Podcast appearances and mentions of Peter Gabriel

Let's Chat!A rotary phone rings in a frozen forest. A spiral pulses red against cement. A mirror fractures, showing not one reflection but dozens—none matching the face of the man who stands before it.In this landmark tenth episode of the Gentleman's Journey podcast, we descend into the heart of the Greenbrier mystery where Detective Walter Grayson and his partner Laura Black confront the ultimate truth about the case that has consumed them. Within an abandoned cabin at the edge of a Chicago forest, they discover ledgers filled with crossed-out names, walls that whisper secrets, and mirrors that reflect versions of themselves they refuse to recognize.But the revelation waiting at the spiral's center shatters everything they thought they knew: the Briar isn't a killer to be caught—it's a function that transfers from one vessel to another. Grayson hasn't been hunting the Briar; he has been carrying it. And now, as he disappears into the spiral, the inheritance passes to Black, continuing a cycle that began long before either of them arrived.The narrative weaves through atmospheric soundscapes featuring Peter Gabriel, Joy Division, The Smiths, and other haunting tracks that underscore the emotional weight of Grayson's final confession. "Endings don't disappear," he tells us. "They move." This isn't just his story—it's a warning about the silences we all carry and the debts we leave unpaid.We close with five reflections that turn the spiral toward you: What silence have you carried so long that it's begun to inherit you? Whose ledger are you writing without realizing it? What version of yourself smiles in the mirror when you don't? The Greenbrier waits in the rooms you've abandoned and the names you won't speak. Perhaps it's already writing your name.Remember this—you create your reality. But if you don't confront your silence, it doesn't disappear. It waits for someone else to carry it."True mastery is found in the details. The way you handle the little things defines the way you handle everything."

durée : 00:03:40 - Sous les radars - par : Sébastien LAUGENIE - Et la voix de cet homme que vous entendez c'est celle de Peter Gabriel. "Biko" titre planétaire que tout le monde connaît. Une chanson composée en 1980 en hommage à un homme emprisonné. Près d'un demi-siècle après sa mort l'ombre de Steve Biko plane toujours et encore sur ce pays. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 00:03:40 - Sous les radars - par : Sébastien LAUGENIE - Et la voix de cet homme que vous entendez c'est celle de Peter Gabriel. "Biko" titre planétaire que tout le monde connaît. Une chanson composée en 1980 en hommage à un homme emprisonné. Près d'un demi-siècle après sa mort l'ombre de Steve Biko plane toujours et encore sur ce pays. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

This week on The Metro, Rev. Jeff Ivins brings the following bands for your ears: Alphaville, Love and Rockets, The J Geils Band, Saga, Quarterflash, Tracey Ullman, Talking Heads, Duran Duran, Siouxsie, Rave-Ups, Peter Gabriel, Klark Kent, Jane's Addiction, and finishing up with Sydney Youngblood.

Riparte Storie dell'Arte in Mostra e questa puntata, la prima dopo l'estate, è carica di appuntamenti da annunciare oltre a mostre da recuperare, quelle che si sono inaugurate tra luglio e agosto e che proseguono per qualche mese ancora. Per la Cover andiamo a Venezia perché durante la Mostra del Cinema, in piazza San Marco non hanno sfilato le star, ma le immagini di 100 rifugiati, installazione che fa parte della mostra Dreams in Transit, alle Procuratie. In studio ci sono venuti a trovare Valerio Berruti, l’artista protagonista ora a Palazzo Reale di Milano con la mostra More Than Kids e il curatore dell'esposizione, Nicolas Ballario. I servizi, invece, sono dedicati a una speciale esposizione dedicata a Peter Gabriel, alla Fondazione Rovati di Milano, e al bicentenario di Giovanni Fattori, pittore che viene celebrato a Livorno, la sua città d'origine.See omnystudio.com/listener for privacy information.

