Podcast appearances and mentions of Peter Gabriel

In this episode of Recording Studio Rockstars, I sat down with the legendary David Botrill—Grammy-winning producer and engineer behind iconic albums by Tool, Peter Gabriel, King Crimson, Muse, and more. David's journey began in a small Canadian studio run by Bob Lanois, where he learned to be indispensable in the room. From there, he went on to work with Daniel Lanois, Peter Gabriel, and Real World Studios before stepping out on his own. We talk about: The evolution of his ambient and world music influences Building a custom studio for Atmos mixing Embracing imperfection in music Band dynamics, remote collaboration, and pre-production tips His hands-on carpentry work and how it shapes his approach to sound This episode is packed with wisdom for producers, engineers, and anyone passionate about capturing real emotion in the studio. Don't miss this conversation with one of the greats! Get access to FREE mixing mini-course: https://MixMasterBundle.com My guest today is David Bottrill, a three time Grammy Award winning Producer/Engineer/Mixer and has had over 15 million copies of his work sold worldwide. He has worked with a diverse spectrum of prolific artists, such as Peter Gabriel, Smashing Pumpkins, Tool, Muse, Silverchair, King Crimson, Godsmack. and Rush. David has also worked with some of the most influential world musicians, noteably Youssou N'dour and Baaba Maal of Senegal, and Nusrat Fateh Ali Khan of Pakistan. David spent 20 years living in the UK, followed by a term in New York, but has settled back in Canada, where he has a mixing studio. Even still, David still spends much of his time working in the US and abroad. Thanks to Brian Murphree at SoundPorter Mastering for making this happen! THANKS TO OUR SPONSORS! http://UltimateMixingMasterclass.com https://usa.sae.edu/ https://www.izotope.com Use code ROCK10 to get 10% off! https://www.native-instruments.com Use code ROCK10 to get 10% off! https://www.adam-audio.com/ https://www.makebelievestudio.com/mbsi Get your MBSI plugin here! https://RecordingStudioRockstars.com/Academy  https://www.thetoyboxstudio.com/ Listen to the podcast theme song “Skadoosh!” https://solo.to/lijshawmusic Listen to this guest's discography on Spotify: https://open.spotify.com/playlist/4rABNr5EoaZ8S7hJSMCXMm?si=017e4b84ae674701 If you love the podcast, then please leave a review: https://RSRockstars.com/Review CLICK HERE FOR COMPLETE SHOW NOTES AT: https://RSRockstars.com/514

Strap into the time machine and set the dial for July 1986, a time when Top Gun ruled the box office, synthesizers ruled the airwaves, and Kenny Loggins ruled… something. In this episode, Milt and Dave wade knee-deep through the Billboard Top 10 from a summer that gave us everything from Loggins' “Danger Zone” (still trying to make aviator sunglasses cool) to Simply Red's “Holding Back the Years” (still holding back… the energy). Expect the usual: unsolicited nostalgia, suspiciously convenient personal stories, and yes, Milt somehow manages to rhyme “Spinal Tap” with “Trader Joe's nap.” Don't ask. Highlights include: A passionate defense of Janet Jackson's “Nasty,” because someone had to. A soul-searching breakdown of Billy Ocean's “There'll Be Sad Songs (To Make You Cry),” which succeeds. It does indeed break down. Two grown men pretending to know the difference between Howard Jones and Howard Johnson. And the moment Peter Gabriel's “Sledgehammer” rolls in and flattens the competition like, well, a sledgehammer. Plus: Johnny-themed trivia (because there are apparently way more songs about guys named Johnny than anyone needed), some light shade thrown at the Fabulous Thunderbirds, and a very necessary refreshing of the chart — where Dave and Milt save the Top 10 from itself by swapping in some ‘80s underdogs. Topics 00:00 - Banter: Naps, snacks, and fake bands (aka our wheelhouse) 10:47 - Listener mail, podcast gripes, and people who claim to like our show 20:18 - Blues-rock? In this economy? A look at the Fabulous Thunderbirds 37:59 - The mandatory Howard Jones detour, because optimism was a thing once 45:43 - “Danger Zone” drops in on a fighter jet and a synth budget 57:23 - Peter Gabriel brings the big weird with “Sledgehammer” 01:07:30 - “Who's Johnny?” is asked, and not answered 01:14:59 - All-Johnny trivia. Johnny dangerously. Johnny repetitively. 01:26:51 - Janet Jackson says “No” like only she can 01:35:12 - Billy Ocean does that thing where he makes us cry on purpose 01:43:45 - Genesis makes a surprise cameo because, of course 01:59:18 - A tearful goodbye with Simply Red and his emotional rollercoaster  

Johanna Kurkela is the lead singer of progressive folk group, Auri. If you open heart and ear to the mesmerizing, hauntingly beautiful soundscapes of AURI, you might find a beacon of light inside a sonic realm untouched by today's often scary, grim realities; a dreamscape that can be profoundly uplifting. On their third studio album, III - Candles & Beginnings' the stars have aligned yet again. Propelled by the unique and celestial voice of Johanna Kurkela, the magical textures of Nightwish mastermind Tuomas Holopainen and the almost unlimited musical palette of Nigtwish multi-instrumentalist Troy Donockley, Auri have presented a world to be unlocked with the senses, blending folk, progressive and symphonic elements, world music, pop and avantgarde.     Right after completing Nightwish's 2024 monument Yesterwynde, the songwriting for the third chapter in Auri's musical adventures started in 2023, with Troy writing in Yorkshire and Tuomas and Johanna working their creative magic in Kitee, Finland. By Autumn 2024, a 10-song demo was complete, setting the stage for what would become another breathtaking Auri journey. The band and their trusted engineer Tero "Teecee" Kinnunen took the mixing process to sunny Spain, letting the Andalucian vibes infuse the music whereas in March 2025 mastering was wrapped up by Tim Oliver at the legendary Real World Studios - a ground-breaking recording complex started by Peter Gabriel in 1989. The album is a tapestry of emotions - each song a world of its own, touching on childhood memories, vivid life experiences, and even a nod to one of the group's most beloved places on Earth - The Lion Inn at Blakey Ridge, a historic spot nestled in the North York Moors and one of the most remote pubs you will ever find. Visually, the cover artwork by Pete Voutilainen, layout and watercolors by Mikko Pankasalo plus calligraphy by Johanna Kurkela provide wonderful illustrations perfectly capturing Auri's unique musical visions. With guest musicians like Frank Van Essen (strings), Jonas Pap (cello), Juho Kanervo (basses), and the incredible drumming and percussion courtesy of Nightwish's Kai Hahto, Auri III - Candles & Beginnings is as lush as it is atmospheric and provides astonishing dynamics. Having been a studio endeavour in the past, Auri is finally going on tour with their first-ever live European trek kicking off in August 2025, followed by summer festivals in 2026, allowing you to hear, see and feel songs from their previous two albums, as well as brand new pieces from III - Candles & Beginnings (such as the atmospheric new video's ‘Shieldmaiden' and ‘Museum Of Childhood'). Its been a long time coming, but coming it is...

On this week on the podcast, I talk with Grammy award winning, UK based drummer/musician/tutor - Robert Brian.Rob has had an amazing career, who during his time as a professional musician has done sessions, tours and/or work with artists like Siouxsie Sioux, Goldfrapp, Loreena McKennitt, Peter Gabriel, Simple Minds, Miles Kane and many more. As it has been for me in the past, talking with Rob again for this interview was an absolute pleasure.As usual with this show, with Rob - we talk about early music inspirations, gigging, networking, playing in front of huge crowds and even some money management suggestions for musicians.For more on Robert please visit www.robertbrian.co.uk. and make sure you follow him across all socials.For more on Travis Marc or the Musicians Mentor, please visit - www.musicians-mentor.comFor our partnership with our friends over at Soundbrenner, please visit - ⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.soundbrenner.com/pages/affiliate-travis-marc⁠

“Never stop believing in your abilities to create.” In this episode, Michael Dargie connects with Venezuelan-born filmmaker, photographer, and educator Gustavo Bernal from his home in Austin, Texas. This episode is sponsored by my new book BRANDJITSU, helping you find, shape, and share your story with the world. Gus shares how a childhood obsession with Peter Gabriel's “Sledgehammer” led to a lifelong love affair with storytelling. He talks about his first editing jobs—literally cutting film by hand in Caracas—and how a short sci-fi film helped him earn an artist visa to move to the U.S. His path hasn't been easy, but it's been fuelled by curiosity, resilience, and a refusal to give up on creating meaningful work. The two talk about storytelling foundations, the thrill of teaching kids and adults alike, and what Gus learned walking the streets of Austin while connecting with friends around the world. He opens up about soup as metaphor, his guilty pleasure for one-hit wonders, and the story behind those iconic Lego glasses. This episode is packed with insight, humour, and reminders that being a creative rebel means honouring your weird, chasing what moves you, and making something new—even when it's hard. Quotable Quotes “Never stop believing in your abilities to create.” – Gus Bernal “You need challenges to grow.” – Gus Bernal “Cooking is like editing film. It's about the ingredients, timing, and selecting the best parts.” – Gus Bernal “You're a walker. I love that.” – Michael Dargie “These glasses were magical… a kind of super power.” – Gus Bernal Episode Highlights Caracas to Austin | Cultural shocks, kindness, and pedestrian life Gus Bernal Film | Building a business in film, photo, and education Teaching Film | Kids, structure, and emotional storytelling Software Choices | From Avid to Adobe, and learning DaVinci Sledgehammer Moment | Peter Gabriel changes everything Award-Winning Short | Sci-fi, festivals, and a visa to the U.S. Creative Walks | Nature, messages from afar, and mental health Lego Glasses | Personality, power, and classroom magic Top Film Picks | 2001, La Haine, Leon, and The Great Beauty Cassettes & One-Hit Wonders | Pure 80s and 90s nostalgia Soup Mastery | Why French onion is the king of soups What His Son Should Know | The world isn't always easy Advice to Rebels | Believe in your voice, be resilient LINKS FROM EPISODE Gus's Website (gusbernal.com) Gus on LinkedIn (linkedin.com/in/gustavobernal) Gus on Instagram (instagram.com/gus_bernal_film) Get Your Copy of Michael's Book: "BrandJitsu™: Move Your Brand From 'Meh' To Memorable" Indigo | Barnes & Noble | MichaelDargie.com

