Podcasts about Pink Floyd

Welcome back to the Beginner Guitar Academy podcast with your host, Paul Andrews! In this second instalment of the British Guitar Music series, Paul takes us on a journey through the iconic 1970s—a decade defined by stadium rock, legendary guitarists, and the birth of British heavy metal. If you missed last week's trip through the swinging '60s and the British Invasion, don't forget to catch up and check out the new riffs added to the Academy from The Rolling Stones, The Who, and The Kinks.This episode explores the rise of guitar heroes, how massive riffs filled arenas, and the revolutionary new sounds that came from some of the UK's most influential bands. Get ready for practical tips, classic riffs to try this week, inspiration from rock greats, and a peek at what's happening inside the Beginner Guitar Academy community.What's New in Beginner Guitar Academy?New Riffs Added:“Paint It Black” – The Rolling Stones“Substitute” – The Who“All Day and All of the Night” – The KinksAll available now in the Academy's riff section, complete with a new lesson format: riff introduction, playthrough, breakdown, and various practice speeds with scrolling tab.Main Topics Covered1. The Rise of Stadium Rock1970s British bands like Led Zeppelin, Queen, and Pink Floyd redefined rock.Led Zeppelin / Jimmy Page: Riff mastery (“Whole Lotta Love”), alternate tunings, innovative studio layering.Queen / Brian May: Homemade “Red Special” guitar, unique tone with a 6 pence coin, lush harmonies (“Bohemian Rhapsody”, “Tie Your Mother Down”).Pink Floyd / David Gilmour: Emphasis on note choice, emotion, and phrasing (“Comfortably Numb”).2. The Birth of British Heavy MetalHow bands like Black Sabbath created darker, heavier sounds.Tony Iommi (Black Sabbath): Overcame injury, invented prosthetic fingertips, dropped tunings (“Paranoid”, “Iron Man”).Black Sabbath's recent final show in Birmingham—an epic event featuring metal legends.Deep Purple / Ritchie Blackmore: Classical influence (“Smoke on the Water”), a must-know riff for beginners.Judas Priest: Twin guitar harmonies and high-energy metal paved the way for the 80s.3. Beginner Tips for Playing 70s Rock & MetalPower chords, bending, hammer-ons, pull-offs—all essential techniques rooted in the 70s.Metal riffs often use simple power chords, making them great for beginners.4. Homework – Riffs To Practice This Week“Smoke on the Water” – Deep Purple: Learn it on one string, then progress to more advanced versions.“Iron Man” – Black Sabbath: Excellent for practicing power chords.“Tie Your Mother Down” – Queen: Coming soon to the Academy.Resources & LinksBritish Music Spotify Playlist: check it out here: https://open.spotify.com/playlist/1c4k92MPjuDPXVSPnHLz19?si=315535319c304f89Workshop Section:Learn five awesome metal riffs (including Black Sabbath, Megadeth, Pantera, Iron Maiden, Slayer).Power chord, bending, hammer-on, and pull-off workshops for beginners.Beginner Guitar Academy Membership:Try out all lessons, workshops, community support, and more for just $1 for 14 days at beginnerguitaracademy.com.Community QuestionWhich 1970s British rock or metal guitarist inspires you the...

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

S8E28 went out live from the TSORR Studio on Myoli Beach on 10 July 2025 at 19h00 on Rebel Rock Radio.    Running order of artists featured: Kiss, Cinderella, ZZ Top, AC DC, Wolfmother, The Gaslight Anthem, The Donnas, Bruce Springsteen, BlackØwl, Megadeth, Wolf, Judas Priest, Joe Lynn Turner, David Bowie, Mott the Hoople, Limp Bizkit, Led Zeppelin, Pink Floyd, Sheron, Metallica, Ozzy Osbourne, Dire Straits, Candlemass, Trouble, Merciful Fate, Slayer, Volbeat, Tom Petty, Iron Maiden, Sodom, Bleed From Within, Avenged Sevenfold.The Story of Rock and Roll. TSORR - Your one-stop shop for Rock

                                                                                                            Intro:  One More Night – Can  Here Comes the Summer – The Undertones (1:41)                                                                                                                             2.  Summer Holiday – Cliff Richard & the Shadows (2:06)                                                   3.  Sumer is Icumen in – Huelgas Ensemble/Van Nevel (2:36)                                                                                                                               4.  I Feel Love – Donna Summer (3:45)                                           5.  The Summer Wind – Frank Sinatra (2:52)                                   6.  A Summer Wasting – Belle & Sebastian (1:59)                                                                     Hot Fun in the Summertime – Sly & the Family Stone (2:39)                                                               8.  Long Hot Summer Night – Jimi Hendrix Experience (3:26)                                                   9.  Celebrated Summer – Hüsker Dü (4:02)                                 10.  Two Weeks Last Summer – Fotheringay (3:51)                                 11.  Endless Summer – Fennesz (8:29)                                 12.  White Summer of Love – Acid Mothers Temple & the Melting Paraiso U.F.O. (2:50)                                                                                           13.  Some Summer Day – John Fahey (3:28)                                                                                                                                                            The Hissing of Summer Lawns – Joni Mitchell (3:01)                                                                             15.  Summer Nights – Bobby Hutcherson (7:06)                                                                                         16.  Shall I Compare Thee to a Summer's Day? (Sonnet 18) – Cleo Laine, featuring John Dankworth (2:24)                                                                                                                         17.  Summer Evening – John Ireland, Parkin (4:49)                                                                                                             18.  Summertime – Galaxie 500 (5:59)     Summertime – Miles Davis (3:17)                                                   20.  Some Summers They Drop Like Flies – Dirty Three (6:22)                                               21.  Estate – João Gilberto (6:28)                                               22.  Summer Sketch – Russ Freeman & Chet Baker (4:35) Summertime Blues – The Flying Lizards (3:33)                                                         24.  I Know Where The Summer Goes – Belle & Sebastian (4:37)                                                                                                                                                                                                              25.  Summer ‘68 – Pink Floyd (5:29)                                                                                                                                                                           26.  Bummer in the Summer – Love (2:24)                                 27.  Summer Wine – Nancy Sinatra & Lee Hazlewood (4:17)                                     28.  Summer Babe (Winter Version) – Pavement (3:15)                                                                                                                                                                                                                                                                                                                                   Outro: Pogles Walk – Vernon Elliott Ensemble