In today's episode we're thrilled to have Reeya Banerjee—writer, vocalist, voice‑over artist, and the raw, honest storyteller behind the critically‑acclaimed album The Way Up—joining host James Cox for a deep‑dive into the healing power of music.We kick things off with a quick word from our sponsor, BetterHelp, reminding listeners that affordable, flexible online therapy is just a few clicks away (and you can snag 10 % off your first month at betterhelp.com/music‑speaks).From there, James and Reeya wanders through the musical landscape that shapes her art:the Beatles' “Something,”Springsteen's “Thunder Road,”U2's “The Sweetest Thing,”Fiona Apple's “Criminal,”Peter Gabriel's “Sledgehammer,”and Eminem's “Lose Yourself.”Reeya reveals how each of these tracks inspired her own songwriting, and why certain songs—like her own “The Way Up,” “Deep Water,” and the childhood‑memory‑laden “Snow”—feel easier to say when they're sung. She also opens up about the mental‑health crisis she faced in 2019, the intensive therapy that helped her reclaim her voice, and the way music became her conduit for processing grief, insomnia, and the restless energy of a night‑owl musician.Listeners get a sneak peek at Reeya's upcoming August release “This Place,” a concept album that maps nine cities to nine core emotions, and we hear about the stories behind singles such as “Misery of Place,” “For the First Time,” “Runner,” and the soon‑to‑drop “Upstate Rust.”The conversation rounds out with playful cover‑quiz challenges, a nostalgic look at the Hudson‑Valley bar that sparked her creative community, and a heartfelt promise that when words fail, music always speaks.Stay tuned, grab your headphones, and prepare for an episode packed with candid conversation, lyrical insights, and a reminder that—no matter how dark the night—there's always a melody waiting to lift you up.And remember: when you need a mental‑health boost, BetterHelp is just a click away at betterhelp.com/music‑speaks.

Santiago Alcanda no se jubila, no se retira de la radio. Hasta el final.DISCO 1 PREFAB SPROUT Appetite (7)DISCO 2 JONI MITCHELL & PETER GABRIEL My Secret Place (1)DISCO 3 JESSICA PRATT Life Is (1)DISCO 4 TERENCE BOYLAN Tell Me (8)DISCO 5 10000 MANIACS Hey, Jack Kerouac (Cara 1 Corte 2)DISCO 6 TENNIS Mean Streets (ESCA)DISCO 7 SHELBY LYNNE Dreamsome (8)DISCO 8 MEI SIMONES I Can Do What I Want (ESCA)DISCO 9 THE INNOCENCE MISSION Into Brooklyn, Early In The Morning (4)DISCO 10 AMAIA Nadie podría hacerlo (5)DISCO 11 KAT EDMONSON Avión (4)DISCO 12 RUMER Saving Grace (6)DISCO 13 STEPHEN BISHOP Send A Little Love My Way (4)DISCO 14 DANNY WILSON I Won’t Be Here When You Get Home (13)Escuchar audio

Nueva entrega de Música de Contrabando, semanario de actualidad musical (28/08/2025)Entrevista:B-Side Fest. Virginia Pastor, de Crash MusicNoticias:Se reedita ampliado Let it be de los Replacement. Mike Joyce , batería de los Smiths, anuncia su autobiografía. Hotline TNT sacan su música de Spotify. Peter Gabriel publica Live at Womad 1982. Fallece Brent Hinds, miembro fundador de Mastodon. Slipknot podría vender su catálogo a un fondo de inversión. Andy Summers y Stewart Copeland (The Police) demandan a Sting.El exitoso retorno de Los Campesinos está dando que hablar. Paul Weller denuncia a sus contables tras su apoyo a Gaza. Novedades musicales:Bruce Springsteen, Patti Smith, The Cribs, Johnny Marr, Royel Otis, Superchunk, Purity Ring, Omni, Toro y Moi, The Black Keys, Parcels, Twenty One Pilots.Agenda de conciertos:(B-side)Viva Suecia, Dani Fernández, Siloé y Delaporte, (Lemon Pop) Luis Prado...

Inspiriert vom Foto einer Frau am Rande des Abgrunds schreibt Peter Gabriel eine Hymne an das Durchhalten – und macht daraus ein Duett mit Kate Bush. "Don't Give Up” ist eine Umarmung – und in jeder Version, die Roland gefunden hat, absolut berührend.