Mario Haunts Your Dreams. Brian Reverse Cheeseburger. A Romantic Evening at PF Changs. Do It Anywhere, Do It Silently. Yes, Cooba is a Coontry. Many Many Mandalorians. Congratulations to the Blahs! Beaten by a 6 year old. Monica Isn't A Country Yet. Heebie-jeebieeeeeeeeeees! Glen Powell and Anya Taylor Joy cover Peter Gabriel's In Your Eyes. I now pronounce you blah, blah, blah. A Greece-y Honeymoon. Floating Squid Game with Tom. Free Murder Bot Recommentals W Randy and more on this episode of The Morning Stream. Hosted on Acast. See acast.com/privacy for more information.

Mario Haunts Your Dreams. Brian Reverse Cheeseburger. A Romantic Evening at PF Changs. Do It Anywhere, Do It Silently. Yes, Cooba is a Coontry. Many Many Mandalorians. Congratulations to the Blahs! Beaten by a 6 year old. Monica Isn't A Country Yet. Heebie-jeebieeeeeeeeeees! Glen Powell and Anya Taylor Joy cover Peter Gabriel's In Your Eyes. I now pronounce you blah, blah, blah. A Greece-y Honeymoon. Floating Squid Game with Tom. Free Murder Bot Recommentals W Randy and more on this episode of The Morning Stream. Hosted on Acast. See acast.com/privacy for more information.

Ce 2 juillet, Alexis orchestre un nouveau voyage sonore dans Pop-Rock Station. Good Charlotte entame la soirée avec "Rejects", avant que Natalie Bergman dévoile "Gunslinger", extrait de son futur album analogique. On retrouve également Bruce Springsteen pour un nouveau titre inédit tiré de "Tracks II: The Lost Albums", "Don't Back Down". Francis Zegut opte pour le métal puissant de Loathe avec "Gifted Every Strength". Côté live, Guns N' Roses enflamment New York avec "Welcome to the Jungle", tandis que la reprise du jour est confiée à Peter Gabriel, revisitant "Strawberry Fields Forever" des Beatles. Le long format est assuré par Metallica avec "The Call of Ktulu", fresque instrumentale inspirée de l'univers de Lovecraft. Good Charlotte - Rejects The Strokes - Heart In A Cage Mano Negra - King Of Bongo Steely Dan - Do It Again Natalie Bergman - Gunslinger The Beach Boys - Barbara Ann Björk - Human Behaviour Bruce Springsteen - Don't Back Down Weezer - Hash Pipe Loathe - Gifted Every Strengh Stevie Wonder - Free King Gizzard & The Lizard Wizard - Grow Wings And Fly Lovin' Spoonful - Summer In The City Adele - Rumour Has It Dropkick Murphys - The State Of Massachusetts Wet Leg - Davina Mccall The Animals - House Of The Rising Sun Jeff Buckley - So Real Guns N' Roses - Welcome To The Jungle (Live In New York Queens Of The Stone Age - No One Knows David Bowie - The Jean Genie Peter Gabriel - Strawberry Fields Forever Amy Winehouse - Rehab The Sisters Of Mercy - Lucretia My Reflection Nada Surf - Always Love Metallica - The Call Of Ktulu Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

“I'm a deep cuts person — the hits get you there, but the album cuts keep you.”Perfectly timed for Canada Day, this episode wraps up Sara J and Darrin's epic two-part conversation with a deep dive into their shared love for The Tragically Hip. Sara shares the recent rediscovery of a 2003 Gord Downie solo show in Buffalo, while Darrin traces how learning to code sparked his journey into archiving live music—starting with Boston indie band Wheat, and later expanding to The Spoons, Rheostatics, Bourbon Tabernacle Choir and of course, The Tragically Hip.The two explore how last fall's Hip docuseries inspired the now-thriving Hip archive (which—hard to believe—isn't even a year old). Sara gushes about how she's used the archive for numerous creative projects, and Darrin reflects on the generosity of tapers and the band's openness to live recording over the years.They lovingly nerd out over stats and setlists—Darrin's seen 129 of the ~180 Hip songs live across 34 shows—and talk about the live albums that shaped his listening, from Peter Gabriel's Plays Live to Dire Straits' Alchemy and Genesis's Three Sides Live. And yes, they reveal their favorite Hip records—Sara's pick? In Violet Light (of course).From there, the conversation winds through Darrin's time playing in his own band, Tempus Fugit, and how recording albums like Shallow Water Blackout reshaped the way he listens to music. (Highly recommended listening, by the way.)To close, things turn tender and deeply personal. Darrin shares the one show he regrets missing, flipping the question to Sara J—who opens up about the loss of her father, how it distanced her from music and The Hip for years, and the unexpected ways that reconnecting through the docuseries, working with jD from TTH Top Forty Countdown, and a whole lot of healing brought her full circle.Where you can find this week's guest:Instagram: https://www.instagram.com/darrincappe/The Hip Archive: https://www.thehiparchive.com/index2.shtmlHave a show to contribute? Send an email: info@thehiparchive.comBourbon Tabernacle Choir: https://www.bourbontabernaclechoir.comThe Indie Music Archive: https://www.theindiemusicarchive.comGood. Gone. Dead.: https://www.goodgonedead.rheostaticslive.comRheostatics Live Archive: https://www.rheostaticslive.comTempus Fugit: https://www.fugitland.caThomas Trio And The Red Albino: https://www.thomastrioandtheredalbino.comWheat Music Archive: https://www.thiswheat.comNorthern Wish - A Canadian's Perspective on Music: https://www.northernwish.com/category/genesis/Donate to DATC Media Company: https://datcmediacompany.com/supportGive the gift of Patreon: https://www.patreon.com/Datcmediacompany/giftThe DATC Media Podcast Family: https://datcmediacompany.com/podcastsJoin us for "Sunday Evening Jam"! https://www.youtube.com/@dewvre1974Get your early bird tickets for "A Celebration of The Hip for ALS" on October 4th: https://www.eventbrite.com/e/a-celebration-of-the-hip-for-als-tickets-1137838598879?aff=oddtdtcreator&fbclid=IwZXh0bgNhZW0CMTAAAR3OiQE1P_UgOCfqBQK6pp8HQofDQaOXoVIPqxtgaXltv481zOuDOeDB6Q8_aem_JBfNSyaAXNOGEAt-NZAQoQWant to donate or sponsor "A Celebration of The Hip for ALS" on October 4th? Send an email with the subject "fundraiser" to: tthtop40@gmail.comLet's Collab! https://datcmediacompany.com/collab-opportunties-1Follow DATC Media:https://datcmediacompany.comhttps://www.facebook.com/datcmediahttps://www.instagram.com/datcmediacompany/Follow Dropped Among This Crowd Podcast:https://www.instagram.com/droppedamongthiscrowdpodcast/https://www.facebook.com/droppedamongthiscrowd/Email: droppedamongthiscrowdpod@gmail.comBook a conversation on "Dropped among this Crowd": https://datcmediacompany.com/contact/ola/services/be-on-dropped-among-this-crowd-podcastFollow Sara J:https://www.facebook.com/sara.till41/https://www.instagram.com/sarajachimiak/

