ON INTO MOVIE NEWS:Guy Ritchie is set to direct "Road House 2" starring Jake Gyllenhaal, who will reprise his role as Dalton, the ex-UFC fighter who takes a job as a bouncer at a Florida Keys bar. Gyllenhaal will also produce with Josh McLaughlin via the duo's Nine Stories Productions banner along with Charles Roven and Alex Gartner of Altas Entertainment. Robert De Niro's daughter has revealed that she is transgender. Airyn De Niro sat down for a recent interview with Them magazine and shared that she's “stepping into this new identity.” After adding movie characters Jay and Silent Bob to its roster, 'Call of Duty' has added another 420-inspired playable character to its 'Black Ops 6' lineup. You can now play the game as actor Seth Rogen!AND FINALLYDogs just have a way of making everything better, even movies. "Rolling Stone" ranked the 15 Best Movie Dogs of All Time.AND THAT IS YOUR CRAP ON CELEBRITIES!See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Let us know what you thought about the show!In this raw and powerful episode of You Winning Life, Jason Wasser welcomes Adrian Koehler, a high-impact executive coach and leadership trainer, to discuss the transformative power of commitment, language, and self-awareness in both life and leadership.They explore how getting “stuck” in career or personal relationships often stems from a lack of clarity, aligned values, or the fear of fully committing. Adrian breaks down the difference between trying and committing, shares insights from coaching founders and prison inmates alike, and opens up about his own growth through fatherhood, failure, and radical honesty.The episode covers everything from reinventing your job description to challenging toxic workplace dynamics, and how proactive conversations and deep accountability can help you play to win—not just survive.Key Topics Covered:

Over three thousand years ago, yogis knew what scientists are discovering today: The mind has the power to destroy us or to propel us to greater peace, vitality, and freedom.  Yet yoga's profound teachings on the mind and consciousness are often overlooked in contemporary practices, which tend to focus primarily on physical postures and breathwork. Today, my guest, Reema Dutta, will share these timeless teachings with us, emphasizing the practices and principles we can adopt to enhance our lives. Reema Datta is the founder of the Yogi's Way, a holistic method that integrates movement, breathing, and consciousness practices with a focus on emotional well-being. She is certified to teach Ashtanga yoga and Tibetan heart yoga and is an Ayurvedic therapist. Since 2002, she has taught yoga training and retreats in over twenty countries across five continents. Her students include Sting, Paul Simon, Edie Brickell, Zainab Salbi, Sujatha Baliga, and thousands of other practitioners globally. In this interview, Reema offers lessons and practices rooted in yogic wisdom, cutting-edge science, and the realities of modern life. These can empower us to break free from our minds' destructive tendencies and experience lasting peace.

On today’s episode, Matt Tamanini is in conversation with the legendary Tony Award-winning icon Betty Buckley. Ahead of a six-concert run at Joe’s Pub next month, Buckley discusses how she puts together the intricately curated collection of songs she sings, why Bob Dylan and Paul Simon are speaking to her read more The post Special Episode: Betty Buckley on telling stories while avoiding nostalgia appeared first on BroadwayRadio.

Ebro, Laura, and Rosenberg host HOT 97's flagship program "Ebro In The Morning!" on today's episode 4/10/25 - Trade War Talk, The Man Who Wants To Live Forever, One Year of “Hell’s Kitchen,” Q-Tip and Paul Simon’s Friendship, Conductor Williams name explained, Kai Cenat and Ray-J, Laura wants a dog, real life Jurassic Park, and much more! All that and more on Ebro In The Morning! To be a part of the Gurus email theguru@ebrointhemorning.com To be a part of Freedom Friday email info@ebrointhemorning.comSee omnystudio.com/listener for privacy information.

My wrestler/talk show host friend (and foe) RJ City of AEW's Hey! (EW) and A Meal and a Match is back to disparage my theme song, discuss Paul Simon and Sabrina Carpenter, questions farewell tours, discuss Phantom of the Opera and Love Never Dies, enlighten us on spin-offs, catch us up on his work with AEW and more. We also discuss hair removal, estates, "Beautiful Boy," in flight magazines and do a round of This Or That and Podcast Pals Product Picks. Get yourself some new ARIYNBF merch here: https://alison-rosen-shop.fourthwall.com/ Subscribe to my Substack: http://alisonrosen.substack.com Podcast Palz Product Picks: https://www.amazon.com/shop/alisonrosen/list/2CS1QRYTRP6ER?ref_=cm_sw_r_cp_ud_aipsflist_aipsfalisonrosen_0K0AJFYP84PF1Z61QW2H Products I Use/Recommend/Love: http://amazon.com/shop/alisonrosen Check us out on Patreon: http://patreon.com/alisonrosen   Buy Alison's Fifth Anniversary Edition Book (with new material): Tropical Attire Encouraged (and Other Phrases That Scare Me) https://amzn.to/2JuOqcd You probably need to buy the HGFY ringtone! https://www.alisonrosen.com/store/ Try Amazon Prime Free 30 Day Trial