This is One From The Vault of the previous Rise Up With Dragon show where Dragon in the process of coming up with many aspects of the Interface Response System out of thin air. The name says it all. The whole idea of reason and clarity and understanding is only good until your reality changes and a new reality sets in. The key is to remain aware of this and open to it.   Welcome to the Makes Sense with Dr. JC Doornick Podcast.  ►Follow the Dr. JC Doornick and the Makes Sense Academy: Instagram: / drjcdoornick   Facebook:  / makessensepodcast   YouTube:  / drjcdoornick   These episodes get edited and cleaned up for the MAKES SENSE with Dr. JC Doornick PODCAST for your listening pleasure. PLEASE SUBSCRIBE/RATE/REVIEW & SHARE. FOLLOW the NEW Podcast - You will find a "Follow" button on the top right. This will enable the podcast software to notify you when a new episode is released each week. Apple: https://podcasts.apple.com/ca/podcast/makes-sense-with-dr-jc-doornick/id1730954168 Spotify: https://open.spotify.com/show/1WHfKWDDReMtrGFz4kkZs9?si=09e1725487d6484e   Podcast Affiliates: Kwik Learning: Many people ask me where I get all these topics for almost 15 years? I have learned to read at nearly 4 times the speed with 10 times the retention from Kwik Learning. Learn how to learn and earn with Jim Kwik. Get his program at a special discount here: https://jimkwik.com/dragon   OUR SPONSORS:  - Makes Sense Academy: Enjoy the show and consider joining our psychological safe-haven and environment where you can begin to thrive. The Makes Sense Academy. https://www.skool.com/makes-sense-academy/about - The Sati Experience: A retreat designed for the married couple that truly loves one another, yet wants to take their love to that higher, magical level. Come relax, reestablish and renew your love at the Sati Experience. https://www.satiexperience.com

En este episodio del Club de los Curiosos, nos adentramos en el fascinante y, a menudo, inexplicable mundo de los misterios y las "magufadas" que rodean a nuestro satélite natural: la Luna. Desde las ancestrales leyendas que la vinculan con la locura y los lobos, hasta las teorías de conspiración más modernas sobre bases secretas y el alunizaje, desgranamos algunas de las creencias más extrañas y persistentes. ¿Es la Luna un objeto artificial? ¿Existen bases extraterrestres ocultas en su cara oculta? ¿Realmente influye en nuestro comportamiento de formas que la ciencia no puede explicar? Además, exploraremos la nueva carrera espacial que tiene a la Luna en el punto de mira. Analizaremos las misiones actuales y futuras de diversas agencias y empresas, como el ambicioso programa Artemis de la NASA, que busca el regreso de los humanos a la Luna (incluyendo la primera mujer y persona de color), y la creciente actividad de China con misiones como la Chang'e-6 que busca muestras de la cara oculta. Sin dejar de lado, Pink Floyd, los Plátanos Lunares, hacer el amor sobre roca lunar y los terribles habitantes peludos con alas de la Luna… Y, por supuesto, no podemos dejar de lado los supuestos proyectos secretos de Estados Unidos relacionados con la Luna. Desde planes antiguos para establecer bases militares lunares (como el Proyecto Horizon en la Guerra Fría, que nunca se materializó) hasta las persistentes teorías conspirativas sobre instalaciones ocultas y tecnologías avanzadas. Analizaremos si hay alguna base en la realidad para estas afirmaciones, o si simplemente forman parte del folclore moderno. Una nave curiosa compuesta hoy por los tripulantes Lord Falsarius, Virginia Delgado, Francisco Bustamante, Claudio Martino, Marnofle, Javier Ramos, Javier España, Rocío Matas y el Glan Lídel Kim Jong Pons. Prepárate para un viaje intrigante donde separamos la realidad de la ficción, analizamos la psicología detrás de estas creencias y, por supuesto, nos permitimos especular un poco. ¡No te pierdas este episodio lleno de curiosidades que te harán mirar la Luna con otros ojos! Y no te pierdas al final del capitulo las bombas soltadas por nuestro Paco Quevedo. Cierre brutal con los cuentos del abuelo cebolleta!!!!! Hazte mecenas mensual desde un euro y medio en este enlace y nos ayudas mazo: https://www.ivoox.com/support/614720 Visita la nueva web del Club de los Curiosos: www.elclubdeloscuriosos.com ¿Quieres anunciarte en este podcast? Hazlo con advoices.com/podcast/ivoox/614720 Nuevo Telegram del Club de los Curiosos: https://t.me/elclubdeloscuriosos Hazte #Mecenas del Club para apoyar la lucha de los anormales por el mundo o bien haz una donación por #Bizum indicando tu nombre y la palabra anormal al 688 323 552 Web del Glan Lidel: www.albertoenriquepons.es Libro de Mark Knopfler Málaga 360: https://360malaga.es No dejes de dejar comentarios, todos serán leídos y respondidos en el próximo programa, se os quiere. Estamos en Twitch, Instagram, TikTok, Youtube, Facebook y Twitter. Nuestro Mail de Contacto: albertoenriquepons@gmail.com Youtube del Club de los Curiosos: https://www.youtube.com/channel/UC6KgIO7QIVyYNY8LDbVvErA Facebook del Club de los Curiosos: https://www.facebook.com/elclubdeloscuriosos Instagram del Club de los Curiosos: https://www.instagram.com/elclubdeloscuriosos/?hl=es Ivoox el Rincón de Aprile: https://go.ivoox.com/rf/119655736 Canal Cocina con Marisa y Thermomix: https://www.youtube.com/@cocinaconmarisaythermomix6053 Tema Cierre: Orishas Tema Cabecera: Makuki Ivoox: https://go.ivoox.com/rf/119655736 No dejes de visitar el Canal de Youtube de nuestra Cristina Marley:https://youtube.com/c/CristinaMarley El Baúl de Margarita: https://instagram.com/elbauldemargarita8?igshid=MzRlODBiNWFlZA== Ivoox de Narraciones de un Burro: https://www.ivoox.com/podcast-narraciones-burro_sq_f1507763_1.html Podcast de nuestro amigo Francisco Bustamante, el éxtasis de las abejas:https://go.ivoox.com/sq/925346 Podcast del Doctor Osorio y sus alumnos: https://go.ivoox.com/sq/2406678 Instagram Postureo en la Cocina de Manu Calatrava: https://www.instagram.com/postureoenlacocina?igsh=YjVnbXpyMWZnMDN5&utm_source=qr Instagram Marta Gonzalez Vallovera: https://www.instagram.com/artealday/?hl=es.Javier Si te gustan los animales visita www.airedelatoscana.com Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

Part 1 of my conversation with guest Jay Breitling about our favorite music of 2025 so far. Show notes: Drinking some Italian beer Rock is dead commercially Billboard album chart contains nearly no rock Fleetwood Mac's Rumours still riding high for some reason Festival cancellations: Bonnaroo, Boston Calling next year, Lollapalooza Too many festivals, high ticket prices Black Sabbath farewell show Lots of big rock deaths: Brian Wilson, Sly Stone, David Johansen, Marianne Faithfull, etc. We saw Hallelujah the Hills recently and it was glorious Kumar saw some shows: Frank Black, Shannon/Narducy, Gang of Four, Bob Mould Breitling will see Oasis in Mexico, as one does Who's the Who's drummer? Breitling's bubbling under albums: Whirr, Winter, Lunchbox, Pink Floyd reissue, Rough Francis, The Get Quick, Autocamper, Viagra Boys, Thalia Zedek Band Kumar's list: Kinski, Ty Segall, Civic, Cameron Keiber, Dean Wareham, Pulp, Psychedelic Porn Crumpets, The Bug Club, Turnstile, The Tubs, Kestrels, Lifeguard, Hotline TNT Breitling's #10: An electronic collab between Mark Pritchard and Thom Yorke Kumar's #10: Sophomore release from Horsegirl explores mellower sounds So much music to listen to these days Breitling's #9: Ambient situation delivered by William Tyler Of Bills Frisell and Laswell Kumar's #9: Post-punk ripper from Charm School Kurt Loder is still with us Kumar's #8: Heavy Spoon influence on the new album from The Convenience Breitling's #7: Dean Wareham is still bringing it To be continued  Completely Conspicuous is available through Apple Podcasts. Subscribe and write a review! The opening and closing theme of Completely Conspicuous is "Theme to Big F'in Pants" by Jay Breitling. Voiceover work is courtesy of James Gralian.