Hoy en La Gran Travesía viajamos hasta el año 1992, donde podréis escuchar a Rage Against the Machine, James, Black Crowes, Soul Asylum, KLF, Pavement, Offspring, Peter Gabriel, Stone Temple Pilots, Jayhawks, Gun, Nine Inch Nails, Julian Cope, KD Lang, No Doubt, Tori Amos, Bad Religion y muchos más. También recordaros que ya podéis comprar La gran travesía del rock, un libro interactivo que además contará con 15 programas de radio complementarios, a modo de ficción sonora... Jimi y Janis, dos periodistas musicales, vienen de 2027, un mundo distópico y delirante donde el reguetón tiene (casi) todo el poder... pero ellos dos, deciden alistarse al GLP para viajar en el tiempo, salvar el rock, rescatar sus archivos ocultos y combatir la dictadura troyana del FPR. ✨ El libro ya está en diversas webs, en todostuslibros.com Amazon, Fnac y también en La Montaña Mágica, por ejemplo https://www.amazon.es/GRAN-TRAVES%C3%8DA-DEL-ROCK-autoestopista/dp/8419924938 ▶️ Y ya sabéis, si os gusta el programa y os apetece, podéis apoyarnos y colaborar con nosotros por el simple precio de una cerveza al mes, desde el botón azul de iVoox, y así, además podéis acceder a todo el archivo histórico exclusivo. Muchas gracias también a todos los mecenas y patrocinadores por vuestro apoyo: Gin1975, Alberto Velasco, Poncho C, Don T, Francisco Quintana, Gastón Nicora, Con,, Dotakon, Tete García, Jose Angel Tremiño, Marco Landeta Vacas, Oscar García Muñoz, Raquel Parrondo, Javier Gonzar, Poncho C, Nacho, Javito, Alberto, Pilar Escudero, Blas, Moy, Dani Pérez, Santi Oliva, Vicente DC,, Leticia, JBSabe, Flor, Melomanic, Arturo Soriano, Gemma Codina, Raquel Jiménez, Pedro, SGD, Raul Andres, Tomás Pérez, Pablo Pineda, Quim Goday, Enfermerator, María Arán, Joaquín, Horns Up, Victor Bravo, Fonune, Eulogiko, Francisco González, Marcos Paris, Vlado 74, Daniel A, Redneckman, Elliott SF, Sementalex, Miguel Angel Torres, Suibne, Matías Ruiz Molina, Noyatan, Estefanía, Iván Menéndez, Niksisley y a los mecenas anónimos.

Dive into a conversation between Bioneers senior producer J.P. Harpignies and David Rothenberg. David is a musician, composer, author, naturalist, philosopher, and an independent publisher. He's been a unique and fascinating explorer of humanity's connections to the natural world for more than four decades. ⁠Watch the video version of this conversation⁠ One of David's unique forms of experimentation in his extensive travels has been not only his recordings of bird and whale and other animal songs, but his attempts to engage with other species in musical exchanges. Quite a few have been captured on film and discussed in his many books. David has released some 40 albums under his own name and collaborated with many prominent musicians. Someone recently said that David has “played with everyone from Peter Gabriel to Pauline Oliveros, Suzanne Vega, Scanner, cicadas, humpbacks, frogs, Estonian pond organisms” and many others.  JP invited David to recount some of the key episodes in his career trajectory, unpack some of his guiding ideals and passions, and regale us with anecdotes from an extremely full life. To learn more about the extraordinary intelligence of life inherent in fungi, plants and animals, check out Bioneers' Earthlings newsletter. Each issue delves into captivating stories and research that promise to reshape your perception of our fellow Earthlings – and point toward a profound shift in how we all inhabit this planet together. You can subscribe at bioneers.org/earthlings

Send us a textHere in Episode 227 of the No Name Music Cast, it is Tim's turn to pick the topic and he chooses to talk about famous bass players!We cover Tina Weymouth, Paul McCartney, Carol Kaye and Bootsy Collins to name only a few.We also cover Peter Gabriel, Led Zeppelin and the Hollywood Vampires.We also talk about May being national fire your drummer month!Support the showEmail the show: nonamemusiccast@gmail.com Instagram: https://www.instagram.com/nonamemusiccastpodcast/ https://nonamemusiccast.com/

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

RATE BUSH! What are your most favorite and least-loved songs on Kate Bush's Hounds of Love? Three months before strange things catapulted Miss Bush into a new generation's consciousness, Sam had us sit down to dissect an album that most purists wouldn't dare break into separate parts. While Adam went overboard (groan) researching the second side's epic Ninth Wave song story, newbies Dan and Jim obliviously took it in like men with children in their eyes...or something. Guest rankers include keyboard guru and Abbey Road expert Brian Kehew (Moog Cookbook, The Who, Prince and more) and San Diego Music Award winner Marie Haddad from the world's greatest coverband, Baby Bushka. Hear it at WeWillRankYouPod.com, Apple, Spotify and your running shoe outlet.  ***This episode was recorded in February of 2022, a few months before Stranger Things made Kate Bush a hero to a whole new generation and eight months before we finally edited and released it.  Three years later, we received notice that we had to remove music from a dozen episodes of ours. Because we're a music podcast, we're allowed to play clips under music criticism laws so they let us keep the episodes intact. We recently noticed that this episode had disappeared though. Can't get a straight answer about why this one wasn't spared so we're re-uploading it without Kate's music. If you want to hear it in all of its original unedited glory, drop us a note on social media and we'll send it to you.  We're not making a dime on this, unless you Venmo us (ahem) at WeWillRankYouPod. In fact, we buy every single song you hear on the show. We love you, Kate. It's still a fun listen without the tunes. Enjoy.And Dream of Sheep Under Ice, art pop, art rock, Baby Bushka, The Big Sky, Kate Bush, Cloudbusting, Fairlight CMI, the Futureheads, Peter Gabriel, Marie Haddad, Hello Earth, Hounds of Love, Jig of Life, Brian Kehew, The Morning Fog, Mother Stands for Comfort, The Ninth Wave, Outkast, progressive pop, progressive rock, Running Up That Hill (A Deal with God), Donald Sutherland,  Waking the Witch, Watching You Without Me, 1985.US: http://www.WeWillRankYouPod.comHost tips: Venmo @wewillrankyoupodwewillrankyoupod@gmail.comhttp://www.facebook.com/WeWillRankYouPodhttp://www.instagram.com/WeWillRankYouPod

Episodio 7.17 de Las Cosas Que Hay Que Escuchar, en el cual nos pescamos el primer resfrío del invierno mientras escuchamos la música de Tomates Asesinos, Muncie Girls, Pylon, Astrud, Sarasqueta, The Beach Boys, Bene Gesserit, Bessie Smith, Björk, Peter Gabriel, Roger Taylor, Gang Of Four y Pata de Perro & Ultra K Y, obviamente, todo el delirio habitual de Saurio y las voces que lo atormentan. Si quieren convidar con un cafecito ☕, pueden hacerlo acá: https://cafecito.app/saurio

L'hexagone était bien représenté dans ce numéro ! Et la relève est là avec un jeune groupe de rock progressif instrumental nommé HARKUS qui devrait attirer vos oreilles comme ils ont attiré mes cages à miel ! Originaire de Niort, ces trois jeunes gens viennent de remporter le tremplin de TERRES BRÛLEES, festival qui se tendra à Brûlain (Deux-Sèvres) du 18 au 20 juillet. Et si vous avez aimé l'extrait de leur album "Timeless" diffusé dans cet émission, je vous encourage à découvrir leur univers, ils se produiront le samedi 19 pour la 11ème édition de ce festival, attention talent !!  Un groupe arrive et un autre prend une retraite bien méritée : SILVERTRAIN. Phil York, chanteur et leader de la formation, a annoncé il y a quelques mois mettre fin à l'aventure qui aura débuté discographiquement en 1979 avec l'album "Witch Platform, Please ?" Retour ici sur ce 1er opus des 70's avant qu' un drame ne coupe la route à ces jeunes rockers...Mais c'était sans compter sur la dévotion et la détermination de Phil à relancer la machine dans  les années 2000 pour terminer en beauté avec l'ultime album "Bring Back The Silence", chaudement recommandé. Mais Phil n'a pas dit son dernier mot, un projet solo est en cours, à suivre donc... Connu comme membre de NEMO, je ne rendais pas compte avant de préparer cette émission que Jean-Pierre Louveton alias JPL avait sorti autant d'albums solo ! Son nouvel opus "Post-scriptum" qui vient de paraître et dont je vous avais présenté un premier extrait il y a quelques semaines est déjà  son 11ème bébé !! Sans compter son rôle de producteur, d'arrangeur pour pléthore d'artistes divers (même l'été !) et variés...Décidément quel talent !!  Pour terminer ce tour de France, GABRIEL KELLER dont je ne me lasse décidément pas de vous faire partager des extraits de son second album "Hope Despite Everything". Gabriel y aborde l'absurdité de la guerre et de ses conséquences individuelles, mais aussi dans la seconde partie de cette œuvre,  l'espoir, bienvenu dans une telle période d'actualité anxiogène...Musicalement inspiré par les années 60, 70 dont Les Beatles, Pink Floyd mais aussi par le rock prog contemporain de Porcupine Tree, Leprous, Ange ou la variété qualitative de Dutronc, Higelin ou Bashung, magnifié par la présence de talentueuses chanteuses et instrumentistes classiques : un album incontournable !    Petit détour par Cleveland, Ohio, pour y découvrir "Cinder", le 2ème album d'un groupe singulier : LUXUS TEMINUS, qui a la particularité de sonner métal...sans guitares !  Une prouesse, écoutez c'est assez bluffant !  Passage traditionnel en Italie, avec le projet ALBUS DIABOLUS, né dans la tête du métalleux  SAMAEL VON MARTIN, produit et arrangé par la talentueuse claviériste ELISA MONTALDO. Résultat attendu le 25 août avec la naissance de l'album "Compendio Esoterico Elletronico" mais en attendant, faites vous une idée avec un premier single extrait de ce travail également hors du commun !  Pour le reste, nous étions en territoire de naissance de notre musique préférée avec STEVE HACKETT, qui poursuit sa belle carrière, alternant les albums studios et les tournées, albums live reprenant le patrimoine de GENESIS. Ici, une célébration de l'ultime opus du groupe période Peter Gabriel en 1974 : "The Lamb Lies Down On Broadway" , enregistré à Londres en 2024 dans le cadre de sa tournée anniversaire consacrée à ce double-album concept, tournée qui se poursuit notamment en Amérique du Nord, Asie et Italie... Encore un Stéphane anglais : STEVEN WILSON, également sur les routes pour défendre son dernier album, le magnifique "The Overview" (peut-être avez vous eu la chance de le voir il y a quelques semaines salle Pleyel ?), mais qu'on retrouve ici en 2013 à travers "The Raven That Refused To Sing (And Other Stories)"  Il est une formation que j'avoue avoir trop peu diffusée dans cette émission (mais j'essaierais de me rattraper dans la prochaine saison) : MANFRED MANN'S EARTH BAND. Si les débuts étaient complexes, le groupe a su mener une belle carrière (officiellement pas terminée même si rien d'inédit n'est sorti depuis le débuts des années 2000). Ici pour un extrait de "The Good Earth" paru en l'An de Grâce 1974. Deux ans plus tôt, un groupe de trois musiciens sortent leur troisième album intitulé logiquement..."Trilogy". Il s'agit bien sur d'EMERSON, LAKE & PALMER dont les 2/3 nous ont malheureusement quittés...Reste une belle et originale discographie... Et puis une visite dans les 80's et l'album "The Present" des MOODY BLUES. Décennie qui débuta par le départ de son regretté claviériste fondateur Mike Pinder (il nous quittait à l'age de 82 ans l'année dernière), remplacé depuis le LP précédent par celui qui sortait alors  d'une d'une courte mais efficace collaboration avec Yes, le suisse Patrick Moraz... Thierry Joigny        Page Facebook de l'émission : AMAROK44

