Podcasts about Plant

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Women over 40 face a perfect storm when it comes to protein - we're losing muscle mass, dealing with anabolic resistance, and juggling life demands that make proper nutrition feel impossible. I've cracked the code on hitting my daily protein goals without the boring chicken breast routine, and I'm sharing exactly how I do it. From my morning smoothie hacks to my favorite grass-fed steaks with pluck seasoning, I'll walk you through my real-world strategy for getting 0.7 to 1 gram per pound of target body weight. This isn't about restriction - it's about building the foundation for aging powerfully while actually enjoying your food.   What you'll learn: Why protein needs increase dramatically after 40, and the science behind anabolic resistance My exact daily protein formula and how to calculate your target intake Strategic meal timing, including the importance of "bumper meals" at breakfast and dinner Creative ways to boost protein without relying on plain chicken and boring powders Plant-based and animal-based protein combinations that actually taste amazing Simple batch cooking strategies and travel hacks for consistent protein intake How to use protein powders, collagen, and essential amino acids effectively The role of digestive enzymes in maximizing protein absorption as we age Love the Podcast? Here's what to do: Make My Day & Share Your Thoughts! Subscribe to the podcast & leave me a review Text a screenshot to 813-565-2627 Expect a personal reply because your voice is so important to me. Join 55,000+ followers who make this podcast thrive. Want to listen to the show completely ad-free?  Go to subscribetojj.com Enjoy the VIP experience for just $4.99/month or $49.99/year (save 17%!) Click “TRY FREE” and start your ad-free journey today! Full show notes (including all links mentioned): https://jjvirgin.com/whentoeatprotein Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to episode 183 of Growers Daily! We cover: garlic rust and what to do about it, how to tell if your soil is healthy, and it's feedback friday! We are a Non-Profit! 

Send us a textBoxing's recent showcase delivered a perfect blend of technical brilliance and bizarre moments that remind us why the sport remains so captivating despite its occasional frustrations. When undefeated Cornflake LaManna (yes, that's really his name) stepped into the ring with Jermall Charlo, we witnessed the stark difference between being unbeaten and being elite. LaManna's knees buckled "cartoonishly" until a merciful doctor stoppage that seemed less about medical concerns and more about sparing viewers additional discomfort.The real shocker came when Armando Resendiz upset former champion Caleb Plant, who appeared uncharacteristically slow and ineffective. Plant's repeated failed clinch attempts left him vulnerable, with Resendiz capitalizing brilliantly. Despite one judge's inexplicable scorecard favoring Plant, justice prevailed with Resendiz taking a well-deserved victory.Things turned ugly on the ESPN card when Keyshawn Davis missed weight by a staggering 4.5 pounds (essentially a full weight class), followed by his brother Kelvin losing to underdog Nahir Albright. What happened next crossed the line - reports emerged of the Davis brothers jumping Albright in the hallway after the fight and trashing his locker room, leading to police involvement.The evening's saving grace was Abdullah Mason's flawless performance in the impromptu main event. Unlike many hyped prospects with glaring technical deficiencies, Mason displayed complete mastery - quick hands, proper guard, perfect footwork, and devastating power that left his opponent unable to continue.The Japanese cards provided additional highlights, including Tenshin Nasukawa's street fighter-inspired antics preceding his technical masterclass against tough Victor Santillan, and Junto Nakatani's dominant unification victory that established him as the clear alpha in the bantamweight division.Boxing's unpredictable nature reminds us why we keep coming back - for every disappointing mismatch or unprofessional moment, there's a technical masterpiece or shocking upset waiting just around the corner. Subscribe now to catch our upcoming breakdowns of Dubois vs. Usyk and Taylor vs. Serrano!

Les rabbins se sont encore plantés - MASHIAH, GOG OUMAGOG … - Question au Rav by Rav David Touitou

Former NBA veteran Olden Polynice is in for Rob, and he and Kelvin tell us if Cooper Flagg's good-at-everything-but-great-at-nothing style will translate to the next level, explain why it's so hard to project college players to the NBA, and tell us if the Houston Rockets are now the biggest threats to the Oklahoma City Thunder in the Western Conference. Plus, former NBA scout and Babcock Hoops NBA Draft analyst Matt Babcock swings by to discuss Flagg's long-term future, the inexact science that is the NBA Draft, and much more!See omnystudio.com/listener for privacy information.