Now over 50 years old, Pink Floyd's Dark Side of the Moon remains the perfect example of a concept album. Blending cyclical forms, jazz and modal harmony, experimental electronics, multi-layered guitars, studio techniques and haunting lyrics, this lecture will examine why this album has retained its popularity, critical success, and enduring influence. This lecture was recorded by Milton Mermikides on 12th June 2025 at Rich Mix, London.Milton Mermikides  is Gresham Professor of Music.He is Associate Professor in Music at the University of Surrey, Professor of Guitar at the Royal College of Music and Deputy Director of the International Guitar Research Centre.The transcript of the lecture is available from the Gresham College website:https://www.gresham.ac.uk/watch-now/illuminating-dark-side-moonGresham College has offered free public lectures for over 400 years, thanks to the generosity of our supporters. There are currently over 2,500 lectures free to access. We believe that everyone should have the opportunity to learn from some of the greatest minds. To support Gresham's mission, please consider making a donation: https://www.gresham.ac.uk/get-involved/support-us/make-donation/donate-todayWebsite:  https://gresham.ac.ukTwitter:  https://twitter.com/greshamcollegeFacebook: https://facebook.com/greshamcollegeInstagram: https://instagram.com/greshamcollegeSupport Us: https://www.gresham.ac.uk/get-involved/support-us/make-donation/donate-todaySupport the show

On this episode, the McGuigan Brothers dive into the timeless brilliance of Pink Floyd's landmark album, The Dark Side of the Moon. Billy, Matthew and Ryan explore every dimension, from innovative studio techniques, iconic synthesizers and the mysterious voices woven through the record, to the band's creative dynamics at their artistic peak. They unravel the myths behind its synchronization with The Wizard of Oz, debate standout tracks, and reflect on how this groundbreaking album continues to resonate more than 50 years later. Join the brothers as they journey to the moon's far side…where madness, music and absolute genius collide.

ALL mmd SHOWS...Monday Morning Dullard: (every Monday morning) https://open.spotify.com/show/00Yt4ZDNYH3LZ2AEMe0DZ3arguable: (every Friday) https://open.spotify.com/show/3iKquGqsJ1m4VlALLXPq0othings i hate: (every Wednesday once a month) https://open.spotify.com/show/1paEIKco73Gl6eGzo2DpGAPodcast Directories for Monday Morning Dullard...

 Yes, I was a fallout in school. I hardly could learn my mother language and to learn writing as dyslexia was so humiliating … I am a shame of my family … And my family was teasing me that I am over stupid who had to go to a low-grade school… It was so humiliating. When I finally could finish secondary school, I had to apply for an apprenticeship … Guess what happens I failed again and again… Even they said you are too stupid for techniques, that is not true… I got my apprenticeship (telecommunication) and got in big trouble with my master… It became a nightmare, he hated me… I got sever diseases, knee problems (I could not stand long) and epilepsy, so working would not be possible in the future… I failed in the first examination after 1 year… And then I became the best in the final examination… I had to go again to school to make my high school graduation… Guess what happens … I failed in 4 subjects from 10 subjects…My family was true again that I am too stupid…?I had to make a verification in at least 3 subjects… German, English, Representing Geometry, Physics.I never could grasp the idea of Representing Geometry, No chance…The friend of my sister visited us, and I told him my problem …He said no problem, I will explain it to you and within 2 hours I could understand it… So what, most of the teachers in Germany are B. S. Then I learned the other subjects… I was coming to the verification, and there was sitting my old German teacher (83 years old) my great English teacher who was from London, the School Principal, and this lousy Physic teacher… I was humiliated, afraid to fail again… But I had to go through it…I chose the Representing Geometry… And my English teacher (actually he was a mathematics teacher) beamed and tried to help me, and I passed.And then English, my English teacher tried everything to get me through the examination, and my German teacher discouraged me by every mistake I have done… I passed.Then German,…(my father and my mother have written over 20 books, I am a disgrace of my family). Through a miracle, I passed… And Physics I failed, who cares one subject to fail is allowed… At the University, I have done the physic examination as one of the best from 300 students! Pink Floyd, The wallWe don't need no educationWe don't need no thought controlNo dark sarcasm in the classroomTeachers leave them kids aloneHey, teachers, leave them kids alone… There was in New York, a school where 90% of the students failed in the graduation…The School Principle put in one container the name tags of all students from the final class and in the other container the name tags of all teachers… They pulled (with the eyes closed) for one class the names of the students and the teachers who were teaching in this class… The School Principle explained to the teachers in this particular class that they have chosen the best students and the best teachers to get the best examinations and the teacher should not tell that anybody because of jealousy… Guess what happens… In this class, 90% of the students passed the examination, and in all the other classes passed only 10%…  My Video: Episode 2, How to study when you are too stupid? https://youtu.be/TJ2s6cNCPf8My Audio: https://divinesuccess.net/wp-content/uploads/2021/Podcast.B/Episode-2-How-o-study-when-you-are-too-stupid.mp3

En este episodio hablamos deThe Black Parade, el legendario álbum de My Chemical Romance lanzado en 2006. Con su sonido entre el emo, el punk y el rock , este disco es uno de los mejores albumes conceptuales de la historia, siendo comparado a "The Wall" de Pink Floyd. El álbum sigue la historia de “The Patient” y reflexiona sobre la muerte y todo el viaje emocional que es morir. Con este álbum, la banda alcanzó su punto más ambicioso y dejó una marca imborrable en toda una generación y el género del emo rock.

Time doesn't just pass—it devours. In this raw and thought-provoking episode, Raghunath and Kaustubha unpack a powerful moment from the Śrīmad Bhāgavatam, where the tyrant Kaṁsa wakes in dread, realizing that Time itself—the force that ends all things—has come for him. With lyrical insights from Pink Floyd, unexpected depth from the Insane Clown Posse, and timeless wisdom from ancient India, they explore what it means to live with urgency, die with clarity, and access the eternal—right now. Key Takeaways: •⁠  ⁠“The sun is the same in a relative way—but you're older” •⁠  ⁠Kaṁsa's existential crisis and the arrival of death personified •⁠  ⁠Insane Clown Pundits? — finding truth in unexpected places •⁠  ⁠One good round: the mantra practice that changes everything •⁠  ⁠How Vedic wisdom teaches us to step out of time—and into eternity Time is chasing you. But you can stop running.

Time doesn't just pass—it devours. In this raw and thought-provoking episode, Raghunath and Kaustubha unpack a powerful moment from the Śrīmad Bhāgavatam, where the tyrant Kaṁsa wakes in dread, realizing that Time itself—the force that ends all things—has come for him. With lyrical insights from Pink Floyd, unexpected depth from the Insane Clown Posse, and timeless wisdom from ancient India, they explore what it means to live with urgency, die with clarity, and access the eternal—right now. Key Takeaways: •⁠  ⁠“The sun is the same in a relative way—but you're older” •⁠  ⁠Kaṁsa's existential crisis and the arrival of death personified •⁠  ⁠Insane Clown Pundits? — finding truth in unexpected places •⁠  ⁠One good round: the mantra practice that changes everything •⁠  ⁠How Vedic wisdom teaches us to step out of time—and into eternity Time is chasing you. But you can stop running.