Episode 141. The Emporium brings you the music of The Pointer Sisters, Lady Ga Ga, Scandal & Patty Smyth, Autograph, Janet Jackson, Stevie Ray Vaughan & Double Trouble, Joe Satriani, Wilson Philips and Peter Gabriel.

Peter Gabriel; Youssou N’Dour – Shaking the Tree – Live – 5:48 Azymuth; Bluey; Incognito; Jean Paul ‘Bluey’ Maunick of Incognito – Last Summer In Rio – 8:38 Roberto Tola – Here, There, Up And Down – 4:51 Nathan East; Noah East; Jack Lee – Reminisce – 4:12 Usein Bekirov; Bill Evans; Frank Gambale; Michael […]

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!!

We can feel it coming in the air tonight. Join Billy, Brad, Brett, George, and Ted for a Bigtime music battle Against All Odds. It's Peter Gabriel VS Phil Collins!

This week, we welcome a true music industry veteran — Steve Trudell. Born into the business and raised in the legendary halls of Motown alongside his father, the iconic Johnny Trudell, Steve has spent his life working with some of the biggest names in music, including The Trans-Siberian Orchestra, Disturbed, Evanescence, Billy Joel, Peter Gabriel, Rod Stewart,and many more.Now based in Nashville, Steve continues to contract for major tours and is diving into exciting new projects — including a fresh, genre-spanning live show called Y'alls Generation. In this episode, he shares incredible behind-the-scenes stories from decades in the industry, insights into the creative process, and what it takes to keep the music alive on the road and in the studio.

Sooooooo... We had a really great time this episode! We're talkin' So by Peter Gabriel and it's... so good. We're joined by fantastic writer, bassist, art pop guesser, and 10/10 podcast voice extraordinaire, Jonah Nink. Check out Jonah on Instagram (@mymanjonah)Check out Jonah's writing! @thehardtimesnews, @mcswys @chicago_reader,@businessinsider @thedailyheraldListen to Jake Moony & The Sundrops on Spotify!Thank you to Cameron Bopp for editing our show and writing our theme song!You can find Album ReBrews on Instagram here. (@albumrebrews)TW/CW: Explicit language, drug and alcohol referencesLike what you hear? Consider rating us on Spotify or leaving a review on Apple Podcasts!Support the show

Episode 138: Rick DellaRatta & Paving the Path for Peace through Music: The Amazing story of Rick DellaRatta and Jazz for PeaceABOUT RICKLong known as one of the world's finest Jazz Pianists, Rick DellaRatta also began to receive major recognition as a composer when his symphonic piece “Permutata” was recorded by the London Symphony Orchestra at the Beatles famed Abbey Rd. Studios in 1999. He was also recognized as a unique and important vocalist in 2004 when he was included in a definitive listing of the greatest jazz singers of all time in Scott Yanow's Book “Jazz Singers”. Through his lifelong endeavor to help advance people to their highest potential through the understanding of Jazz as well as spreading peace worldwide through his "Jazz for Peace World Tour", Rick is considered to be an innovator and a visionary, a designation that became known by many when he was included by The Foundation Center in their list of the top musician philanthropists of our time along with Bono (U2), Elton John, Peter Gabriel and Sting.CONVERSATION HIGHLIGHTS• The 25-year interval of appreciation for someone's work.• The power of raising your consciousness.• We're not using music to solve any of our problems.• The power of mentors at difference stages of life.• "Damn, I don't know if I want to leave this."• The spiritual journey of the artist.• "...we've got to get out of 3D into 4D and into 5D."• "He has artistically outgrown anything that the superficial world could offer him."• Legacy: Live it now vs. leaving it for later.• We are funding anything but peace at 100%.• Using arts and culture to solve conflict.• Fundraising tips - a trickle up economy for philanthropy. mean,• The power of un-gaslighting (of the self).The MAIN QUESTION underlying my conversation with Rick is, What is it you're capable of that allows you to reach a higher consciousness, one capable of helping others?FIND RICKWebsite: https://jazzforpeace.org/LinkedIn: https://www.linkedin.com/in/rick-dellaratta-08199818/Facebook: https://www.facebook.com/JazzforPeaceGrant/Twitter: https://twitter.com/jazzmgmtLinkedIn: https://www.linkedin.com/in/rick-dellaratta-08199818/YouTube: https://www.youtube.com/channel/UCzDNcDwDyGlYM4ZrajSOODQLinkedIn – Full Podcast Article: https://www.linkedin.com/pulse/episode-138-rick-dellaratta-paving-path-peace-through-john-m--yz9pf/?trackingId=4nQhocU5Tj6QxvbufCYhKw%3D%3DCHAPTERS00:00 - The Book Leads Podcast – Rick DellaRatta01:07 - Introduction & Bio02:35 - Who are you today? Can you provide more information about your work?14:57 - How did your path into your career look like, and what did it look like up until now?29:13 - When the piano entered Rick's life.51:36 - Music as a product of tragedy in an artist's life.01:10:00 - Rick's experience on 9/11, living near the twin towers / The beginning of Jazz for Peace.01:24:53 - How does the work you're doing today reconcile to who you were as a child?01:28:38 - What do you consider your super power?01:29:54 - What do you say to somebody who doesn't feel they have anything creative to tap into? That01:32:18 - What does leadership mean to you?01:34:04 - Can you introduce us to the book we're discussing?01:38:26 - A breakdown of the chapters in the book.02:16:51 - What's changed in you as a result of this book being out?00:00 - Is there a certain part of the book that resonates most with people?02:20:11 - What other books would you recommend?02:22:26 - What are you up to these days? (A way for guests to share and market their projects and work.)This series has become my Masterclass In Humanity. I'd love for you to join me and see what you take away from these conversations.Learn more about The Book Leads and listen to past episodes:Watch on YouTubeListen on SpotifyListen on Apple PodcastsRead About The Book Leads – Blog PostFor more great content, subscribe to my newsletter Last Week's Leadership Lessons, if you haven't already!

The Demiurge & Cosmic Memory Wipe How did we get here, and what's up with ‘em archons? What did we forget? For usable and profound answers, it's always bigly when Kevin Cann materializes as the Virtual Alexandria. He'll share that liberating Gnosis from Platonic Surrealism, and we'll find many overlaps with Gnosticism and Neoplatonism. From black sludge monsters to actualizing your monad past existence, get ready to get in to get out, as Peter Gabriel sang. And understand why you fell into a simulation that is not a simulation. More on Kevin: https://platonicsurrealism.com/kevin/ Get The Occult Elvis: https://amzn.to/4jnTjE4 The Gnostic Tarot: https://www.makeplayingcards.com/sell/synkrasis Homepage: https://thegodabovegod.com/ Patreon: https://www.patreon.com/aeonbyte AB Prime: https://thegodabovegod.com/members/subscription-levels/ Virtual Alexandria Academy: https://thegodabovegod.com/virtual-alexandria-academy/ Voice Over services: https://thegodabovegod.com/voice-talent/ Support with donation: https://buy.stripe.com/00g16Q8RK8D93mw288Stream All Astro Gnosis Conferences for the price of one: https://thegodabovegod.com/replay-sophia/

This week's guest In the Flamingo Lounge, David Cloyd, is an acclaimed singer-songwriter, multi-instrumentalist, and producer, known for his emotive and intricately layered compositions. His upcoming record, Red Sky Warning, due June 6th, is highly anticipated, following the success of singles "Ocean Of Hours" and "Drive With Me," which garnered significant press and Apple Music placements. A self-made artist, Cloyd recorded his 2009 debut, Unhand Me, You Fiend!, in his 9x9-foot Brooklyn apartment. This album reached #1 on eMusic and led to TV placements. His talent further blossomed with reinterpretations of Radiohead and Paul McCartney, expanding his devoted audience. Now based in Buffalo, where he also founded Hook & Ladder Records, Cloyd continues to carve out a unique space in indie music, with his work often drawing comparisons to artists like Radiohead and Peter Gabriel while maintaining his distinct artistic voice. David sat down with Rockabilly Greg on may 28, 2025 to talk about his music, and share a few tracks off his latest record, Red Sky Warning.