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Are you afraid of your anger?Anger is the misunderstood arsonist teenager who roams inside each of us wreaking havoc and setting fires. This inner rebel is simultaneously the protector, the vigilante, the protestor, and Ultimate Fighting Champion. It's hot, impulsive, and feels so dangerous.When anger is around, so is judgment. Of others, and especially ourselves. We think anger isn't spiritual. It's low vibe and means we haven't gotten very far on our journey. We're supposed to be better than this...OK, but we're not doing it like that, Family.If anything, our rage is a sacred and holy messenger. An ally. A burly partner with a lot of metaphorical weapons. It is righteous and beautiful and necessary and NORMAL.4 Easy Steps to Engage with Anger (And turn it into your teacher and ally):Acknowledge it. Let it be valid. Anger is not bad, it's just big energy.Feel it somatically. Pause. Breathe. Move with it. Allow it to be there and to be kinetic inside you. Doing this lets your nervous system know that anger is safe to feel.Let it teach you. Ask, “What are you protecting me from? What truth is trying to emerge? What boundaries do I need to enact here?”Channel it consciously. Anger doesn't need to be released AT people or things. It can instead be channeled into boundaries, healing conversations, activism, and as fuel for creative projects and transformation.Anger is the messenger letting you know that SOMETHING IS RISING TO BE HEALED. Plant medicine can be the bridge to accessing repressed anger and learning to relate with it in an empowered way. Where it is your teacher instead of your enemy.

"If you just get the check mark of done, you just beat out a lot of people. And if you just do that every single day- one more check mark- by 27 you're the CEO of a telemedicine company." —Aspen NoonanModern medicine has a dirty secret: sometimes, the cure is worse than the condition. What if there was a natural alternative that could manage pain, reduce anxiety, and improve quality of life without a pharmacy's worth of side effects? Cannabis is proving to be that game-changing solution. Cannabis has been shrouded in stigma for decades, but now, scientific research reveals that this plant isn't just a recreational drug—it's a sophisticated medical tool with the potential to transform healthcare.Aspen Noonan turned her journey with ADHD into a mission to revolutionize medical cannabis access. As the CEO of Elevate Holistics, she's helping patients discover holistic healing through personalized, legal cannabis recommendations.Tune in as Heather and Aspen dive deep into the world of medical cannabis, revealing jaw-dropping patient success stories, demystifying THC and CBD, and exploring how this plant is challenging everything we thought we knew about modern medicine.  Connect with Heather: WebsiteFacebook InstagramLinkedInEpisode Highlights:01:12 From ADHD Meds to Cannabis Entrepreneur10:07 Cannabis Market: Evolving Landscapes15:38 Beyond Getting High: Cannabis as Medicine17:11 Cannabis vs Pharmaceuticals21:52 Cannabis and ADHD: A Holistic Approach 24:30 Psychedelic Healing27:15 Cannabinoid Science: How It Works32:51 Entrepreneurial Tenacity: Success SecretsConnect with Aspen: Aspen Noonan is the CEO of Elevate Holistics, a leading telehealth platform specializing in medical marijuana recommendations. At just 27, she has rapidly advanced from support roles to executive leadership, taking the helm in June 2024. With a passion for holistic health sparked by her personal experience with ADHD, Aspen has been instrumental in expanding the company's reach to 18 states. Her mission is to increase medical cannabis accessibility, helping patients find alternative treatments through personalized, online consultations. A strong advocate for patient-centered care, Aspen continues to drive Elevate Holistics' vision of transforming medical cannabis access nationwide.WebsiteLinkedInInstagramFacebookYouTubeSupport the show

Over 400 kg of enriched uranium missing. One Iranian nuclear site left untouched. Sanjay Dixit unravels the silence around Kuhe Kolang and Trump's mysterious U-turn. As Mossad fumes and Tel Aviv panics, has a secret deal reshaped the nuclear balance?