TONY LEVIN is well-known to The ProgCast audience as bassist for KING CRIMSON, PETER GABRIEL, STICK MEN, LIQUID TENSION EXPERIMENT, and so many more. We talk about Tony's early days as a classical player and his transition to bass guitar/stick. Tony regales us with tales of his time with Buddy Rich, Peter Gabriel, forming the KC "Discipline" band, and even playing under Igor Stravinsky's baton, as a student bassist at Eastman School of music. A rather special episode celebrating the 5th Anniversary of The ProgCast!PROGCAST PATRONS get bonus episodes  / theprogcast  Study Drums/Composition/Music with Gregg: https://www.bendianmusic.com GREGG BENDIAN is a percussionist/composer/producer/educator/podcaster from Teaneck, New Jersey. During his wide-ranging career he has toured internationally and recorded with Todd Rundgren, Jan Hammer, The Mahavishnu Project, Keneally-Bendian-Lunn, The Musical Box, John Zorn, Derek Bailey, Nels Cline, Cecil Taylor, Pat Metheny, Ornette Coleman and Zoot Horn Rollo. On the academic front, Gregg develops and teaches courses in studio production aesthetics, music history, and composing/arranging at William Paterson University of New Jersey. For the Yale Oral History of American Music, he has contributed over 100 expansive interviews with major figures including Wayne Shorter, Sonny Rollins, Quincy Jones, Carla Bley and Steve Reich. Bendian is archivist/producer for the Bottom LIne Archive of historic concerts. Recorded over 30 years at the Greenwich Village venue, the series features discs by Jack Bruce with Billy Cobham, The Brecker Bros, Lou Reed/Kris Kristofferson, Pete Seeger/Roger McGuinn, and Doc Watson. An accomplished percussionist and a composer of over 200 works, he has created a body of innovative music for jazz, rock, percussion (solo and ensemble) and mixed chamber groups, which include his Interzone and Trio Pianissimo bands. Gregg's music is published by Iamuziks (ASCAP). Begun in August of 2020, The ProgCast explores the creative process and musical history of a diverse assortment of cutting edge artists. You can also find us on:SPOTIFY: https://open.spotify.com/show/0x9bzb0...APPLE PODCASTS: https://podcasts.apple.com/us/podcast...https://www.bendianmusic.comhttps://open.spotify.com/artist/0HBmV...https://www.bottomlinearchive.comhttps://guides.library.yale.edu/oham/...https://www.mahavishnuproject.comhttps://www.wpunj.edu/coac/department...

gesprochen von Guido Erbrich

Rendez-vous avec la star mondiale Youssou N'Dour pour un retour à 360° sur sa carrière hit du commun, de ses débuts dans la Medina de Dakar à sa rencontre avec Peter Gabriel, Sting ou Bono, jusqu'à la remise de ses prix honorifiques (Doctor Honoris Causa / Grammy Awards) jusqu'à ses engagements humanitaires. Dans cet épisode, les stars Burna Boy et Omar Sy offrent les vidéos surprises. (Rediffusion) Retrouvez la version longue de l'émission sur la chaîne YouTube de Légendes urbaines avec en bonus la surprise vidéo des enfants de Youssou N'Dour ainsi que le billet d'humeur d'Aimerik alias Krow. 

Start Artist Song Time Album Year 0:00:00 Third Wave Mansion Remember The Days 10:01 First Hour 2018 0:10:36 Queensrÿche I Will Remember 4:04 Rage For Order 1986 0:15:08 Issun Remember Me 8:18 Dark Green Glow 2019 0:23:48 Budgie Time To Remember 5:11 Power Supply 1980 0:29:20 Peter Gabriel I Don't Remember 4:14 Peter Gabriel 3 […]

Hablar de Peter Gabriel es recordar a un visionario que revolucionó el rock progresivo y el pop experimental con su voz, creatividad y teatralidad. De líder de Genesis a solista innovador, abrió caminos con himnos como Solsbury Hill y una propuesta artística siempre adelantada a su tiempo. Hoy celebramos su legado como músico, productor y activista que sigue inspirando a generaciones.

Episode 4: All I Want Is EverythingThis week, your Regarding…Slang hosts Wolfie, Scotzo, podcasting overlord Corey, and Chaz are joined by Michael Pastore as they tackle one of Def Leppard's saddest turns into balladry: “All I Want Is Everything.”Before the song even spins, the guys detour through RushFest Toronto stories, bot-spam in the DMs, and a full-on Chazgasm about why Joe Elliott should get more credit as a lyricist. From there, things go off the rails: Corey calls the track “U2-like” and “Tom Petty-esque,” which is basically the podcasting equivalent of pushing Kevin Brown off a cliff in a straight-jacket. Somewhere out there, Kevin's ears are bleeding while Chaz argues this is a dirge, Wolfie swears it's hopeful, and Michael Pastore just wants to call it a breakup song.The song itself? A stripped-back, unusually sad moment in the Slang experiment, or even the entire Def Leppard catalog, with Joe saying it's about “birth, death, and divorce” while Rick Savage once claimed it was about a man dying of AIDS. Whatever the truth, there's no sugar or sparkle—just regret, grief, and one of Leppard's rawest ever recordings.This episode features:

“Jeg var ikke en selvvalgt outsider. Men mine jævnaldrende syntes, at jeg var mærkelig.” Da musiker og skuespiller Mark Linn var 11-12 år gammel, havde han til tider mere kontakt med voksne mennesker end han havde med sine jævnaldrende. Og måske netop derfor, var den unge Mark klar til et kaloriefyldt ”voksen-album” som Peter Gabriels femte studiealbum ”So”. Albummet blev også et soundtrack til den jordomrejse han tog ud på, sammen med sin far. En rejse som blandt andet førte dem til fattige dele af Latinamerika. Her blev en del af Marks verdenssyn formet, imens Peter Gabriels forførende og politiske popsange begyndte at fylde mere og mere for den unge pre-teenager. Senere i livet er Mark Linn ofte vendt tilbage til Peter Gabriels musik som referencepunkt, når han selv skulle komponere og udgive. Og ligesom Peter Gabriel holdt en 21 år lang pause, før han i 2023 vendte tilbage med nye sange, så kan det også være at Mark Linn måske snart pønser på en solo-comeback… Udsendelse nr.: 188 Vært: Anders Bøtter Klip og lyddesign: Emil Germod Redaktør: Michelle Mølgaard Andersen Produceret af: Bowie-JettSee omnystudio.com/listener for privacy information.

Jackie Morris and Nick Bantock, internationally renowned illustrators & authors, converse about art, the creative process, and their award-winning and bestselling books. Special focus is given to Jackie Morris' books The Lost Words and Song of the Golden Hare and Nick Bantock's The River Deck, The Corset & The Jellyfish and the Griffin & Sabine series.Nick Bantock, author of 30 books including 11 bestsellers, saw three of his works simultaneously reach the New York Times top ten. His iconic Griffin and Sabine series remained on bestseller lists for over two years, with more than 5 million copies sold and translations in 13 languages. Named by Weird Tales as one of the top 85 storytellers of the century, Bantock's art—including paintings, drawings, and sculptures—has been exhibited across the UK, France, and North America. He received a lifetime BAFTA for Ceremony of Innocence, a CD-ROM collaboration with Peter Gabriel's Real World. Over the last 20 years, he has delivered keynote and motivational talks across North America, Europe, and Australia. Educated in England with a Fine Art degree, Bantock's background includes work as a psychotherapist-in-training and the design of a uniquely inspired home. From 2007 to 2010, he served on Canada's postage stamp selection committee. nickbantock.com

Glenn Alexander isn't a household name. . . but you've certainly heard him play. His guitar riffs are legend, but his ego is all but hidden in his humble demeanor. From Southside Johnny to Peter Gabriel to Bob Dylan, those "in the know" know he is the cat to call when you need an awesome . . . may I say?. . . guitar god.

Send us a textWelcome to Guess the Year! This is an interactive, competitive podcast series where you will be able to play along and compete against your fellow listeners. Here is how the scoring works:10 points: Get the year dead on!7 points: 1-2 years off4 points: 3-5 years off1 point: 6-10 years offGuesses can be emailed to drandrewmay@gmail.com or texted using the link at the top of the show notes (please leave your name).I will read your scores out before the next episode, along with the scores of your fellow listeners! Please email your guesses to Andrew no later than 12pm EST on the day the next episode posts if you want them read out on the episode (e.g., if an episode releases on Monday, then I need your guesses by 12pm EST on Wednesday; if an episode releases on Friday, then I need your guesses by 12 pm EST on Monday). Note: If you don't get your scores in on time, they will still be added to the overall scores I am keeping. So they will count for the final scores - in other words, you can catch up if you get behind, you just won't have your scores read out on the released episode. All I need is your guesses (e.g., Song 1 - 19xx, Song 2 - 20xx, Song 3 - 19xx, etc.). Please be honest with your guesses! Best of luck!!The answers to today's ten songs can be found below. If you are playing along, don't scroll down until you have made your guesses. .....Have you made your guesses yet? If so, you can scroll down and look at the answers......Okay, answers coming. Don't peek if you haven't made your guesses yet!.....Intro song: Witchcraft by Witchcraft (2004)Song 1: Love Hurts by Nazareth (1974)Song 2: Big Time by Peter Gabriel (1986)Song 3: Strut by Steven Seagal (2004)Song 4: Does Your Chewing Gum Lose Its Flavour by Lonnie Donegan (1959)Song 5: Young Folks by Peter, Bjorn and John (2006)Song 6: The Puzzle Song by Shirley Ellis (1965)Song 7: Mercy by Duffy (2008)Song 8: You Wear Flowers by Peter Breinholt (1993)Song 9: In the Meantime by Spacehog (1995)Song 10: Green Grow the Lilacs by Paddy O'Brien (2004)