This week, Dori takes us through some 80s fad diets — including the definitely-not-a-cult Breatharian Diet.The most iconic movie/music scene combo in 80s cinema history almost sounded very different — and we have James Belushi to blame.Dori discovers a Japanese version of "Holding Out for a Hero", and Paulo finds a time-travelling movie that learned nothing from Back to the Future.Jump To:- 80s Fad Diets (00:01:25) : https://soyummy.com/pop-culture/1980s-diets/- Say Anything & The Boombox Scene (00:10:04):  ⁠https://www.cracked.com/article_46773_john-cusack-originally-blasted-ska-music-in-say-anything-boombox-scene.html⁠- Bonin in the Boneyard: https://www.youtube.com/watch?v=fLoH7Ra2WxI- Tetris Movie Review (00:17:13): https://www.youtube.com/watch?v=loCVDF9Fu4g- Japanese version of “Holding Out for a Hero (00:22:32): https://www.youtube.com/watch?v=D193wSP0YLc- Millennium (1989) Movie Review (00:26:34): https://youtu.be/S0k8xDtHnNM?si=bQ0owvI6hMFVt7MU#1980s fad diets, #fitness trends, #Tetris, #nostalgia, #Hollywood Diet, #Scarsdale Diet, #Drinking Man's Diet, #Israeli Army Diet, #Rice Diet, #Banana and Milk Diet, #Breatharian Diet, #diet absurdity, #movie discussion, #political espionage, #video game history, #soundtrack, #cultural significance, #time travel, #Millenium1989 #KrisKristofferson, #CherylLadd, #That Dori Show.

This past year, we witnessed a diss track win Grammys and get performed at the Super Bowl, but over three decades ago, there was another diss track that became an unlikely hit. “Pop Goes the Weasel” by 3rd Bass took aim at Vanilla Ice and the growing commercialization of hip-hop, delivering biting bars over a beat laced with samples from Peter Gabriel and Stevie Wonder. It climbed to #1 on the Billboard Rap chart and gave the trio—MC Serch, Pete Nice, and DJ Richie Rich—their biggest mainstream moment. Our good buddy PJ Caruso joins us this week to talk about the brief but impactful rise of 3rd Bass, a group that took shots at others on the way up, only to turn their lyrical weapons on each other not long after. Learn more about your ad choices. Visit megaphone.fm/adchoices

Start Artist Song Time Album Year 0:01:12 Intro One Peter Gabriel 0:26 0:01:37 Peter Gabriel Solsbury Hill 4:18 Peter Gabriel 1 [Car] 1977 0:05:55 2 Two Supertramp 0:16 0:06:11 Supertramp Give A Little Bit 4:00 Even In The Quietest Moments 1977 0:10:11 3 Three Gentle Giant 0:11 0:10:22 Gentle Giant I'm Turning Around 3:50 The […]

Mardi soir dans RTL2 Pop-Rock Station", Marjorie Hache ouvre l'émission avec Ghost et leur titre "Lachryma", avant un détour par Alice Cooper et l'anniversaire de la sortie de "The Freewheelin' Bob Dylan". On y entend "Girl from the North Country", emblématique du virage folk de Dylan. La soirée alterne nouveautés et classiques avec "Bottom Of A Bottle" de Julien Baker & Torres, "Foundations" de Kate Nash, puis "In Daylight", nouvel extrait hypnotique de "Mad", l'album de la semaine signé Sparks. On découvre aussi The Waterboys, Viagra Boys et une reprise étonnante de "Solsbury Hill" de Peter Gabriel par Lou Reed. La deuxième heure met à l'honneur Gorillaz, Fleetwood Mac, Mitski, Jimi Hendrix, puis Herman Dune et son titre "Odysseús", inspiré de son exil temporaire à Montréal. Pour conclure : Tori Amos, Arctic Monkeys et "Help Yourself" de Death In Vegas. Ghost - Lachryma Alice Cooper - School's Out Bob Dylan & Johnny Cash - Girl From The North Country The Beach Boys - Kokomo Julien Baker & Torres - Bottom Of A Bottle The Kingsmen - Louie Louie Kate Nash - Foundations Sparks - In Daylight AC/DC - Let Me Put My Love Into You The Waterboys - The Tourist (Feat. Barny Fletcher & Sugarfoot) Mano Negra - Soledad Viagra Boys - The Bog Body Lou Reed - Solsbury Hill Mitski - Washing Machine Heart Gorillaz - Clint Eastwood Oracle Sisters - Marseille Jimi Hendrix - All Along The Watchtower Eagles Of Death Metal - I Want You So Hard (Boy's Bad News) Fleetwood Mac - Silver Springs (Live) Anthrax & Public Enemy - Bring The Noise Pain - Party In My Head Herman Dune - Odysseus The Doors - People Are Strange Tori Amos - Cornflake Girl Arctic Monkeys - Do I Wanna Know Death In Vegas - Help Yourself Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

We take a nostalgic journey through the Billboard Hot 100 chart from June 7, 1980, and explore musical milestones of that year including Frank Sinatra's comeback and Peter Gabriel's innovative album "Melt."• Examination of Billboard Hot 100 hits from June 7, 1980• Discussion of Frank Sinatra's "Theme from New York, New York" which became his signature song despite being recorded in 1980• Analysis of Christopher Cross's popularity and Michael McDonald's distinctive backing vocals on "Ride Like the Wind"• Exploration of the Mount St. Helens eruption and photographer Robert Landsberg's heroic final act• Recap of the Virginia Highland Porch Fest featuring Jimmy Guthrie's performance with the Concord Grapes• Minute with Jimmy segment featuring Tommy Stinson from The Replacements• Deep dive into Peter Gabriel's "Games Without Frontiers" and other significant releases from May 1980"Music in My Shoes" where music and memories intertwine.Learn Something New orRemember Something OldPlease like and follow the Music in my Shoes Facebook and Instagram pages and share the podcast with your friends on social media. Contact us at musicinmyshoes@gmail.com.Send us a one-way message. We can't answer you back directly, but it could be part of a future Music In My Shoes Mailbag!!!

Listen to the world around you. This episode is about learning from birds, deep listening and why the Australian dawn chorus is so unique.Andrew Skeoch is a professional wildlife sound recordist, acoustic ecologist and author of ‘Deep Listening to Nature'. Over the last 30 years, he has documenting the sounds of environments around the planet, and through his label 'Listening Earth', published over one hundred recordings allowing listeners to immerse themselves in wild soundscapes from around the world. His recordings have been heard in documentaries, installations and feature films such as Peter Gabriel's soundtrack to 'Rabbit Proof Fence'. He has given presentations to audiences ranging from local community and naturalist groups to university students. He's appeared at festivals such as WOMADelaide's Planet Talks, written for The Conversation, and presented radio features, keynote addresses and a TEDx talk. He is the president of the Australian Wildlife Sound Recoding Group, and on the board of the Australian Forum for Acoustic Ecology.Links:* Andrew's website - andrewskeoch.com* Listening Earth website - listeningearth.com* Andrew on Instagram - @andrewskeoch_author* Listening Earth on Instagram - @listening_earth* All recordings were gifted and licensed from Andrew Skeoch* Subscribe to the Monthly Letter - weekendbirder.com/monthlyletter* Be part of Episode 117 - weekendbirder.com* Subscribe to the Monthly Letter - weekendbirder.com/monthly-letterWeekend Birder online:* Website - weekendbirder.com* Instagram - @weekend.birder* Facebook - @weekend.birder* YouTube - @WeekendBirder Hosted on Acast. See acast.com/privacy for more information.