Episode 5 of our sister podcast Planet Music. Hope you enjoy.The Planet Music guys are back again to cast their eyes and ears over Pink Floyd's first post Waters album "A Momentary Lapse of Reason" from 1987.Chat includes the background to the album and tour, a track by track review, the artwork and imagery surrounding this 'rebirth" of Floyd. Is it a "clever forgery" (as grumpy Roger once said) or a rough diamond?What do you think of this album? Let us know in our Facebook group https://www.facebook.com/groups/651497387797567/

TODAY on the show we started off with some sports talk and also talked about what we were gonna be getting up to over the weekend. We got into our Days of the Week and received our PRIDE Word of the Day. Sarah B told us how she finally booked her dream trip to Italy. We got in our weekly Horoscopes. We did some leftover LaTOT ratings. Lastly we had an awesome talk with Actor and Musician Corey Feldmen! MONDAY on the show we announce our Sports Picks winner! Plus Mr. Skin, Talk Nerdy to Me and Celebrity Death Pool!CLIP OF THE DAY: We Had Actor-Musician Corey Feldmen On The Show Today 100:00:00,000 --> 00:00:06,000So joining us right now, Cory Feldman, who is multi-talented.200:00:06,000 --> 00:00:10,000And of course he's been in some major motion pictures in his lifetime300:00:10,000 --> 00:00:15,000and other assorted TV-Vagabinese. He's a musician too.400:00:15,000 --> 00:00:17,000Let's say actors. - Right there.500:00:17,000 --> 00:00:19,000It's a good song, Cory.600:00:19,000 --> 00:00:21,000Hey guys, thank you very much. Appreciate it.700:00:21,000 --> 00:00:22,000I hope you're enjoying it.800:00:22,000 --> 00:00:24,000So you like a Beatles freak?900:00:24,000 --> 00:00:27,000Well, I don't know about a freak, but I'm definitely a Beatles fan.1000:00:27,000 --> 00:00:30,000Yeah.1100:00:30,000 --> 00:00:33,000I mean, I haven't hung out outside any of their apartments or anything like that.1200:00:33,000 --> 00:00:36,000I haven't gotten that far, but yes.1300:00:36,000 --> 00:00:37,000I've grown up on the Beatles.1400:00:37,000 --> 00:00:41,000I certainly was influenced heavily as you can tell by the Beatles.1500:00:41,000 --> 00:00:43,000So that was my childhood.1600:00:43,000 --> 00:00:47,000And then as I became a teenager, I went through my pop phase,1700:00:47,000 --> 00:00:51,000you know, listening to Michael Jackson and Madonna, and Cindy Lopper and all the stuff that was on in the 80s.1800:00:51,000 --> 00:00:56,000And then I got back to Psychedelia, you know, with the Beatles and Pink Floyd and all the other people.1900:00:56,000 --> 00:01:00,000And Pink Floyd and all that kind of stuff when I hit, you know, my teens.2000:01:00,000 --> 00:01:02,000And that was kind of my re-inspiration.2100:01:02,000 --> 00:01:05,000And from that point, I took a deep dive and I got very into them.2200:01:05,000 --> 00:01:16,000So in celebrating my 50th year in entertainment, I thought, what better way to do it than with a song that kind of, you know, encapsulates what my experience was.2300:01:16,000 --> 00:01:22,000And also talks about the characters that I've been throughout the years, but also the characters that we all play in each other's lives.2400:01:22,000 --> 00:01:27,000And we're coming in and out of each other's lives. We play various roles. We play different parts for each other.2500:01:27,000 --> 00:01:30,000And different people play parts for us, you know.2600:01:30,000 --> 00:01:33,000So it's all part of the ongoing fabric of life.2700:01:33,000 --> 00:01:36,000Lex plays the part of the dick on our show.2800:01:36,000 --> 00:01:38,000Well, I'm sorry to you, Lex.2900:01:38,000 --> 00:01:43,000No, don't be, it's the most fun role I've ever had.

We've come to the end...or is it the beginning?  This is part 4 of my series of episodes about the emotional and intellectual contact Stanley Kubrick made between movie-goers and his epic science-fiction film of 1968. Here's the amazing mashup between Pink Floyd's 'Echoes' and the final sequence of 2001. Please sign up for my newsletter if you haven't; it's free and filled with random recommendations based on what I'm reading, watching and listening to on a given week. Some of it podcast-adjacent and some totally unrelated.

On today's show, Jase's call drama continues , there's some big upsets in the Fight Club and Mogey is stoaked with the result of the Big Poll EMSTIMPES: (00:30) Intro -Jase thinks Pink Floyd sucks(04:10) The listeners like Pink Floyd(06:14) The Monkey Boozie saga(10:50) Whats on the telly!?(15:59) Day Tripper(17:58) Pink Floyd beat Nirvana(20:11) Intro - Tool vs Pearl Jam(22:12) Monkey Boozie Saga cont..(24:24) Jase's phone drama day 2(29:28) Would you rather?!(33:41) Tool move on through!(35:24) intro - Get the Defib out(36:39) THE BIG POLL(40:13) meatpattienips69@gmail.com(44:12) Getting ready for the final(46:44) Outro - Hacking Follow The Big Show on Instagram: https://www.instagram.com/haurakibigshow Subscribe to the podcast now on iHeartRadio, YouTube, or wherever you get your podcasts! Featuring Jason Hoyte, Mike Minogue, and Keyzie, "The Big Show" drive you home weekdays from 4pm on Radio Hauraki. Providing a hilarious escape from reality for those ‘backbone’ New Zealanders with plenty of laughs and out-the-gate yarns. Download the full podcast here: iHeartRadio: www.iheart.com/podcast/1049-the-hauraki-big-show-71532051/?follow=true Apple: https://podcasts.apple.com/us/podcast/the-hauraki-big-show/id1531952388 Spotify: https://open.spotify.com/show/20OF8YadmJmvzWa7TGRnDI See omnystudio.com/listener for privacy information.