Die Tage von Ajatollah Ali Chamenei an der Spitze des Iran scheinen gezählt. Israels Verteidigungsminister Israel Katz betont, Chamenei dürfe "nicht weiter existieren". US-Präsident Donald Trump sagt, er wisse, wo sich Chamenei aufhalte. Aus seinem Bunker traut sich Irans oberster Führer nicht mehr raus. Hinter den Kulissen plant der 86-Jährige längst seine Nachfolge.Moderation? Kevin SchulteSie haben Fragen? Schreiben Sie eine E-Mail an podcasts@ntv.deSie möchten "Wieder was gelernt" unterstützen? Dann bewerten Sie den Podcast gerne bei Apple Podcasts oder Spotify.Alle Rabattcodes und Infos zu unseren Werbepartnern finden Sie hier: https://linktr.ee/wiederwasgelerntUnsere allgemeinen Datenschutzrichtlinien finden Sie unter https://datenschutz.ad-alliance.de/podcast.htmlWir verarbeiten im Zusammenhang mit dem Angebot unserer Podcasts Daten. Wenn Sie der automatischen Übermittlung der Daten widersprechen wollen, klicken Sie hier: https://datenschutz.ad-alliance.de/podcast.htmlUnsere allgemeinen Datenschutzrichtlinien finden Sie unter https://art19.com/privacy. Die Datenschutzrichtlinien für Kalifornien sind unter https://art19.com/privacy#do-not-sell-my-info abrufbar.

In this episode of The Jordan Syatt Podcast, I sit down with incredible human and holocaust survivor, Sami Steigmann, (IG: @samisteigmannspeaks) to discuss the true story of how he survived the holocaust.We also discuss:- His thoughts on the current war between Israel and Hamas- Understanding modern day propaganda - How to stay positive no matter your circumstances- Living without fear- And much more...Link to Sami's Preferred Charity ▶︎ https://bluecardfund.org/Link to Plant a Tree in Israel ▶︎ https://shop.jnf.org/products/trees-for-israelI hope you enjoy the episode. And if you do, please leave a 5-star review on iTunes and Spotify (they really do help a lot).Finally, if you've been thinking about joining The Inner Circle but haven't yet...we have hundreds of home and bodyweight workouts for you and you can get them all here: www.sfinnercircle.com.

"We may not get to see the branches that eventually stretch to offer shade, but what would happen if we chose to trust the timeline to the Gardener?What if we dared to push back against the widely seen, the popular, and the pixelated, by choosing the smaller things?Few of us will sit in the shade of trees we ourselves planted, but every single day we walk a path and rest in the shade that was made for us long ago by names we'll likely never know.May we go and do the same.You are wired for glory, friend. Let's plant some seeds."Leave a comment for Kaitlyn: https://incourage.me/?p=253186--The summer issue of DaySpring's Everyday Faith magazine is here! Pick up a copy today on DaySpring.com or at your local Sam's Club, Costco, CVS, Walmart, or wherever you buy magazines. We hope that this issue helps you experience and share God's love in fresh, true, and inspiring ways!The (in)courage podcast is brought to you by DaySpring. For over 50 years, DaySpring has created quality cards, books, and gifts that help you live your faith. Find out more at DaySpring.com.Connect with (in)courage: Facebook & Instagram for daily encouragement, videos, and more! Website for the (in)courage library, to meet our contributors, and to access the archives. Email us at incourage@dayspring.com. Leave a podcast review on Apple!

Bob Bertog, president of Bertog Landscape Co. in Wheeling and a certified landscape professional with the National Association of Landscape Professionals, joins John Williams to answer all of your lawn and garden questions. Bob implores us to keep watering those trees and lawns.

Trump Administration pushes back strongly against reports that the US strikes only set Iran's nuclear program back a few months - saying the damage was severe; ceasefire between Israel and Iran appears to be holding, but thousands in Tehran ...

Trump Administration pushes back strongly against reports that the US strikes only set Iran's nuclear program back a few months - saying the damage was severe; ceasefire between Israel and Iran appears to be holding, but thousands in Tehran ...

Trump Administration pushes back strongly against reports that the US strikes only set Iran's nuclear program back a few months - saying the damage was severe; ceasefire between Israel and Iran appears to be holding, but thousands in Tehran ...

Bob Bertog, president of Bertog Landscape Co. in Wheeling and a certified landscape professional with the National Association of Landscape Professionals, joins John Williams to answer all of your lawn and garden questions. Bob implores us to keep watering those trees and lawns.