Sterling Campbell was born and raised in New York City at a time when the music scene was rich with innovators like David Bowie, Peter Gabriel, Joni Mitchell and many others. Sterling would go on to work with David Bowie from 1992 until 2004. Other notable artist Sterling has worked for throughout his career include Cyndi Lauper, Duran Duran, Soul Asylum, Chic, Tina Turner, David Byrn and many others.  Since 2012, Sterling has been working and touring with the B-52s.  In this episode, Sterling talks about:  Reconnecting and touring with Cyndi Lauper  Physical demands of touring at 61 His early roots and meeting Dennis Davis in 1978 Events that shape us, our drumming and music  Adapting to the new tech of the day in the 80's David Bowie's creative process and sense of humor Recording remotely on an electronic kit

Thomas Sena & Deremy Dove (Pop Culture Five Podcast Duo) light a match and illuminate the pros and cons of Martin Scorsese's Religious Epics Trilogy: THE LAST TEMPTATION OF CHRIST, KUNDUN and SILENCE!     TOPICS INCLUDE:  *An overview on Scorsese's look at Catholicism *Is Adam Driver needing better roles of late? *Philip Glass and Peter Gabriel's brilliantly inserted film scores for the initial two films *How hard it is to handle FOR ANY KIND of religious epic without someone disagreeing on the messaging *Which film ran out of steam before it even got going *Which one is easily Scorsese's most accessible film to date *And which one has a rather captivating script for even the most agnostic viewer to find riveting!                   MAIN LINKS:  LinkTree: https://linktr.ee/JURSPodcast Facebook Page: https://www.facebook.com/JackedUpReviewShow/ Facebook Group: https://www.facebook.com/groups/2452329545040913 Twitter: https://twitter.com/JackedUpReview  Instagram: https://www.instagram.com/jacked_up_podcast/        SHOW LINKS: YouTube: https://m.youtube.com/channel/UCIyMawFPgvOpOUhKcQo4eQQ   iHeartRadio: https://www.iheart.com/podcast/269-the-jacked-up-review-show-59422651/   Podbean: https://jackedupreviewshow.podbean.com   Spotify: https://open.spotify.com/show/7Eg8w0DNympD6SQXSj1X3M   Apple Podcasts: https://podcasts.apple.com/us/podcast/the-jacked-up-review-show-podcast/id1494236218   RadioPublic: https://radiopublic.com/the-jacked-up-review-show-We4VjE   Overcast: https://overcast.fm/itunes1494236218/the-jacked-up-review-show-podcast   Google Podcasts: https://podcasts.google.com/?feed=aHR0cHM6Ly9hbmNob3IuZm0vcy9hNDYyOTdjL3BvZGNhc3QvcnNz   Anchor:  https://anchor.fm/s/a46297c/podcast/rss   PocketCasts: https://pca.st/0ncd5qp4   CastBox:  https://castbox.fm/channel/The-Jacked-Up-Review-Show-Podcast-id2591222   Discord:  https://discord.com/channels/796154005914779678/796154006358851586         #MovieReview #FilmTwitter #PodFamily #PodcastersOfInstagram #Movies #Film #Cinema #Music #Reviews #Retrospect #Podcasts #MutantFam #MutantFamily #actionmystery #bmovies #scifihorror #truecrime #historydramas #warmovies #podcastcollabs #hottakes #edgy #cultmovies #nsfw #HorrorFam #badass     

Angela and Nick welcome a music icon and major food lover to the table. Neneh Karlsson, better known as Neneh Cherry, is a singer, songwriter, broadcaster and activist. Cherry arrives at Dish HQ to talk about the paperback release of her memoir A Thousand Threads which recounts her life story through vivid tales of family, art, friendship and food. The book has recently been nominated for the Women's Prize for Non-Fiction.  Neneh was born in Stockholm, Sweden before moving to New York and then, when she was 15, to London where she lives now. She first came to public attention in 1988 with her music and the groundbreaking single Buffalo Stance. In a career that has seen her release six albums and collaborate with the likes of Peter Gabriel, Cher and Gorillaz, she has won two BRIT Awards, a MTV Europe Music Award and has a Grammy nomination. As part of a varied and always thought-provoking career, Neneh has also found time to hone her skills as a cook, and presented the TV cooking show Dish It Up with good friend Andi Oliver.  It's a pasta day for Neneh on Dish as Angela serves tagliatelle with peas, courgette & burrata which the Waitrose wine experts suggest is perfectly paired with a glass of Waitrose Blueprint Gavi. This episode sees Angela and Neneh meet for the first time, generating lots of mouth-watering and nostalgic food chat. Neneh shares her favourite food memories including being sent meatballs in the post, her favourite Swedish dish and also reflects on the word-of-mouth success of her book. You can watch full episodes of Dish on YouTube  All recipes from this podcast can be found at waitrose.com/dishrecipes A transcript for this episode can be found at waitrose.com/dish We can't all have a Michelin star chef in the kitchen, but you can ask Angela for help.  Send your dilemmas to dish@waitrose.co.uk and she'll try to answer them in a future episode. Dish from Waitrose is made by Cold Glass Productions.

Marjorie Hache nous entraîne dans une soirée oscillant entre puissance rock, mélodies nostalgiques et découvertes audacieuses. Sparks ouvre le bal avec "My Devotion", extrait de leur prochain album "Mad". Les classiques ne sont pas oubliés avec "Ticket to Ride" des Beatles. En hommage à Alison Goldfrapp, elle nous propose "Systemagic", tiré de l'album Silver Eye. Turnstile dévoile "Seein' Stars", tandis que Sleep Token, notre album de la semaine, explore un univers mêlant métal et production urbaine avec "Dangerous". L'émission se poursuit avec Tim Buckley et son légendaire "Song To The Siren", revisité par Rose Betts, puis Radiohead avec "Knives Out". Car Seat Headrest nous plonge dans l'univers indie rock avec "The Catastrophe", suivi de Peter Gabriel en live avec "Downside Up". Les contrastes se poursuivent avec Bloodhound Gang et leur festif "Fire Water Burn", suivi de "Sacred", la nouveauté Fresh Fresh Fresh des Australiens de Parkway Drive. La soirée s'achève avec l'énergie des Yeah Yeah Yeahs et leur "Cheated Hearts", The Hives qui préparent un nouvel album avec "Enough Is Enough", et une touche finale intense avec Black Sabbath et leur titre "Wheel Of Confusion". Sparks - My Devotion The Beatles - Ticket To Ride Goldfrapp - Systemagic Violent Femmes - Do You Really Want To Hurt Me Turnstile - Seein' Stars Alanis Morissette - Thank U The Velvet Underground - Sunday Morning Sleep Token - Dangerous Nirvana - Heart Shaped Box Gliz - Fade Out Marvin Gaye & Tammi Terrel - Ain't No Moutain High Enough King Gizzard & The Lizard Wizard - Deadstick Rose Betts - Song To The Siren Radiohead - Knives Out The Shoes - Time To Dance Car Seat Headrest - The Catastrophe Deep Purple - Highway Star Hole - Celebrity Skin Peter Gabriel - Downside Up (Growing Up Live) Dusty Springfield - Son Of A Preacher Man Bloodhound Gang - Fire Water Burn Parkway Drive - Sacred Linkin Park - Faint Yeah Yeah Yeahs - Cheated Hearts Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Long known as one of the world's finest Jazz Pianists, Rick DellaRatta also began to receive major recognition as a composer when his symphonic piece “Permutata” was recorded by the London Symphony Orchestra at the Beatles famed Abbey Rd., Studios in 1999, and as a unique and important vocalist in 2004 when he was included in a definitive listing of the greatest jazz singers of all time in Scott Yanow's Book “Jazz Singers”. Jazz for Peace rose from the ashes of 9/11 as a poem and is now considered "The most significant cultural event of our time!", Jazz For Peace. Rick witnessed the extraordinary events of 9/11 from his rooftop less than 1/4 mile away from Ground Zero on that fateful morning when the words of a poem titled “Jazz for Peace” that he wrote on that day went on to lead him to over 850 concerts across the Globe to help the world's most outstanding causes, educational presentations, and instrument donation programs for children.Through his life long endeavor to help advance people to their highest potential through the understanding of Jazz as well as spreading peace worldwide through his "Jazz for Peace World Tour", Rick DellaRatta is considered to be an innovator and a visionary, a designation that became known by many when he was included by The Foundation Center in their list of the top musician philanthropists of our time along with Bono (U2), Elton John, Peter Gabriel and Sting.Socials:Website: https://rickdellaratta.com/Website: jazzforpeace.orgLinkedIn: Rick DellaRatta FB: Rick DellaRatta https://jazzforpeace.wordpress.com/about/unprecedented-achievements/Enjoy the visual here on Youtube

Send us a textOn the Episode, Tom and Bert hit up some Music Trivia that can be used to impress your friends when you're just chilling out with some small talk. Show off your knowledge on "Game Night" with your friends with a bit of Music Trivia fun facts! Here are some Chapter Highlights:(2:00) Bruno Mars takes his name from? (3:45) Elvis Presley recorded over 600 Songs but did he write any of the songs that he sung?(7:25) Happy Birthday has a copyright owner but when will that gravy train of millions of dollars stop paying off? Check it out!(13:44) Paul Simon is a recording "machine", how many Grammy's did he win?(19:00) Peter Gabriel's Sledgehammer owns this record on MTV? Can u guess what it is?(22:13) The Beach Boys Father, Murry Wilson, made a killing when he decided to Sell off the Publishing rights of their Songs! Good deal or Bad deal?(31:42) The Hollies 1969 Hit Single, "He Ain't Heavy, He's my Brother" featured a young up and coming 22 year old kid on the piano, any Ideas?(34:45) The Guiness Book of World Records named this fabulous writer as the most successful composer of all time with 43 songs that sold more than 1 Million copies! Who is this superstar?These and many more fun facts that will blow your mind!Enjoy the Show!You can email us at reeldealzmoviesandmusic@gmail.com or visit our Facebook page, Reel Dealz Podcast: Movies & Music Thru The Decades to leave comments and/or TEXT us at 843-855-1704 as well.