Send us a textRewind to 26 June 2005 to 2 July 2005

Before the internet, it was reasonably easy to just disappear. Get a fake ID, leave the country with some cash, and you were gone. These kinds of mysteries can also be found in the world of music; artists who disappear without a trace…and I'm not talking about musicians who retired and then become recluses…there are plenty of those. We haven't seen much of Steve Perry since he left Journey…he's very much alive but isn't interested in being famous anymore…Syd Barrett tripped out on too much LSD, got fired from Pink Floyd, and was rarely seen by anyone until he died of cancer in 2006…John Deacon of Queen gave up his music career after Freddie Mercury died…we haven't seen anything of him. Then there are the musicians who disappeared involuntarily…one day they were here and the next day, they were just gone…and this has happened a lot more than you may realize. This is episode 43 of “Uncharted: Crime and Mayhem in the Music Industry”…and the next of this program is “Missing and Presumed Dead”. Learn more about your ad choices. Visit megaphone.fm/adchoices

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

Send us a textWelcome PE Nation!Let's talk headline vs. cover bands today! Find your original teaching voice by drawing inspiration from mentors but creating something uniquely yours instead of just copying others' work. The difference between being a "cover band" teacher versus a headliner is developing personalized approaches from multiple influences.• Working part-time at Hertz Arena exposed me to Brit Floyd, a Pink Floyd tribute band making millions without creating anything original• Started teaching PE in 2011 without formal training, initially feeling like a fraud and relying entirely on others' materials• Found mentors through PE Central, Twitter and Voxer communities who transformed my teaching approach• Created my signature tchoukball tournament by combining influences from multiple mentors rather than copying any single approach• Austin Kleon's book Steal Like an Artist provides a framework for taking inspiration while creating something original• Challenge yourself to become an original rather than teaching the same borrowed curriculum for 30 yearsBe original,Dave-my article, "Be a Headliner, not a Cover Band"-Supersizedphysed.com serves as the hub for all resources, articles, and courses• Free resources include Substack and Medium articles with PE tips, games, and strategies• A free video course on the "PE-9": principles for improving your PE program• Free ebook on setting up your PE program, especially helpful for newer teachers• "High Fives and Empowering Lives" book available as an ebook ($2.99) or paperback ($9.99)Paperback or download: HEREAmazon Ebook: HEREWebsite for the book: https://www.teacherchefhockeyplayerbook.com/

Canada's premier Pink Floyd tribute band, Floydium, meticulously recreates the iconic 1975 concert experience with period-accurate instruments, quadraphonic sound, and stunning visuals, delivering Pink Floyd's complete catalog from the Syd Barrett era through their final works. Floydium City: Kawartha Lakes Address: 63 Songbird Crescent Website: https://www.floydium.com/shows Phone: +1 416 708 0984 Email: leondadoun@yahoo.com

On the June 23 edition of the Music History Today podcast, Aretha records, Tiffany hits the mall, and Led Zep may be guilty of many things, but not at least one of them. Also, it's Duffy's and Jason Mraz's birthdays.For more music history, subscribe to my Spotify Channel or subscribe to the audio version of my music history podcasts, wherever you get your podcasts fromALL MUSIC HISTORY TODAY PODCAST NETWORK LINKS - https://allmylinks.com/musichistorytodayResources for mental health issues - https://en.wikipedia.org/wiki/List_of_suicide_crisis_lineshttps://findahelpline.comResources for substance abuse issues - https://988lifeline.orghttps://www.samhsa.gov/find-help/helplines/national-helpline

In today's episode, Joe confesses his long-standing dislike for Led Zeppelin and Pink Floyd, despite repeated attempts to enjoy them. The hosts then take a serious turn to address Contemporary Christian Music's (CCM) “worst-kept secret” regarding Michael Tait, including his admission of drug and alcohol struggles, homosexuality, and claims of unwanted touching. It's a candid discussion on the allegations against Michael Tait and the dark side of CCM.If you or someone you know has experienced sexual assault or misconduct, help is available. In the United States, you can contact the National Sexual Assault Hotline at 1-800-656-HOPE (4673), operated by RAINN (Rape, Abuse & Incest National Network). This confidential, 24/7 service connects callers to trained support staff who can provide resources, counseling referrals, and guidance on reporting options. You can also access support online at rainn.org. Reporting to law enforcement is a personal decision, and RAINN offers information to help navigate the process. Internationally, check local resources for similar hotlines and support services. You are not alone, and help is available.Patreon: www.patreon.com/pickleandbootshop Merch: www.bonfire.com/store/the-pickle-and-boot-shop--shop/ Email: thepickleandbootshop@gmail.com Instagram: joeandreesepabs Diabolical Discussion by Daniel Rock: facebook.com/groups/diabolicaldiscussion Good Eats: beefaro

From psychedelic beginnings to progressive rock masterpieces, Pink Floyd's 50-year journey revolutionized music. Their evolution from Syd Barrett's vision to Roger Waters' conceptual epics created timeless classics like 'Dark Side of the Moon' that continue influencing artists across genres. For more, visit https://www.floydium.com/shows Floydium City: Kawartha Lakes Address: 63 Songbird Crescent Website: https://www.floydium.com/shows Phone: +1 416 708 0984 Email: leondadoun@yahoo.com

Gilad Cohen is an acclaimed composer, performer and theorist in concert music, rock and theater. He plays piano, bass guitar and guitar. In the last year alone his music has been performed in over 40 concerts around the world including in France, Spain, Austria, Lithuania, Canada, Japan and the U.S. He's won multiple competitions. And he's a Pink Floyd SuperFan!My featured song is my reimagined version of The Who's “I Can't Explain” recorded live in concert at the Nisville Jazz Festival. Spotify link.---------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!Click here for All Episodes Click here for Guest List Click here for Guest Groupings Click here for Guest TestimonialsClick here to Subscribe Click here to receive our Email UpdatesClick here to Rate and Review the podcast—----------------------------------------CONNECT WITH GILAD:www.giladcohen.com________________________ROBERT'S RECENT SINGLES:“THE CUT OF THE KNIFE” is Robert's latest single. An homage to jazz legend Dave Brubeck and his hit “Take Five”. It features Guest Artist Kerry Marx, Musical Director of The Grand Ole Opry band, on guitar solo. Called “Elegant”, “Beautiful” and “A Wonder”! CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS—----------------------------“DAY AT THE RACES” is Robert's newest single.It captures the thrills, chills and pageantry of horse racing's Triple Crown. Called “Fun, Upbeat, Exciting!”CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS___________________“MOON SHOT” reflects my Jazz Rock Fusion roots. The track features Special Guest Mark Lettieri, 5x Grammy winning guitarist who plays with Snarky Puppy and The Fearless Flyers. The track has been called “Firey, Passionate and Smokin!”CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS____________________“ROUGH RIDER” has got a Cool, ‘60s, “Spaghetti Western”, Guitar-driven, Tremolo sounding, Ventures/Link Wray kind of vibe!CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS—--------------------------------“LOVELY GIRLIE” is a fun, Old School, rock/pop tune with 3-part harmony. It's been called “Supremely excellent!”, “Another Homerun for Robert!”, and “Love that Lovely Girlie!”Click HERE for All Links—----------------------------------“THE RICH ONES ALL STARS” is Robert's single featuring the following 8 World Class musicians: Billy Cobham (Drums), Randy Brecker (Flugelhorn), John Helliwell (Sax), Pat Coil (Piano), Peter Tiehuis (Guitar), Antonio Farao (Keys), Elliott Randall (Guitar) and David Amram (Pennywhistle).Click HERE for the Official VideoClick HERE for All Links—----------------------------------------Audio production:Jimmy RavenscroftKymera Films Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com 

The episode dives into the vibrant music scene of Northeast Wisconsin. Hosts John Maino and Jim Schmitt engage with guests about the Mile of Music festival and the unique influence of music educators. They explore the role of educators in nurturing young talent, the intertwining of personal passion with public performance, and the challenges artists face. The conversation shifts to a lively discussion with musician-turned-lawyer Ike Arumba, who shares tales from the Seattle grunge explosion, his legal adventures with bands like Pearl Jam, and his return to Wisconsin. The episode wraps with a spotlight on the upcoming Pink Floyd tribute at the Grand Oshkosh. Maino and the Mayor is a part of the Civic Media radio network and airs Monday through Friday from 6-9 am on WGBW in Green Bay and on WISS in Appleton/Oshkosh. Subscribe to the podcast to be sure not to miss out on a single episode! To learn more about the show and all of the programming across the Civic Media network, head over to https://civicmedia.us/shows to see the entire broadcast lineup. Follow the show on Facebook and X to keep up with Maino and the Mayor! Guest: Ike Arumba