Are Your Clients Getting Too Much… or Not Enough? Why the real answer lies in something most “experts” ignore.When it comes to protein, opinions are everywhere, and confusion is rampant. Should your clients eat more? Less? Go animal-based? Plant-powered? What about leucine, sarcopenia, and kidney stress?In this episode, Dr. Ritamarie breaks through the confusion with a functional medicine lens, revealing why standard protein advice may be sabotaging your clients' health goals—and what to do instead. If you've ever felt unsure about how to personalize protein recommendations, this episode will help you solve the puzzle once and for all.What's Inside This Episode?The Numbers You Can't TrustWhy the most commonly quoted protein guidelines may be setting your clients up for failure.The Invisible Variable Sabotaging Your PlanWhat you're likely overlooking when you calculate protein needs—and how to factor it in.A Surprising Source of Protein ConfusionHow some "clean" diets can backfire without one critical adjustment.What Your Plate Might Be MissingThe underappreciated nutrient that determines whether protein helps or harms.The Truth Behind the TrendsWhy you should question influencer advice—and what functional practitioners need to do instead.Resources and Links:Download our FREE Protein Charts Get the Recording from the 90 minute Protein Puzzle MasterclassGet the Replay and Recordings from the Wellness Reset Weekend Join the Next-Level Health Practitioner Facebook group here for free resources and community supportVisit INEMethod.com for advanced health practitioner training and tools to elevate your clinical skills and grow your practice by getting life-changing results. Check out other podcast episodes here

Southwest Michigan's Morning News podcast is prepared and delivered by the WSJM Newsroom. For these stories and more, visit https://www.wsjm.com and follow us for updates on Facebook. See omnystudio.com/listener for privacy information.

Bob Bertog, president of Bertog Landscape Co. in Wheeling and a certified landscape professional with the National Association of Landscape Professionals, joins John Williams to answer all of your lawn and garden questions. Bob implores us to keep watering those trees and lawns.

Inside INdiana Business Radio for the afternoon of June 25, 2025. Jasper-based Kimball Electronics is going big on its new facility in Indianapolis. Plus, the Indiana DNR is moving away from paper maps at state parks, and Butler University launches a new institute. Get the latest business news from throughout the state at InsideINdianaBusiness.com.

Meyer-Feist, Andreas www.deutschlandfunkkultur.de, Studio 9

Have you ever wondered where weeds come from if nobody plants them? And are they really all bad? In this lesson, we'll dig into the surprising story of weeds—why they grow, what they do, and how we can care for God's wild and wonderful world. You'll also learn how to keep “weeds” out of your heart and grow good things in your life!Here's our trail map:What Is a Weed?How Do Weeds Grow if We Don't Plant Them?What Is An Invasive Plant?How Can We Keep Our Days Free of Weeds?Episode Links:Order Eryn's book, Rooted in Wonder: Nurturing Your Family's Faith Through God's Creation: https://www.amazon.com/Rooted-Wonder-Nurturing-Familys-Creation/dp/0825447615Enjoy a FREE week of the Flourish Family Bible Curriculum: https://treehouseschoolhouse.com/pages/free-week-of-flourishOrder Eryn's book: The Nature of Rest: What the Bible and Creation Teach Us About Sabbath Living: https://www.amazon.com/Nature-Rest-Creation-Sabbath-Living/dp/0825448891Nat Theo Club Bonus Video: https://erynlynum.com/club-videosGet full lesson guides in the Nat Theo Club: https://erynlynum.com/clubFree Weeds & Plants Coloring Sheet: https://erynlynum.com/how-do-weeds-grow/Ask your nature question: https://erynlynum.com/askScriptures Referenced in This Episode:“Then God said, ‘Let the earth produce plants—some to make grain for seeds and others to make fruits with seeds in them. Every seed will produce more of its own kind of plant.' And it happened. The earth produced plants with grain for seeds and trees that made fruits with seeds in them. Each seed grew its own kind of plant. God saw that all this was good. Evening passed, and morning came. This was the third day.” Genesis 1:11-13 (NCV)“Then God said to the man, ‘You listened to what your wife said, and you ate fruit from the tree from which I commanded you not to eat.‘So I will put a curse on the ground, and you will have to work very hard for your food.In pain you will eat its food all the days of your life.The ground will produce thorns and weeds for you, and you will eat the plants of the field.'” Genesis 3:18 (NCV)“‘We are allowed to do all things,' but not all things are good for us to do. ‘We are allowed to do all things,' but not all things help others grow stronger.” 1 Corinthians 10:23 (NCV)“I will not set before my eyes anything that is worthless…” Psalm 101:3a (ESV)“So be very careful how you live. Do not live like those who are not wise, but live wisely. Use every chance you have for doing good…” Ephesians 5:15-16a (NCV)Terms Learned in This Episode:Weed: A plant that is growing where it is not wanted.Seed Dispersal: How seeds move away from the parent plant to grow in a new place. Seed dispersal can happen through wind and animals or people transporting seeds.Ecosystem: An area where plants, animals and insects, and even tiny things like bacteria all live and work together.Native...