Passing the thermometer of conversation over the rock and roll news to see where the mercury rises, which this week includes … … the new Barbra Streisand duets album. Duets are ‘playlets', small intense dramas that depend on human interaction, but so many are recorded separately (including, tragically, Ain't No Mountain High Enough by Marvin Gaye and Tammi Terrell). … but … duets you HAVE to hear! eg Cash & Carter, Otis Redding & Carla Thomas, Ray Charles & Betty Carter, Siouxsie & Morrissey, Nick Cave & Kylie, Peter Gabriel & Kate Bush. … the extraordinary story of the rebirth and Indian Summer of Mississippi John Hurt after 40 years of invisibility.   … blues lyrics that now seem unimaginable. … Frank Zappa as a drug dealer? Miles Davis as a pimp? Cyndi Lauper as a trophy wife? Real or made-up Miami Vice rock star cameos.  … great opening lines – “We got married in a fever …!” … how you always learn something you never knew about someone from their obituary - like Mike Peters' involvement in the highest altitude concert ever performed (on Everest with Glenn Tilbrook and Slim Jim Phantom). … where people listen to the Word In Your Ear “poddy” – eg in the bath, in court, at wedding receptions, by the Allman Brothers' graveside. Plus birthday guest John Montagna on rock stars who should be in a TV series.Help us to keep the conversation going by joining our Patreon community: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Passing the thermometer of conversation over the rock and roll news to see where the mercury rises, which this week includes … … the new Barbra Streisand duets album. Duets are ‘playlets', small intense dramas that depend on human interaction, but so many are recorded separately (including, tragically, Ain't No Mountain High Enough by Marvin Gaye and Tammi Terrell). … but … duets you HAVE to hear! eg Cash & Carter, Otis Redding & Carla Thomas, Ray Charles & Betty Carter, Siouxsie & Morrissey, Nick Cave & Kylie, Peter Gabriel & Kate Bush. … the extraordinary story of the rebirth and Indian Summer of Mississippi John Hurt after 40 years of invisibility.   … blues lyrics that now seem unimaginable. … Frank Zappa as a drug dealer? Miles Davis as a pimp? Cyndi Lauper as a trophy wife? Real or made-up Miami Vice rock star cameos.  … great opening lines – “We got married in a fever …!” … how you always learn something you never knew about someone from their obituary - like Mike Peters' involvement in the highest altitude concert ever performed (on Everest with Glenn Tilbrook and Slim Jim Phantom). … where people listen to the Word In Your Ear “poddy” – eg in the bath, in court, at wedding receptions, by the Allman Brothers' graveside. Plus birthday guest John Montagna on rock stars who should be in a TV series.Help us to keep the conversation going by joining our Patreon community: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

En octubre de 1990 se desarrolló en el Estadio Nacional el concierto “Desde Chile, un abrazo a la esperanza”. La convocatoria de Amnistía Internacional reunió a músicos locales como Inti Illimani y Congreso con estrellas como Sting, Peter Gabriel y Sinead O´Connor. Uno de los momentos más extraños y llamativos ocurrió durante el show del trompetista Wynton Marsalis, cuando el público del nacional comenzó a cantar espontáneamente. 

Part 2 of SO with Andy Buck and Sarah Tant. 

Bab L'Bluz is a French-Moroccan band playing a distinctive band of rock, one that's built on the sounds of North and West African music, and on the Blues. The band was born from the dream of propelling Guembri (the Gnawa's guitar) on the international music scene of contemporary music, and has expanded to include electric mandole and electric ribab. They've released two albums on Peter Gabriel's Real World record label, the most recent of which is called Swaken – kind of a “Losing yourself to find yourself” trance state, (Bandcamp's Swaken liner notes.) Bab l'BLuz plays their “Hot Psychedelic Gnawa Blues!”, in-studio. Set list: 1."Ila Mata" 2."Imazighen" 3."IWAIWA FUNK"

On this week's episode, David sits down with Andy Buck and Sarah Tant to discuss the 1986 progressive pop art rock classic, "So" by Peter Gabriel.This is part one of that conversation.

Erin Marlow of It's a Fandom Thing joins Nicole and Ryan to talk about the 1994 Oliver Stone film, Natural Born Killers. It began as a Quentin Tarantino script before Oliver Stone turned it into an entirely different thing, which is just one of many controversies that surround this film. What's not controversial is the greatness of the Natural Born Killers Soundtrack. Trent Reznor currated the soundtrack and contributed two Nine Inch Nails to the soundtrack, specifically writing "Burn" for the film. The soundtrack also features songs from Leonard Cohen, Lard, L7, The Cowboy Junkies, Peter Gabriel and more.Chapters00:00:00 Introducing Erin of It's a Fandom Thing and Why She Chose Natural Born Killers17:34 Trent Reznor - Soundtrack Currator / Serial Killer Afficionado28:39 Tarantino Meets Johnny Cash and Casting the Leads of the Film39:05 The Bands on the Natural Born Killer Soundtrack43:05 Juliette Lewis' Breakthrough Peformance51:47 The 90 Aesthetics, Commercials and Gangsta Rap59:17 Back to the Soundtrack1:07:30 One Last Question1:13:37 Thank You's and GoodbyesIt's a Fandom Thing Socials:TikTokBlueskyInstagram

We meet Gary Kemp, one of the UK's most successful songwriters of the past 40 years. As guitarist and founding member of the most influential and iconic band of the 80s, Spandau Ballet, he was responsible for writing the words and music for 23 hit singles and albums, including modern day standards like True and Gold. We discuss his passion for the Arts & Crafts movement, William Morris, collecting and living with Edward William Godwin furniture, the 70s and 80s creative scene, and why art and design is so important to his life.Gary's songs have had an extraordinary combined total of over 500 weeks in the charts and are hits all over the world. They've generated over 25 million recordsales and the songs were part of the soundtrack to the 80s. Last year, he received the BMIIcon Award at the 2023 BMI London Awards for his contributions to popular culture and music.He joined an elite group that includes The Bee Gees, Crosby, Stills & Nash, Ray Davies, PeterGabriel, Queen, Sting, and Van Morrison.Kemp's songs have proven truly timeless. The ubiquitous hit single True has logged over 5million air plays in North America alone, and his songs have featured in an incredible 100feature films over the years including Sixteen Candles, The Wedding Singer, Charlie's Angels,Pixels and Crazy Stupid Love as well as countless TV programs including The Simpsons, SpinCity, Gilmore Girls (all three times each) Euphoria, Modern Family and, Ugly Betty plus many,many more.In 2012, he was presented with the Ivor Novello's prestigious Outstanding Song Collectionaward. Gary has also won numerous awards and accolades for his work in Spandau Ballet,including an MTV award, a Brit and a Q award.In recent years, Gary has become synonymous with the Rockonteurs podcast which he hostswith fellow musician Guy Pratt, interviewing music legends and becoming the most listened tomusic podcast in the UK. Gary is a Trustee of the Theatres Trust with a passion for keeping theatres at the heart ofcommunities.Gary grew up in Islington (born October 16, 1959) and attended local grammar school DameAlice Owens and Anna Scher's Children's Theatre drama club, becoming a child actor in filmand TV before concentrating on playing guitar and songwriting and forming Spandau Ballet .In the 90s, Gary decided to return to acting, starring in numerous films including hugelysuccessful British crime thriller, The Krays and Hollywood blockbuster, The Bodyguard. He hascontinued to feature regularly on stage and in film and TV.Follow @GaryJKempVisit https://www.garykemp.com to learn more about his new album This Destination, out now. Hosted on Acast. See acast.com/privacy for more information.