Ladies and gentlemen, boys and girls --It is my privilege to share with you that Brian Kraemer and Nic Aguero of GFM Recording Studios in Blue Springs joined me for a fine, fine conversation that became Episode No. 172 of this here podcast.Their spot lives online at gfmrecording.com and I encourage you to follow them on Instagram, as well. They are learned (shouts out to Chuck) in the recording arts and geared for creating custom beats, mixing, mastering, and are just the right fit for artists, bands, agencies, and all of your Sync needs.During our conversation, we talked about family, upbringing, serving in the armed forces, faith, trauma, and so much more. And somewhere in the mix we took a peek at a few of their favorite albums, which were these:Pink Floyd's The Wall (1979)Holy Water (1990), Bad CompanySublime's 40 oz. to Freedom (1992)Smash (1994), The OffspringDave Matthews Band's Crash (1996)Ænima (1996), ToolKorn's Life is Peachy (1996)self-titled (1997) Third Eye BlindBlink 182's Enema of the State (1997)Significant Other (1999), Limp BizkitSevendust's Home (1999)Chronic 2001 (1999), Dr. DreDisturbed's The Sickness (2000)Morning View (2001), IncubusKillswitch Engage's Alive or Just Breathing (2002)Ocean Avenue (2003), YellowcardAs I Lay Dying's An Ocean Between Us (2007)It was a short list, but we managed to get through it with ease.So, please consider the fellas at GFM for any and all of your recording needs. You can book with them online, D.M. them on the ol' 'Gram, or give them a buzz if you like at 816-598-8810.Very thankful for the time and talk with Brian and Nic. Fantastic guys.And thank you for your support of the progrum.copyright disclaimer: I do not own the rights to the audio clips contained within this episode. They are snippets I lifted from a Blues Traveler tune called, "Whoops," which can be found on their 1993 release, Save His Soul, c/o A&M Records. Note: I mistakenly spoke about the Grateful Dead's "Scarlet Begonias" opening notes when I was clearly thinking of how the song "Shakedown Street" starts. As John Popper sang, "Whoops."

Another pod in the wall pt 3000. Fredo, Peter, Roley, Chad, and Justin are talking about Pink Floyd.Learn Em and Love Em People.Please consider pledging to our ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Patreon⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.If you wanna play ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠sign up⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.Listen to the⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠playlist

On this special episode of Vinyl Verdict, Bell, Jamie and Adam go see a concert film! In a first for the podcast, we cover Pink Floyd's "Live At Pompeii" film, which was recently re-released to theatres in IMAX format. Along with restored visuals, the films' audio was reworked with a new 5.1 mix by Steven Wilson. Filmed partially inside the Amphitheatre of Pompeii and partially within a studio, the film explores their music prior to the release of "Dark Side of the Moon", and is bookended by a performance of the song Echoes, originally from the album "Meddle". But what will the boys think of the movie? Come along and find out, and be sure to let us know if you'd like us to cover other concert films and their soundtracks in the future!

In this fascinating episode of Fingal's Cave, host Ian Priston sits down with a legendary figure from Pink Floyd's early days - an underground taper known as The Masked Marauder. One of just a few people who recorded the band live in the 1960s, he shares candid memories of the counterculture, classic gigs at UFO and Middle Earth, and capturing historic BBC radio sessions from his living room.Hear personal reflections on:• Syd Barrett and David Gilmour-era Pink Floyd shows• Legendary venues like the Roundhouse and Eel Pie Island• Taping the The Man and The Journey premiere and other bands such as Soft Machine• His bohemian lifestyle, radical activism, and outsider spirit.Now 82 and sharp as ever, the Masked Marauder brings the psychedelic era to life with wit, warmth, and authenticity. A must-listen for Pink Floyd fans, music historians, and anyone interested in the London 1960s underground scene.Recorded at his home on a busy London street, the conversation is rich with atmosphere, quiet pauses, and thoughtful insights. As always, Fingal's Cave favours authentic conversations over formal interviews.Please find here a subtitled version: https://www.youtube.com/watch?v=UjUAxlTTvAgSubscribe to Fingal's Cave for more journeys to the edges of Pink Floyd music history.

The Kinks once played a concert organized by serial killer John Wayne Gacy? It's true! This story and much more with Andrew Craneman, author of The Rock And Roll Almanac: A Day-By-Day Journey Through 70 Years of Legendary Music History.Purchase a copy of The Rock And Roll Almanac: A Day-By-Day Journey Through 70 Years of Legendary Music History Follow The Rock And Roll Almanac/Andrew CranemanBlueskyFacebookInstagramX---------- BookedOnRock.com The Booked On Rock Store The Booked On Rock YouTube Channel Follow The Booked On Rock with Eric Senich: BLUESKY FACEBOOK INSTAGRAM TIKTOK X Find Your Nearest Independent Bookstore Contact The Booked On Rock Podcast: thebookedonrockpodcast@gmail.com The Booked On Rock Music: “Whoosh” by Crowander / “Last Train North” & “No Mercy” by TrackTribe

En esta entrega de La Ruleta Rusa hemos escuchado y comentado los siguientes álbumes:ÁLBUM DESTACADO. 21st Century Schizoid Band. Pictures of a City, Live in New York (2024).Brant Bjork Trio. Once Upon A Time In The Desert (2024).The Black Crowes. The Southern Harmony And The Musical Companion (1992).Pink Floyd. Live at Pompeii - MCMLXXII (2025).Ángel Ontalva & Vespero, Memories of Sada - Live at Tuneyadets (2025).Steve Winwood & Friends. Dear Mr. Fantasy -Featuring the Music and Legacy of Jim Capaldi- (2007).Bad Company. Straight Shooter (1975).

Join host Buzz Knight for a special episode of “Takin’ a Walk” as he chats with Paul Rappaport, a legendary figure in the music industry, about his brand new book called "Gliders Over Hollywood: Airships, Airplay and the Art of Rock Promotion." In this intimate conversation, Paul shares behind-the-scenes stories from his remarkable career, insights into the artists and moments that shaped music history, and the inspiration behind his latest writing. Whether you’re a lifelong music fan or just love a good story, this episode offers a rare glimpse into the life and legacy of someone who helped define generations of sound, from a list of artists that includes : Bob Dylan, Bruce Springsteen, The Rolling Stones, Pink Floyd, Elvis Costello and many others. You'll love the behind the scenes stories on this episode. A Note to our Community Your support means everything to us! As we continue to grow, we’d love to hear what guests you might find interesting and what conversations you’d like us to explore nest. Have a friend who might enjoy our conversations? Please share our podcast with them! Your word of mouth recommendations help us reach new listeners that could benefit from our content. Thank you for being part of our community. We’re excited for what’s ahead! Check out our newest podcast called “Comedy Saved Me” wherever you get your podcasts. Warmly Buzz Knight Founder Buzz Knight Media ProductionsSupport the show: https://takinawalk.com/See omnystudio.com/listener for privacy information.