Dark Matter is a limited Patreon & Locals Only series that represents an extended chronological deep dive into the entire Twin Peaks canon. Emily Moyer, Laura Wilson, Hunter Muse, and Chris Snipes will convene every episode or two to unpack the layers of strange nectar within. Eventually, they will be inviting special guests to join in the fun. In this episode, Emily, Hunter, and Chris convene after having watched Episode 20 of Season 2.   All things Emily: https://www.emilycmoyer.com/   The Melt on Rumble: https://rumble.com/c/c-2365404 YouTube: https://www.youtube.com/@TheMeltPodcast Melt Merch: https://the-melt.creator-spring.com/ Music by Daydream Johnny https://youtu.be/zocjoSlsOy8?si=lMjZFKgu89JnA-aV

In celebration of National Pollinator Week, Kevin and Austin sit down in the studio to share Kevin's ultimate list of plants that attract and support pollinators. From ground covers to trees, they break it all down by plant type, offering practical tips and standout favorites for creating a thriving, layered pollinator garden.Plants mentioned in this episode include:GROUND COVERSCreeping Thyme (Thymus serpyllum)Germander (Teucrium)ANNUALSSunflower (Helianthus annuus)Cosmos (Cosmos)Calendula (Calendula officinalis)Zinnia (Zinnia)Bee Balm (Monarda)PERENNIALSLavender (Lavandula)Coneflower (Echinacea)Black-eyed Susan (Rudbeckia)Yarrow (Achillea millefolium)Catmint (Nepeta)Fuchsia (Fuchsia)Salvia often called SageSHRUBSCalifornia Lilac (Ceanothus)Manzanita (Arctostaphylos)Bottlebrush (Callistemon)Toyon (Heteromeles arbutifolia)Roses (Rosa)VINESTrumpet Vine (Campsis radicans)Clematis (Clematis)Passionflower (Passiflora)Native Milkweed (Asclepias fascicularis, Asclepias speciosa)HERBSBasil (Ocimum basilicum)Mint (Mentha)Rosemary (Rosmarinus officinalis)Sage (Salvia officinalis)Oregano (Origanum vulgare)Thyme (Thymus vulgaris)TREESFlowering Cherry (Prunus)Western Redbud (Cercis occidentalis)RobiniasGreen Acres Garden PodcastGreen Acres Nursery & SupplyGreen Acres Garden Podcast GroupIn the greater Sacramento area? Learn how to make your yard Summer Strong and discover water-saving rebates at BeWaterSmart.info.

Plant yourself firmly under God's kingship in every season of life, because His kingdom is true and His kingdom will endure forever.

- Skoda EVs Outsell Tesla in Europe - South Africa OEMs Face Strikes - Ford Commits to Embattled Battery Plant - GM's Next-Gen EV Pickups Coming in 2031 - Uber and Waymo Launch Robotaxis in Atlanta - Pony.ai Disses Tesla Robotaxi - OEMs In-Source Battery Packs in China - Tesla Inventory Kicked Out of Suburban Parking Lot - Burning Ship with EVs Sinks - Zero-Mile Used Cars Exported from China - NIO Firefly Battery Lease for $55 a Month

This week we dive deep into the world of garden weeds and how some seemingly harmless plants can actually be Trojan horses harboring pests and diseases. Learn how to identify five major plant families by their flowers, leaves, and growth habits — and why removing these weeds early can protect your precious crops.Today on Just Grow Something You'll Learn:The role of alternate hosts in pest and disease cyclesHow to identify Brassicaceae, Solanaceae, Asteraceae, Polygonaceae, and Amaranthaceae weedsWhy flower structure is the key to early identificationTips for weed removal and garden protectionThis episode is ad-free in support of Loveland Acres Farm. Please consider donating at lovelandacresfarm.org to support Scarlett's vital community work.Visit our sponsor HeirloomRoses.com and save 20% on your order using code JUSTGROW.