Wukong Couriers, 15min., USA Directed by Peter Gabriel Gagnon An unwitting bicycle messenger is chosen as the mystical hero to save the city from an ancient horror. www.instagram.com/wukong_couriers Subscribe to the podcast: https://twitter.com/wildsoundpod https://www.instagram.com/wildsoundpod/ https://www.facebook.com/wildsoundpod

John Cusack can't help but be cool.  He just is.  Probably owes Peter Gabriel big time, but it's not just the iconic "boom box" Say Anything thing.  His roles have ranged from record store owner to Edgar Allan Poe, he's heroically saved people from natural disasters and been terrorized by a kid on a bike demanding "two dollars!".  Versatile, right?  So here we have a typically cool 1997 Cusack film which also features a Ghostbuster/Blues Brother!  It gets better: my guest for this episode is a fellow podcaster from "across the pond", Anthony Short (or just "Ant", for short!)  He has an impressive knowledge of film, music, Marillion...all the good things in life, basically.  Now you can have a listen to our spirited banter about one of his favourites: Grosse Pointe Blank.  Why not give it a shot?   

In his book, “Why We Revolt,” Victor Montori decries the industrialization of healthcare.  We've become a healthcare factory, beholden to health systems motivated by profit. In particular, he laments the loss of the “care” aspect of healthcare. Clinicians are under the clock to churn through patients.  Patients are tasked with doing work outside of the clinic. Patients are tasked with hours and hours of work to self manage, obtain and manage medications, track weights and fingersticks, not to mention scheduling visits and waiting around for the visit to start. Now we have an app for that. For what, you ask? Well, for everything! Digital burden is real. Think about what we ask patients to do: charge your device, remember your password, 2 factor authentication, each interface is different, wait…where do you enter your fingersticks again? Victor is an endocrinologist who often provides care for older patients with multiple chronic conditions, polypharmacy, and complex social situations.  He's “one of us.” Some might argue that these circumstances call for incremental change.  Not Victor.  He argues that we need a revolution. In particular, he argues that the revolution must come from patients to be successful. On this podcast we discuss: Why do we need a revolution? What made him get to this point of arguing for a revolt? Why should the revolution be patient led, rather than clinician led? What role do clinicians have to play? What is minimally disruptive medicine (a term Victor coined with Carl May and Francis Mair in 2009)? How does shared decision making fit into the revolution? What's the matter with guidelines? What's the role of standardization? We suspect that most geriatrics and palliative care providers feel like they've escaped many of the issues Victor describes, trading less glamorous and remunerative work for more satisfying time spent caring for patients; focusing on what matters, goals of care, and attention to emotion and social well-being.  Are we deluding ourselves? If you'd like to join the revolution, please check out Victor's website, patientrevolution.org And I believe this is the first Peter Gabriel song request! I think Peter Gabriel's album So was the first cassette tape I purchased.  About time, 350+ podcasts in.  My son Kai turns this very non-guitar friendly song into an acoustic jam for the audio-only podcast version; you get my weaker attempt on YouTube :)  Finally, a quick plug for the Sommer Lecture series in Portland OR.  Victor and I had a terrific time bonding at this year's lecture series. While not strictly geriatrics and palliative care focused, the lectures seem targeted at a broad audience, with something for everyone.  And yes, I made them sing parody songs :) -Alex Smith  

This week on The Metro, Rev. Jeff Ivins brings you the following artists for your time warp to the 1980s: Any Trouble, Let's Active, Haysi Fantayzee, Peter Gabriel, Strawberry Switchblade, UB40, The B-52's, Duran Duran, Cyndi Lauper, Waitresses, The Human League, Nick Heyward, INXS, Fun Boy Three, Echo & The Bunnymen, and finishing off with Corey Hart.