Join host Buzz Knight for a special episode of “Takin’ a Walk” as he chats with Paul Rappaport, a legendary figure in the music industry, about his brand new book called "Gliders Over Hollywood: Airships, Airplay and the Art of Rock Promotion." In this intimate conversation, Paul shares behind-the-scenes stories from his remarkable career, insights into the artists and moments that shaped music history, and the inspiration behind his latest writing. Whether you’re a lifelong music fan or just love a good story, this episode offers a rare glimpse into the life and legacy of someone who helped define generations of sound, from a list of artists that includes : Bob Dylan, Bruce Springsteen, The Rolling Stones, Pink Floyd, Elvis Costello and many others. You'll love the behind the scenes stories on this episode. A Note to our Community Your support means everything to us! As we continue to grow, we’d love to hear what guests you might find interesting and what conversations you’d like us to explore nest. Have a friend who might enjoy our conversations? Please share our podcast with them! Your word of mouth recommendations help us reach new listeners that could benefit from our content. Thank you for being part of our community. We’re excited for what’s ahead! Check out our newest podcast called “Comedy Saved Me” wherever you get your podcasts. Warmly Buzz Knight Founder Buzz Knight Media ProductionsSee omnystudio.com/listener for privacy information.

This Week on America's Podcast: We slam you harder than a metal riff with the one and only Metal Mike Tyler! Together, we dive headfirst into Metal Church's The Dark — is it a thrash classic that'll make your head bang or a total meltdown waiting to happen? Spoiler: no spoilers here… we like to keep you guessing (and slightly confused). Tracks of the Week: Marc rocks out to “Good Day in Hell” by The Eagles — because who doesn't want a sunny trip to the underworld? Mooger shreds with “Practice What You Preach” by Testament — sermon style, but with guitars. Metal Mike brings the doom with “Never Known Peace” by Doomsday — perfect for when your existential crisis hits hard. And we close out with Jerry jamming “The Nile Song” by Pink Floyd — because nothing says metal like psychedelic chaos. Tune in, turn it up, and remember: get in the pit and try to love someone! Like, subscribe, share, and shower us with love — because this podcast loves you more than your grandma loves bingo night.

Roots Music Rambler is not designed to be a breaking news outlet, but don't tell Ben Chapman that. In our recent sit-down for Roots Music Rambler the Georgia-native and standout singer-songwriter dropped news item after news item. Chapman, who recently tied the knot with longtime girlfriend and fellow songwriter Meg McRee shared the news of their upcoming first child (which they'd already shared on social media), but then told of a new solo album coming up, plus a collaboration project with McRee, Brit Taylor and Adam Chafins. The foursome released “Gone as it Gets” three years ago. Apparently a 10-track LP from the group is due in early 2026! On his new solo album, Chapman said, “It's weird.” He likened it to Pink Floyd, but promised it wouldn't be a huge departure from what his fans have come to expect from him. Chapman's latest album is Downbeat. He's been touring in support of it for over a year now and has added up-and-coming performer to an already impressive songwriting resume which includes material recorded by Shelby Lynne, The Steel Woods, Flatland Cavalry and Muscadine Bloodline, among others. He's spent the better part of the last 6-7 years as a contract songwriter in Nashville, along with McCree, who is a frequent collaborator.  We were thrilled to have him join us and excited at the news he wound up sharing. You'll enjoy this episodes.  Frank and Falls also share this week's Pickin' the Grinnin' choices for artist recommendations for you.  Download the episode and subscribe at rootsmusicrambler.com or wherever you get your podcasts.  Also be sure to help spread the love of the show with Roots Music Rambler's new merch, now available at rootsmusicrambler.com/store. Authentic t-shirts, hats and stickers are now available.  Buckle up for The Hoe-Down and the Throw-Down! It's a new episode of Roots Music Rambler. Notes and links:  Ben Chapman Online Ben Chapman on Spotify Ben Chapman on Instagram Meg McRee on Spotify Meg McRee on Instagram The Chapman/McCree/Brit Taylor/Adam Chaffins collaboration The Roots Music Rambler Store Roots Music Rambler on Instagram Roots Music Rambler on TikTok  Roots Music Rambler on Facebook Jason Falls on Instagram Francesca Folinazzo on Instagram Pickin' the Grinnin' Recommendations Rooster Blackspur Bruce Springsteen's Land of Hopes and Dreams (new protest EP) Subscribe to Roots Music Rambler on Spotify, Apple Podcasts, GoodPods or wherever you get your podcasts. Theme Music: Sheepskin & Beeswax by Genticorum; Copyright 2025 - Falls+Partners. Learn more about your ad choices. Visit megaphone.fm/adchoices

Here is episode 4 of our Sister Podcast - Planet Music.Join Grae Tennick, Mikey Kay, Craig Houston & Mezza as they take a look at Simple Minds 1982 album "New Gold Dream 81/82/83/84.".An in-depth chat includes the origins and stories around the album, a track by track review, artwork, tour information and a look at the legacy of this break out album for the band. What do you think of this album?Join the discussion in our Facebook group https://www.facebook.com/groups/651497387797567/Our next episode, in 2 weeks time, features Pink Floyds " A Momentary Lapse of Reason".

Grandpa Bill's Grunts & Groans,Grandpa Bill: You see, when you're starting from scratch, especially without knowing how to read traditional music notation, the sheer amount of information can be overwhelming. Chords, scales, string names, fret numbers—it's a lot! So, I immediately thought of my mnemonics, my trusty PAO, and of course, our beloved Memory Palaces.I started with a simple, tangible object: a baseball bat. Yes, a baseball bat! I used it to represent the neck of a guitar. Then, I grabbed some Post-it Notes and cut them into strips, making 15 "frets" along the bat. For the strings, I used more Post-it Notes, labeling them with a classic mnemonic: E-very G-ood B-oy D-oes F-ine (or F-udge, if you prefer a sweeter ending!). This physical representation, even just with a bat, immediately made the abstract concept of a guitar more concrete.Building Your Guitar Memory PalaceGrandpa Bill: Now, the real magic happens when we bring in the Memory Palace. For those new to the concept, a Memory Palace is simply a familiar location—your home, your garden, a favorite walking path—where you systematically place information you want to remember.Here's how I'm expanding on my "baseball bat guitar" idea to create a robust Memory Palace for learning rock guitarists and their signature instruments, integrating PAO (Person, Action, Object) associations.First, identify your Memory Palace. For me, it's my living room. Each "fret" on my imaginary guitar, from the open strings to the 15th fret, becomes a station in my Memory Palace.Let's take the open strings as our first station. This is where we'll place our legendary guitarists.E (low E string): I'm picturing Eric Clapton (Person) majestically strumming (Action) his iconic Gibson ES-335 (Object). I can see him sitting right there on my favorite armchair, filling the room with the bluesy sound of "Layla."A string: For the A string, I see the legendary Angus Young (Person) from AC/DC, wildly duck-walking (Action) across my rug with his Gibson SG (Object), plugged into an imaginary Marshall stack in the corner. You can almost feel the energy!D string: Here comes David Gilmour (Person) of Pink Floyd, calmly bending a note (Action) on his Fender Stratocaster (Object) near the fireplace, creating those ethereal, soaring sounds.G string: I envision Jimmy Page (Person) from Led Zeppelin, with his double-necked Gibson EDS-1275 (Object), dramatically playing a bow (Action) across the strings in the center of the room.B string: For the B string, I'm placing B.B. King (Person) gently cradling (Action) his beloved Lucille (Object), his black Gibson ES-335, on the coffee table, letting out a soulful vibrato.E (high E string): And finally, for the high E, I'm seeing Eddie Van Halen (Person) exuberantly tapping (Action) on his custom-designed Frankenstrat (Object) near the window, a whirlwind of sound.https://www.buzzsprout.com/2222759/episodes/17324485