- Skoda EVs Outsell Tesla in Europe - South Africa OEMs Face Strikes - Ford Commits to Embattled Battery Plant - GM's Next-Gen EV Pickups Coming in 2031 - Uber and Waymo Launch Robotaxis in Atlanta - Pony.ai Disses Tesla Robotaxi - OEMs In-Source Battery Packs in China - Tesla Inventory Kicked Out of Suburban Parking Lot - Burning Ship with EVs Sinks - Zero-Mile Used Cars Exported from China - NIO Firefly Battery Lease for $55 a Month

Once upon a moony afternoon, two cosmic babes—Ali and Briana—sat down to spill the (herbal) tea. But this wasn't your average garden gossip. This was a full-blown spirit-to-spirit conversation about the way plants whisper, swoon, and sometimes scream their way into your heart, your dreams, and your healing journey.Briana Christine, your botanical matchmaker, shares how she fell in love with the spirit world of plants. She takes us deep into the roots of spiritual herbalism, where every flower has a personality, every leaf holds a memory, and the plants are most definitely sliding into your DMs… but, like, energetically.You'll hear stories about:• Meeting a plant like you're meeting a soulmate • Getting to know them—not just their uses, but their quirks, moods, and planetary crushes • Dreaming with the moon and the herbs that help you slip between worlds • The seductive power of poisonous plants and what it's like to dance with Pluto's botanical familiars • Master plant dietas, devotion vs consumption, and why some plants are sacred mentors, not party favors • The moment Briana and Ali each felt their first plant choose them (it's giving spiritual rom-com)Whether you're a seasoned herbalist or just beginning to wonder if your chamomile tea is trying to tell you something… this episode is your permission slip to flirt back.Because in this world, the plants are alive. They've seen stars explode, they've touched your ancestors' hands, and they're just waiting for you to remember.Tune in. Sip slow. And maybe bring a flower offering. Connect with Your Cosmic Guides: Briana Christine: TikTok | Instagram Ali: TikTok | Instagram Join the Cosmic Community: Follow Cosmic Injectables for more episodes filled with spiritual insights, laughter, and a touch of magic. Instagram TikTok

Have you ever felt like nature was trying to tell you something? What if you learned how to listen? Tune in for an inspiring discussion with Robin Rose Bennett on her Nautilus award-winning book The Young Green Witch's Guide to Plant Magic: Rituals and Recipes from Nature.  Moments with Marianne airs in the Southern California area on KMET 1490AM & 98.1 FM, an ABC Talk News Radio Affiliate! https://www.kmet1490am.comRobin Rose Bennett is a story-teller, writer, and herbalist, offering classes in Herbal Medicine and EarthSpirit Teachings since 1986 - at herb conferences, festivals, medical schools, and most joyously, outside with the plants. Robin Rose shares herbal medicine with gratitude for the loving generosity of the plants and the magic, mystery, and beauty of the web of life. She is the author of: Healing Magic: A Green Witch Guidebook to Conscious Living, The Gift of Healing Herbs: Plant Medicines and Home Remedies for a Vibrantly Healthy Life,  A Young Green Witch's Guide to Plant Magic: Rituals and Recipes from Nature (2025 Nautilus Silver Award Winner), and A Green Witch's Pocket Book of Wisdom: Big Little Life Tips.   https://www.robinrosebennett.comOrder the The Young Green Witch's Guide to Plant Magic here: https://a.co/d/ckwHtEOFor more show information visit: www.MariannePestana.com

Join Thos as he continues his in-depth conversation about the evergreen cult musical favourite, Potty the Plant which opens at the Wiltons Music Hall in East London this week.  With songs from the show and insights into this darkly hilarious musical, as well as more on its sister show, Fringe! the Musical, this is an episode that'll grow on you!

Benson Boone released his new album. The critics hate it. Social media hates HIM! Deserved? Miley Cyrus finds some drama at an album signing of all places. Eeek! Booker is finally warming up to Addison Rae! Tom Sandoval deos AGT - unfortunately! The latest on Anne Burrell's death.See omnystudio.com/listener for privacy information.