Podcast guest 1470 is Pato Banton, minister and international reggae legend from Birmingham England who has recorded and toured with UB40, Sting, Peter Gabriel, English Beat and more. Pato is also a UFO experiencer, and expert in the Urantia Book. Pato also shares his UFO sighting during this interview.Never Give Inhttps://www.youtube.com/watch?v=zh0Dlv6koaABetter Placehttps://www.youtube.com/watch?v=YQE6qGytbz0Pato's Websitehttps://officialpatobanton.com/CONTACT:Email: jeff@jeffmarapodcast.comTo donate crypto:Bitcoin - bc1qk30j4n8xuusfcchyut5nef4wj3c263j4nw5wydDigibyte - DMsrBPRJqMaVG8CdKWZtSnqRzCU7t92khEShiba - 0x0ffE1bdA5B6E3e6e5DA6490eaafB7a6E97DF7dEeDoge - D8ZgwmXgCBs9MX9DAxshzNDXPzkUmxEfAVEth. - 0x0ffE1bdA5B6E3e6e5DA6490eaafB7a6E97DF7dEeXRP - rM6dp31r9HuCBDtjR4xB79U5KgnavCuwenWEBSITEwww.jeffmarapodcast.comSOCIALS:Instagram: https://www.instagram.com/jeffmarapodcast/Facebook: https://www.facebook.com/jeffmarapodcast/Twitter: https://www.twitter.com/jeffmaraP/ The opinions of the guests may or may not reflect the opinions of the host.

This month we appear to be teleporting between CBGB's, Studio 54,  The 100 Club, The Berlin Wall and some kind of prog gig in a field in Cambridgeshire as we battle over our favourite songs of 1977!We've each chosen our 10 favourite songs of the year and sent them over to Colin's wife Helen, who put the playlists together and distributed them so we were each given a playlist of the 20 songs from the other two hosts, along with our own 10. We then ranked the playlists in order of preference and sent them back to Helen, who totalled up the points and worked out the order.She also joined us on the episode to read out the countdown, which we found out as we recorded so all reactions are genuine.Now, admittedly, in parts we're a little bit brutal to some of the songs in the list as we're three separate people with differing music tastes, but please remember that to be in this episode at all the songs have to have been in one of our top 10's of that year.Bands featured in this episode include (In alphabetical order, no spoilers here!) - David Bowie, Chic, Commodores, Elvis Costello, The Damned, Emerson, Lake and Palmer, Dean Friedman, Fleetwood Mac, Peter Gabriel, Heldon, Richard Hell, Billy Joel, Kiss, Fela Kuti, Bob Marley & The Wailers, Anthony Phillips, Pink Floyd, Plastic Bertrand, Iggy Pop, Queen, Ramones, Suicide, Talking Heads, Television, George Thorogood & The Destroyers, Johnny Thunders & The Heartbreakers, John Williams & The London Symphony Orchestra, Wire, Bill Withers, & X-Ray SpexFind all songs in alphabetical order here - https://open.spotify.com/playlist/4Gh83sLsD9mCpQAIliafVB?si=49b9628e338d4c77Find our We Dig Music Pollwinners Party playlist (featuring all of the winning songs up until now) here - https://open.spotify.com/playlist/45zfDHo8zm6VqrvoEQSt3z?si=Ivt0oMj6SmitimvumYfFrQIf you want to listen to megalength playlists of all the songs we've individually picked since we started doing best of the year episodes (which need updating but I plan on doing them over the next few months or so), you can listen to Colin's here – https://open.spotify.com/playlist/5x3Vy5Jry2IxG9JNOtabRT?si=HhcVKRCtRhWCK1KucyrDdgIan's here - https://open.spotify.com/playlist/2H0hnxe6WX50QNQdlfRH5T?si=XmEjnRqISNqDwi30p1uLqAand Tracey's here - https://open.spotify.com/playlist/2p3K0n8dKhjHb2nKBSYnKi?si=7a-cyDvSSuugdV1m5md9NwThe playlist of 20 songs from the other two hosts was scored as usual, our favourite song got 20 points, counting down incrementally to our least favourite which got 1 point. The scoring of our own list of 10 is now slightly more complicated in order to give a truer level of points to our own favourites. So rather than them only being able to score as many points as our 10th favourite in the other list, the points in our own list were distributed as follows -1st place - 20 points2nd place - 18 points3rd place – 16 points4th place – 14 points5th place – 12 points6th place – 9 points7th place – 7 points8th place – 5 points9th place – 3 points10th place -1 pointHosts - Ian Clarke, Colin Jackson-Brown & Tracey BGuest starring Helen Jackson-Brown.Playlist compiling/distributing – Helen Jackson-BrownRecorded/Edited/Mixed/Original Music by Colin Jackson-Brown for We Dig PodcastsThanks to Peter Latimer for help with the scoring system.Part of the We Dig Podcasts network along with Free With This Months Issue & Pick A Disc.Bluesky - https://bsky.app/profile/wedigmusic.bsky.socialInstagram - https://www.instagram.com/wedigmusicpcast/Facebook - https://www.facebook.com/wedigpusicpcast/Find our other episodes & podcasts at www.wedigpodcasts.com 