Brian, Blake, and Richard are back for Episode 569 of the Chasing Tone Podcast - Don't touch Mr Frost's Muff and Brian makes a huge confession   Good Morning tonechasers! Brian van Winkel has aroused himself from his slumber and he is suffering from a severe case of builders' crack but has invented the successor to MTV so all is well. Do you enjoy making music? Some Ai feller thinks that the fun is not in the playing and the guys rage apoplectic at this outrageous notion.  Brian tries to describe a famous cryptid and fails and the irony is observed. The rise of Ai videos has got the guys worried (again) so Richard asks the machine what Brian thinks about Pink Floyd...and he makes a huge surprise confession! Richard is sad about the death of Sly Stone and pays tribute to one of his favorite musical bandleaders of all time. Should Wampler make a new tweaked Tumnus? There was a post in the Wampler Facebook group and Richard challenges Brian with the idea. Richard has an idea for a new video series and Blake is not impressed as he repeats his explanations. He has also has visited the worst pub in the world and tells us about it. Blake is excited by the Wigan kebab. Kirk Hammett's secret sales, Zappa, Thierry Henry, The Tumnus company, Holy Holy, Scotch Eggs, Roadhouse Blues...it's all in this week's Chasing Tone!We are on Patreon now too!Support the show (https://www.patreon.com/chasingtonepodcast)Youtube:https://www.youtube.com/@chasingtonepodcastAwesome Course, Merch and DIY mods:https://www.guitarpedalcourse.com/https://www.wamplerdiy.com/Find us at:https://www.wamplerpedals.com/https://www.instagram.com/WamplerPedals/https://www.facebook.com/groups/wamplerfanpage/Contact us at: podcast@wamplerpedals.comSupport the show

Sleeping Pandora Drifting 5:34 Flowmotion 2025 Sleeping Pandora The Dome 13:54 Signs In The Sky 2020 Sleeping Pandora Between Earth And Moon 9:21 Blue Sphere 2018 Sleeping Pandora Interplanetary Mediation 13:02 Ride The Horizon 2021 Sleeping Pandora Resonate To Faith 7:43 Flowmotion 2025 Sleeping Pandora Neverending Dream 11:27 Flowmotion 2025 Sleeping Pandora Beach 11:10 From […]

Mike and I talk about his book about Pink Floyd titled Everything Under the Sun. You can find his book here: https://thehistorypress.co.uk/publication/everything-under-the-sun/ and his substack here: https://mikecormack.substack.com/

El amigo secreto y Rafael Panadero se atreven con los primeros acordes de un clásico de Pink Floyd. Al ritmo de "The Wall" (Pink Floyd) empezamos la mañana.

El amigo secreto y Rafael Panadero se atreven con los primeros acordes de un clásico de Pink Floyd. Al ritmo de "The Wall" (Pink Floyd) empezamos la mañana.

Enjoying the Ride: On TourThe Deadcast season finale hits shows at 3 legendary venues, exploring Dick Latvala's transformative experience at Red Rocks ‘79, Hollie Rose's tour journal, the wonders of the Alpine Valley parking lot, & when Shakedown Street got its name.Guests: David Lemieux, Jay Kerley, Hollie Rose, Rebecca Adams, Bill Lemke, Phil Garfinkel, Jim Jonze, Tom Ryan, Art Moss, Lisa Hitchcock, David Van Divier, Scott Bauer, Julie Dock, Mobile SteeleSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Why Meta's big deal with Anduril is a big deal for the entire tech industry. Microsoft is kinda not joining, but also kind of all in on the handheld gaming race. Count Hugging Face as someone else serious about AI robots. And in the longreads, more signs that the AI job apocalypse might already be upon us.Links:Meta Fired Palmer Luckey. Now, They're Teaming Up on a Defense Contract. (WSJ)Mark Zuckerberg Finally Found a Use for His Metaverse — War (Bloomberg)EXCLUSIVE: Xbox's first-party handheld has been sidelined (for now), as Microsoft doubles down on 'Kennan' and Windows 11 PC gaming optimization (Windows Central)Black Forest Labs' Kontext AI models can edit pics as well as generate them (TechCrunch)Hugging Face unveils two new humanoid robots (TechCrunch)Weekend Longreads Suggestions:For Some Recent Graduates, the A.I. Job Apocalypse May Already Be Here (NYTimes)How Led Zeppelin, Pink Floyd & Jethro Tull Financed the Making Monty Python and the Holy Grail (OpenCulture)See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

No need to wish You were here just join us live this Friday for the return of both our guests. First coming in from the Dark Side Of the Moon keyboardist Matt Riddle from the Pink Floyd tribute band @BritFloyd we had a great time when they were last in town This time will be more epic because they are playing at the legendary red rocks amphitheater June 6th here in Colorado. It's gonna be a busy week as we will be rolling straight into the @Dudegrows cup and the @hashbash25 weekend. We also have our old friend @Shiloh_Massive_1 coming in to ….let's be honest “Take over the Show” He's always entertaining and putting in the work with such bangers as * 4 Kings * Black Apple Hitchcock * Blue Z Burger * Cherry Impossible and many more. We have been friends since his first trip to the Dam and he has evolved from a young fresh kid to the swolled up tatted guy you see today. Anyone who knows him knows he would give the shirt off his back if needed and is always there to pull a homie up. These days you can find him doing Pheno Hunts with 1000's of plants , making waves whenever he can't ride them and being that Canna Family man that I can say with certainty ain't easy. We also have some late additions to the show some of the winners from last weeks @omgeventsllc Kush & Sour competition First we have Max from @fubar_organics out of the Hudson valley that took home the 1st place in Kush category and second in Chem Max is a fan of the show so he knows exactly what he's getting into. Second we have Eddy S aka @drherbshmengie who crushed it and took home 1st in the illustrious NY category of “SOUR” we will keep it short this week but we need to get the Dr back on to talk about his years running the infamous HP13 a strain that has about as much lore and shenanigans around it as the Sour. So get that @dabx GO rig charged your @jerome_baker bong Clean with some ice

The Deadcast cruises down the eastern seaboard, including stops in Hartford, Hampton, Philadelphia, and Landover, featuring touring tips, another police chase, & a visit to the White House.Guests: David Lemieux, Sam Cutler, Dennis Alpert, Tyler Roy-Hart, David Leopold, John Leopold, Rebecca Adams, Brian Schiff, Gary Lambert, Chris Goodspace, Winslow Colwell, Scott Jones, Chad EylerSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.