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

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Check out florahorrors.com for our guests plants for sale, use code: Cheaphomegrow for discount on your purchase while supplies last!This week host @Jackgreenstalk (aka @Jack_Greenstalk on X/instagram backup account) [or contact via email: JackGreenstalk47@gmail.com] is joined by panel with @spartangrown on instagram or X f.k.a. Twitter at https://x.com/grown43626 or email spartangrown@gmail.com for contacting spartan outside social media, any alternate profiles on other social medias using spartan's name, and photos are not actually spartan grown be aware, @TheAmericanOne on youtube aka @theamericanone_with_achenes on instagram who's amy aces can be found at amyaces.com and @NoahtheeGrowa on instagram. This week we missed @Rust.Brandon of @Bokashi Earthworks who's products can be found at bokashiearthworks.com . , Matthew Gates aka @SynchAngel on instagram and twitter @Zenthanol on youtube who offers IPM direct chat for $1 a month on patreon.com/zenthanol , @drmjcoco from cocoforcannabis.com as well as youtube where he tests and reviews grow lights and has grow tutorials and @drmjcoco on instagram, and and @ATG Acres Aaron The Grower aka @atgacres his products can be found at atgacres.com and now has product commercially available in select locations in OK, view his instagram to find out details about drops!

The Today in Manufacturing Podcast is brought to you by the editors of Manufacturing.net and Industrial Equipment News (IEN).This week's episode is brought to you by our friends at SugarCRM. Stop missing out on new sales, and download "How to Close More Deals in Manufacturing," right now.Every week, we cover the five biggest stories in manufacturing, and the implications they have on the industry moving forward. This week:- JetZero's $4.7B Plant: 14,500 Jobs in North Carolina- Yaskawa Moving Headquarters from Illinois to Wisconsin- Major Retailer the Latest to Pin Bankruptcy on Tariff Environment- Boeing Flight with More Than 240 Aboard Crashes after Takeoff- Auto Giant Files for Bankruptcy, Blames TariffsIn Case You Missed It- Tariffs Stifle Innovation at Small U.S. Businesses- Frito-Lay Stops Manufacturing at 55-Year-Old Rancho Cucamonga Facility- Amazon Wants to Make 10,000 Robotaxis Every Year at New U.S. FactoryPlease make sure to like, subscribe and share the podcast. You could also help us out a lot by giving the podcast a positive review. Finally, to email the podcast, you can reach any of us at David, Jeff or Anna [at] ien.com, with “Email the Podcast” in the subject line.Digital Disruption with Geoff Nielson Discover how technology is reshaping our lives and livelihoods.Listen on: Apple Podcasts Spotify

Welcome to the Celestial Insights Podcast, the show that brings the stars down to Earth! Each week, astrologer, coach, and intuitive Celeste Brooks of Astrology by Celeste will be your guide. Her website is astrologybyceleste.com.  

mike@niddrie.org (Niddrie Community Church)no

Episodio Patrocinado por Vulkkano, la marca española de altavoces y subwoofers que destacan por su facilidad de conexión a tu televisión, calidad de audio y un diseño que se adapta a cualquier espacio. Sumérgete en cada diálogo, escenario y banda sonora, con un sonido potente y nítido. Entra en fueradeseries.com/vulkkano y obtén un 10% en todo lo que compres con el cupón: "FDS10' Desde el restaurante la Plant`q, en las Hogueras de San Juan, California… C.J. Navas, Jorge y Don Carlos repasan la actualidad seriéfila de los diferentes canales, cadenas y plataformas, los estrenos de los próximos días, las ficciones más vistas por su audiencia, contestan a las preguntas de los oyentes y dan sus recomendaciones habituales de cada semana. Recomendaciones de la Semana: Don Carlos: Todos los cortos en Estrenos de Movistar Jorge: Inspectora Ellis, Sticks . CJ: Mobland: Tierra de mafiosos / Smoke ¡Esperamos tus audiocomentarios!: Mándanos tus mensajes por WhatsApp al +34 604 41 64 49 o a ⁠⁠⁠⁠⁠⁠⁠⁠⁠https://fueradeseries.com/mensajes⁠⁠⁠⁠⁠⁠⁠⁠⁠ Vota en los Power Rankings: Participa en la elaboración de nuestros Power Rankings votando a tus series favoritas de la semana en: ⁠⁠⁠⁠⁠⁠⁠⁠⁠https://fdseri.es/33u15eb⁠⁠⁠⁠⁠⁠⁠⁠⁠ Únete a nuestro chat de Telegram en el que miles de personas hablamos cada día de series: Telegram – Grupo de debate: https://telegram.me/fueradeseries Telegram – Canal de noticias: https://t.me/noticiasfds Síguenos en nuestras plataformas y podcast sobre series: Apple Podcast - https://podcasts.apple.com/es/podcast/fuera-de-series/id288039262 Spotify - https://open.spotify.com/show/3RTDss6AAGjSNozVOhDNzX?si=700febbf305144b7&nd=1 iVoox - https://www.ivoox.com/podcast-fuera-series_sq_f12063_1.html Redes Sociales: X / Twitter: https://twitter.com/fueradeseries Facebook: https://facebook.com/fueradeseries Instagram: https://www.instagram.com/fueradeseries/ Youtube: https://youtube.com/fueradeseries Learn more about your ad choices. Visit megaphone.fm/adchoices