It's undeniable that the merits of diversity lay at the heart of David Bottrill's vast discography. With artists like Peter Gabriel, Smashing Pumpkins, Tool, Muse, Silverchair, Staind and Rush, David's work spans genres and generations, lending to a sound that is both familiar and progressive. He's cultivated the aggressive hard-rock palette of bands like Stone Sour, Godsmack, and Mastodon, while maintaining a connection to other ends of the spectrum with artists like Afrocelt Sound System, IAMX, and Nusrat Fateh Ali Khan. With three Grammy Awards and the success of millions of copies sold worldwide, David has produced and mixed platinum and gold career-defining albums that have established paradigms and redefined genres. “I prefer to work on music that has a strong identity and shows elements of originality,” David states, “genre isn't really important.” It's this focus on identity and potential that inspires David to push artists to curate the best of themselves and make music that defines who they are in that moment. And yet, even in their individuality, each album that David works on distinctly shows his fingerprint. David spent 20 years living in the UK and has just built a new Atmos mix and overdub studio in the greater Toronto area in his native country of Canada, although he still spends much of his time working with artists in various international locations. David has recently retired from the board of directors for Make Music Matter, but still supports the non-profit that uses the creation of music and socially conscious art to help heal trauma in marginalized communities and individuals. Through Make Music Matter, David found an outlet for his experience, truly helping better the lives of others and bringing awareness to the community at large.IN THIS EPISODE YOU'LL LEARN:Balancing the artist's vision vs giving people “what they want”Mixing in subgroupsBuilding mix templates to maximize creativity and speedCarving space in the low end to get clarityMixing with a subwooferThe downside of using reverbKnowing when to step away from a mix and restart later To learn more about David, visit: https://www.davidbottrill.com/Looking for 1-on-1 feedback and training to help you create pro-quality mixes?Check out my coaching program Amplitude and apply to join:https://masteryourmix.com/amplitude/ Want additional help with your music productions?For tips on how to improve your mixes, visit: https://masteryourmix.com/ Download your FREE copy of the Ultimate Mixing Blueprint: https://masteryourmix.com/blueprint/ Get your copy of my Amazon #1 bestselling books:The Recording Mindset: A Step-By-Step Guide to Creating Pro Recordings From Your Home Studio: https://therecordingmindset.com The Mixing Mindset: The Step-By-Step Formula For Creating Professional Rock Mixes From Your Home Studio: https://masteryourmix.com/mixingmindsetbook/ Check out our Sponsors:Download Waves Plugins here: https://waves.alzt.net/EK3G2K Subscribe to the show:Apple Podcasts:

This is a preview — for the full episode, subscribe: https://newmodels.io https://patreon.com/newmodels https://newmodels.substack.com In advance of their new album SISTER—out Sept 12 via True Panther and Dirty Hit—EDM emo pop punk crunkcore electroclash dubstep screamo trance DJs, producers, and siblings Angel and Lulu AKA the @FrostChildren join NM to talk about making music in a memetically driven age. For more: https://frostchildren.xyz https://frostchildren.ffm.to/sister https://instagram.com/thefrostchildren Names cited: Above & Beyond, Adam Curtis, Addison Rae, Afrojack, All Time Low, Blood on the Dance Floor, Breathe Carolina, BryanStars, Brokencyde, Celine, Charli XCX, Fall Out Boy, Gerard Way, Gracie Abrams, Harmony Korine, I Set My Friends on Fire, Isabella Rossellini, Jane Remover, Jimmy Buffett, Kate Bush, Kim Petras, Lana Del Rey, Mac DeMarco, Marc Jacobs, margø, The Medic Droid, Mission of Burma, Miu Miu, Model/Actriz, Monstercat, Montez Press Radio, MTV Cribs, My Chemical Romance, Nirvana, Oklou, Olivia Rodrigo, Owsla, Panic! At the Disco, Paper Magazine, Peter Gabriel, Pitbull, Porter Robinson, Sabrina Carpenter, Skrillex, The Smashing Pumpkins, Spring Breakers, The Sound, Stüssy, The 1975, True Panther, Vans Warped Tour, Virtual Riot, Vivaldi