Send us a textWhen twin brothers find their father's old iPod in the attic, a series of gruesome deaths start after they listen to the cursed podcasts stored on it. The siblings decide to throw the device away and move on with their lives, growing apart over the years. On Episode 663 of Trick or Treat Radio we discuss the latest film from director Osgood Perkins, The Monkey! We also talk about our favorite cinematic monkeys, films and shows that feature cursed objects, and the concept of memento mori. So grab your bad luck tiki idol, get your generational trauma in check, and strap on for the world's most dangerous podcast!Stuff we talk about: Police Academy 2, MZ's favorite comedy, Kidnapped By A Killer, Steve Guttenberg, Shakma, BJ and the Bear, Every Which Way but Loose, Clyde, Cannonball Run 2, Trading Places, Cannibal Run, Dawn of the Dead, Julia Roberts movies, Axel Foley, Back to School, Richard Pryor, Moving, Sam Kinison, Joe Dante, The Howling, Rick Baker, An American Werewolf in London, Rob Bottin, Silent Night Deadly Night Part 2, House of Wax, Vincent Price, Charles Bronson, Multiple Maniacs, Knightriders, Gothic, Species 2, Toolbox Murders, Haley Joel Osment, The Peking Acrobats, Brad Dragon, Pedro Martinez, Updog, Dominican Republic, RIP Octavio Dotel, inside baseball, The Clubhouse: A Year With the Red Sox, Christine, Keith Gordon, Anabelle, Poltergeist, Stephen King, The Mangler, Christopher Hewlett, Friday the 13th: The Series, cursed objects, haunted objects, Talk To Me, the Lament Configuration, Oddity, Shakma, Cannibal Holocaust, Longlegs, Monkeyshines, Gallery Magazine, The Monkey, Osgood Perkins, Gretel & Hansel, The Blackcoat's Daughter, Theo James, Tatiana Maslany, Adam Scott, Elijah Wood, Yellowjackets, Final Destination, Annie Wilkes, generational trauma, how to properly process grief, Caveat, Ernest Goes to Camp, Nicolas Winding Refn, Anthony Perkins, Jaws 4, do sharks know what revenge is?, Malignant, tracks suits capes and gold medallions, Peter Gabriel, Mickey 17, Bong Joon-ho, Parasite, Memories of Murder, Hunkaberry Hound, Sinister Yet Whimsical, Every Episode Dies, and why can't you set your monkey free?Support us on Patreon: https://www.patreon.com/trickortreatradioJoin our Discord Community: discord.trickortreatradio.comSend Email/Voicemail: mailto:podcast@trickortreatradio.comVisit our website: http://trickortreatradio.comStart your own podcast: https://www.buzzsprout.com/?referrer_id=386Use our Amazon link: http://amzn.to/2CTdZzKFB Group: http://www.facebook.com/groups/trickortreatradioTwitter: http://twitter.com/TrickTreatRadioFacebook: http://facebook.com/TrickOrTreatRadioYouTube: http://youtube.com/TrickOrTreatRadioInstagram: http://instagram.com/TrickorTreatRadioSupport the show

EPISODE 127: Francis Dunnery defies easy categorization. His work reflects a deep commitment to personal freedom and individuality. While his style is often playfully philosophical, he's also capable of crafting achingly profound, beautiful music. Dunnery first gained public recognition in the 1980s as the lead vocalist and guitarist of the progressive rock band It Bites, achieving chart success across Europe and Asia. Since then, he has embarked on a diverse musical journey spanning over three decades, collaborating with renowned artists such as Robert Plant (Led Zeppelin), Carlos Santana, Chris Difford (Squeeze), Ian Brown (The Stone Roses), Lauryn Hill, and Steve Hackett (Genesis). He has also performed with legendary bands like Yes and Hootie and the Blowfish, and shared the stage with the iconic Chris Squire. Beyond these collaborations, Dunnery is a celebrated rock icon in his own right, having released over ten albums of original and diverse compositions, achieving international chart success. He is also the founder and president of The Charlie and Kathleen Dunnery Children's Fund (CKDCF), a charity dedicated to children's health and wellness in West Cumbria, England. The CKDCF hosts an annual benefit concert and charity walk, attracting support from some of the biggest names in rock and roll history. Dunnery is more than just a musician. He's an educator, a master songwriter, a mentor, and a storyteller. As Robert Plant once observed, “Francis Dunnery should be a public service.” For over four decades, he has consistently created original and engaging entertainment for his fans, from new CDs and live concerts to astrology readings and house concerts. Today, more than ever, Dunnery remains dedicated to his own personal freedom and individuality, and encourages the same in his audience. He continues his music and philosophical studies and plans to live a long and fulfilling life.Contact us: makingsoundpodcast.comFollow on Instagram: @makingsoundpodcastFollow on Threads: @jannkloseJoin our Facebook GroupPlease support the show with a donation, thank you for listening!

Strong Songs Season Seven kicks off with two of the most famous songs ever recorded, from one of the biggest bands in the world. U2's "Where the Streets Have No Name" and "With or Without You" make up two-thirds of the three-song "suite" of hit singles that kicked off their 1987 album The Joshua Tree. As it turns out, the two songs have a lot to say to one another! They also have a lot to say about how U2 wrote music, and about the beautiful, messy human process of collaborative creativity.Written by: U2Produced by: Brian Eno and Daniel LanoisAlbum: The Joshua Tree, 1987Listen/Buy via Album.LinkALSO REFERENCED/DISCUSSED:Classic Albums: The Joshua Tree, 1999, dir. Philip King, Nuala O'ConnorStrong Songs episodes "Rhythm + Harmony = Music," "The Four Electric Guitars," "'In Your Eyes' by Peter Gabriel," and "Wichita Lineman' by Jimmy Webb and Glen Campbell----LINKS-----SUPPORT STRONG SONGS!Paypal | Patreon.com/StrongsongsMERCH STORE (NEW STUFF JUST IN!)store.strongsongspodcast.comKIRK'S GEAR & INSTRUMENT LISTkirkhamilton.com/gearSOCIAL MEDIAIG: @Kirk_Hamilton | Bluesky: @kirkhamilton.comKIRK'S NEWSLETTERnewsletter.kirkhamilton.comJOIN THE STRONG SONGS DISCORDhttps://discord.gg/GCvKqAM8SmSTRONG SONGS PLAYLISTSSpotify | Apple Music | YouTube MusicSHOW ARTTom Deja, Bossman Graphics--------------------FEBRUARY 2025 WHOLE-NOTE PATRONSElizabeth CulverMeryl AllisonCesarCorpus FriskyBen BarronCatherine WarnerDamon WhiteJay SwartzRushDaniel Hannon-BarryChristopher MillerJamie WhiteChristopher McConnellDavid MascettiJoe LaskaKen HirshMelanie AndrichJenness GardnerNathaniel BauernfeindPaul DelaneySami SamhuriJeremy DawsonAccessViolationDave FloreyFEBRUARY 2025 HALF-NOTE PATRONSWiggy HashWhit SidenerJulie KellmanSimon HellmanBeaClaudia CartyDaniGlenn JacksonChristopher Selby SpinkPhilip KellyDaniel NervoKevin StaffordLawrenceSy JacobsirritableIan PiddAndrew HoferJordan GatenbyMelissa KuhnsAshleySeattleTransAndNonbinary ChoralEnsembleKevin MarceloSamantha CoatesJamesMark NadasdiJeffDan CutterJoseph RomeroOl ParkerJohn BerryDanielle KrizClint McElroyMordok's Vape PenInmar GivoniMichael SingerMerv AdrianJoe GalloLauren KnottsDave KolasHenry MindlinMonica St. AngeloStephen WolkwitzRand LeShayMaxeric spMatthew JonesThomasAnthony MentzJames McMurryEthan LaserBrian John PeterChris RemoMatt SchoenthalAaron WilsonDent EarlCarlos LernerMisty HaisfieldAbraham BenrubiLee R.Callum WebbLynda MacNeilDick MorganBen SteinGrettir AsmundarsonSean MurphyRandal VegterKaya WoodallRobert Granatdave malloyAlan MaassNick Gallowayjohn halpinPeter HardingDavidJohn BaumanMartín SalíasStu BakerSteve MartinoDr Arthur A GrayCarolinaGary PierceMatt BaxterLuigi BocciaE Margaret WartonCharles McGeeCatherine ClauseEthan BaumanKenIsWearingAHatJordan BlockAaron WadeJeff UlmDavid FutterJamieDeebsPortland Eye CareRichard SneddonJanice BerryDoreen CarlsonDavid McDarbyWendy GilchristLisa TurnerPaul WayperMiles FormanBruno GaetaKenneth JungZak RemerRishi SahayJeffrey BeanJason ReitmanAilie FraserRob TsukNATALIE MISTILISJosh SingerAmy Lynn ThornsenAdam WKelli BrockingtonVictoria Yumino caposselaSteve PaquinDavid JoskeBernard KhooRobert HeuerDavid NoahGeraldine ButlerMadeleine MaderJason PrattAbbie BergDoug BelewDermot CrowleyAchint SrivastavaRyan RairighMichael BermanLinda DuffyEoin de BurcaKevin PotterM Shane BordersDallas HockleyJason GerryNell MorseNathan GouwensLauren ReayEric PrestemoncbalmainAngela LivingstoneDiane HughesMichael CasnerLowell MeyerStephen TsoneffJoshua HillGeoff GoldenPascal RuegerRandy SouzaClare HolbertonDiane TurnerTom ColemanDhu WikMelmaniacEric HelmJonathan DanielsCaro FieldDave SharpeNaomi WatsonDavidAlexanderAdam GeorgandisChris KGavin DoigSam FennTanner MortonAJ SchusterJennifer BushDavid StroudBrad CallahanAmanda FurlottiAndrew BakerAndrew FairL.B. MorseBill ThorntonBrian AmoebasBrett DouvilleJeffrey OlsonMatt BetzelNate from KalamazooMelanie StiversRichard TollerAlexander PolsonJustin McElroyArjun SharmaJames JohnsonKevin MorrellColin Hodo

Geoff, Gavin and Andrew talk about Andrew's file setup, homework, fruit sins, Peter Gabriel, knuckle up, orangutan, dumb day, the particles, new word Geoff hates, in a food hurry, Andrew has a clip, ketchup, beaver lies, is she good at nature, rare fruit, and different names in different places. Support us directly at https://www.patreon.com/TheRegulationPod Stay up to date, get exclusive supplemental content, and connect with other Regulation Listeners. Learn more about your ad choices. Visit megaphone.fm/adchoices