Summer in 2025 is here - and after one of the sunniest and driest Springs on record, we enter the long days and sultry nights with the garden looking glorious but always looking to the horizon for a little bit of rain to keep things looking green and lush. Herbaceous borders are set to maximum colour, vegetable beds seem to multiply in growth weekly and the gardeners tan is ever present. So enjoy the long summer days, take some time to appreciate time in your garden and join the Talking Heads pair as they continue to look after the spaces they are in charge of, as well as enjoying their gardens at home.Lucy and Saul have been in the health wars recently - so much so that Lucy had to cancel her appearance at BBC Gardeners World Live, and Saul lost his voice for half the show so could neither record an episode of the podcast, nor bellow his usual Plant expert tours. But the pair are now recovered(ish) and reflect back on GWLive as well as look at some of the more prevalent questions from the public about problems and suggestions for their garden. LinkedIn link:Saul WalkerInstagram link:Lucy lucychamberlaingardensIntro and Outro music from https://filmmusic.io"Fireflies and Stardust" by Kevin MacLeod (https://incompetech.com)License: CC BY (http://creativecommons.org/licenses/by/4.0/)Support the show

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280: Osteoporosis, osteopenia, and osteosarcopenia aren't talked about enough… You've probably heard of two of these, but Dr. Barrie Tan reveals there's way more to the story when it comes to our bone health. Turns out, we can actually rebuild our bones - bone loss isn't always permanent! There's hope! Topics Discussed: → Types of bone loss → When bone loss typically occurs → Why we lose bone density → Who's at risk for bone loss (hint: it's not just older women!) → How we're creating our own calcium imbalance → Why bone supplements don't always work → MK4 → Tocotrienols → The Annatto plant → What “GG” is and how it can help → The importance of vitamin E and D - and why we're often getting the wrong kind → Common drugs that can cause bone loss As always, if you have any questions for the show please email us at digestthispod@gmail.com.  And if you like this show, please share it, rate it, review it and subscribe to it on your favorite podcast app.  Sponsored By: → Fatty 15 | For 15% off the starter kit go to https://fatty15.com/digest → Pique Life | http://piquelife.com/digest for up to 20% OFF and a free starter kit → Ollie | https://www.myollie.com/digest/ & enter code DIGEST to get 60% off your first box. → LMNT | Get your FREE sample pack with any LMNT purchase at http://drinklmnt.com/DIGEST Connect with Dr. Barrie Tan: → Website → GG and Tocotrienol Supplements Check Out Bethany: → Bethany's Instagram: @lilsipper → YouTube → Bethany's Website → Discounts & My Favorite Products → My Digestive Support Protein Powder → Gut Reset Book  → Get my Newsletters (Friday Finds)

This week, the Hacks return amid a whirlwind of headlines and rising tensions. Axe and Murphy are joined by the incomparable Maggie Haberman—Pulitzer Prize-winning journalist and one of the most trusted chroniclers of American politics. The Hacks dig into the escalating conflict in the Middle East, Trump's abrupt departure from the G7, the drama unfolding in the New York races, and the latest on Ukraine. Plus: ICE operations in Los Angeles, the horrific assassinations in Minnesota, rising political polarization and violence, and what 2026, 2028—and yes, even tomorrow—might bring. -- If you want to honor Melissa and Mark Hortman, please read this note from their children on how to honor their parents:  Plant a tree. Visit a local park and make use of their amenities, especially a bike trail. Pet a dog. A golden retriever is ideal, but any will do. Tell your loved ones a cheesy dad joke and laugh about it. Bake something — bread for Mark or a cake for Melissa, and share it with someone. Try a new hobby and enjoy learning something. Stand up for what you believe in, especially if that thing is justice and peace. Hope and resilience are the enemy of fear. Our parents lived their lives with immense dedication to their fellow humans. This tragedy must become a moment for us to come together. Hold your loved ones a little closer. Love your neighbors. Treat each other with kindness and respect. The best way to honor our parents' memory is to do something, whether big or small, to make our community just a little better for someone else.