Oscar-winning director Kathryn Bigelow (The Hurt Locker, Zero Dark Thirty, Point Break) joined forces with writer James Cameron (Titanic, Terminator 2, Avatar) to craft a dark vision of the future....this was released in '95 and the story takes place four years in the future on the eve of New Year's Eve '99.  This particular story takes place in a beleaguered Los Angeles beset with violence where the latest vice of choice are "squids" which are virtual reality discs that can deliver any number of visceral experiences for those who get "jacked" into experiencing them.  Lennny (Ralph Fiennes) is a purveyor of such squids as he sells them around the LA underworld....until one night, he is provided a mysterious one which portrays something horrible occuring to some one he knows.  Is it real?  Why did he receive it? And where does it lead?  And this kicks off a tense mystery thriller not only involving Lenny but his best friend Mace (Angela Bassett) and his former love Faith (Juliette Lewis) among several others....the stacked cast also includes Michael Wincott, Glenn Plummer, Vincent D'Onofrio, William Fichtner, and the late, great Tom Sizemore.      Host & Editor: Geoff GershonEditor: Ella GershonProducer: Marlene GershonSend us a texthttps://livingforthecinema.com/Facebook:https://www.facebook.com/Living-for-the-Cinema-Podcast-101167838847578Instagram:https://www.instagram.com/livingforthecinema/Letterboxd:https://letterboxd.com/Living4Cinema/

NEKO CASE - “Wreck” SHAME - “A Quiet Life” WET LEG -”Mangetout” THE LEN PRICE 3 - “I'm A FAke” JENS LEKMAN - “Candy From A Stranger” DOUBLE VIRGO - “Bemused” SLIPPERS - “Guess I Started A Band” THE REDS, PINKS AND PURPLES - “Slow Torture Of An Hourly Wage” THE BLACK WATCH - “Achilles Past” PETER GABRIEL - “Games Without Frontiers (Live)” VUNDABAR - “I Got Cracked” DEBBY FRIDAY - “Bet On Me” MARTHA - “Standing Where It All Began” HUNX AND HIS PUNX - “No Way Out” NEW CANDYS - “Regicide” WEDNESDAY - “Elderberry Wine” HALLELUJAH THE HILLS, LYDIA LOVELESS - “Superglued To You” KATHLEEN EDWARDS - “Save Your Soul” DAR WILLIAMS - “Hummingbird Highway” MARGO PRICE - “Don't Let The Bastards GEt You Down” ROSALI - “Slow Pain” RODNEY CROWELL - “Sometime Thing” DROPKICK MURPHYS - “Who'll StandWith Us?”  

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...

In dieser Episode des Life After SAE Podcasts sprechen wir mit Hans Martin Buff über seinen beeindruckenden Werdegang als Toningenieur und Musikproduzent. Er nimmt uns mit auf eine Reise von seinen Anfängen in der Musik und seiner Ausbildung in Minneapolis über seine Zeit in Paisley Park mit Prince – inklusive aller Herausforderungen und Lektionen. Hans Martin erzählt uns von seinem Umzug nach Deutschland, den kulturellen Unterschieden in der Musikszene und dem umgedrehten Impostor-Syndrom, das ihn begleitete. Wir beleuchten seine Erfahrungen im 3D-Audio-Bereich und seine Lehrtätigkeit. Zudem sprechen wir über seine Reise zur 3D-Musikproduktion, die Entstehung seines Buches, die Zusammenarbeit mit Peter Gabriel und seinen Grammy Gewinn. Abschließend gibt uns Hans Martin Einblicke in seine Rolle als Co-Owner der MSM Studios, seine aktuellen Projekte und wertvolle Tipps für aufstrebende Musiker, wie wichtig es ist, aktiv nach Gelegenheiten zu suchen und sich auf neue Erfahrungen einzulassen.Website: https://www.buffwerk.com/LinkedIn: https://www.linkedin.com/in/hans-martin-buff-51835594/ Life After SAE auf Instagram: https://www.instagram.com/lifeaftersae/Mehr zu Kurt gibt's hier:https://www.instagram.com/kurt_jonathan_engert/Mehr zu Glen gibt's hier:https://glenschaele.com/linktree

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

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/

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

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

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 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

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!!!

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