Podcast appearances and mentions of Prince Albert

Wallis Simpson was an American divorcee who won the heart of Prince Edward. In 1935, Edward abdicated as King so that he could marry Wallis. Meanwhile, his brother Prince Albert married Scottish noblewoman Elizabeth Bowes-Lyon. For most of their lives, Elizabeth and Wallis hated each other. This dramatic real-life rivalry inspired The Windsor Affair, a new novel by Melanie Benjamin. Melanie joins us to discuss this scandalous history and how modern-day British royal women compare to these famous rivals. Buy a copy of The Windsor Affair (affiliate link) — ⁠⁠Support our Trevor Project fundraiser⁠⁠ — ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Buy a copy of Ann's book Rebel of the Regency⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ — Get 15% off all the gorgeous jewellery and accessories at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠commonera.com/vulgar⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ or go to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠commonera.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and use code VULGAR at checkout — Get Vulgar History merch at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠vulgarhistory.com/store⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ (best for US shipping) and ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠vulgarhistory.redbubble.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ (better for international shipping) — Vulgar History is an affiliate of ⁠⁠⁠⁠Bookshop.org⁠⁠⁠⁠, which means that a small percentage of any books you click through and purchase will come back to Vulgar History as a commission. ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Use this link to shop there and support Vulgar History.⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to the Farmer Rapid Fire on RealAg Radio brought to you by Corteva Biologicals and hosted by Shaun Haney! 00:00 - Today on the show: 2:27 - John Wiebe Dykstra of Salisbury, N.B. 13:25 - Tim Oleskyn of Prince Albert, Sask. 25:55 - Murray Froebe of Homewood, Man. 36:44 - Aaron Stevanus of Bloomingdale,... Read More

Welcome to the Farmer Rapid Fire on RealAg Radio brought to you by Corteva Biologicals and hosted by Shaun Haney! 00:00 - Today on the show: 2:27 - John Wiebe Dykstra of Salisbury, N.B. 13:25 - Tim Oleskyn of Prince Albert, Sask. 25:55 - Murray Froebe of Homewood, Man. 36:44 - Aaron Stevanus of Bloomingdale,... Read More

Is even the color blue part of royal hierarchy? New claims suggest Queen Camilla's wardrobe choices may carry deeper meaning, as commentators debate whether fashion still signals status inside the palace. We break down the reporting and what Meghan once said about royal dress rules. Then, a look at what the Royal Family actually drives — from King Charles's famous Aston Martin to William's early Volkswagen and Harry's surprisingly modest first cars. After the break, Daisy Goodwin reexamines the marriage of Queen Victoria and Prince Albert, raising questions about power, control, and one of history's most famous royal relationships.Get episodes of Palace Intrigue by becommming a paid subscriber on Apple Podcasts. Click the button that says uninterrupted listening.  Just $5 a month, and that includes many ofther shows on the Caloroga Shark network.A new season of King William is available now.Our royal newsletter written by Deep Crown is available for free.Royal Books:Revenge: Meghan, Harry, and the War Between the Windsors by Tom BowerWilliam and Catherine: The Monarchy's New Era: The Inside StoryThe Royal Insider: My Life with the Queen, the King and Princess Diana

Avi Lewis, the newly elected federal NDP leader, is touring Saskatchewan this week with 11 stops over five days, including Regina, Saskatoon, Moose Jaw, Prince Albert, and several First Nations. One of those stops brings him live into the studio today on The Evan Bray Show.

Over 100 Indigenous youth are gathering in Toronto for a celebration of art, music and dance, including local talent from Saskatchewan. Rebecca Strong, Prince Albert singer and Canada's Got Talent winner and Candace Scott-Moore, artistic director for the Outside Looking In's 19th Annual Showcase, join the show to talk about the performance and how it celebrates identity, resilience and storytelling for Indigenous youth.

HOUR 2 - Today was Pads Day at Saskatchewan Roughriders training camp! The boys were hittin' out there! Britton Gray has our first recap of today's training camp. The WHL Championship series continues tonight in Prince Albert with the Raiders taking on the Everett Silvertips for Game 3. The series is tied 1-1 with the next 3 games set in P.A. The Green Zone

HOUR 1 - The Colorado Avalanche have taken a commanding 3-1 series lead over the Minnesota Wild. Game 4 between the Montreal Canadiens and Buffalo Sabres goes tonight in Montreal. The LA Lakers were swept by the Oklahoma City Thunder. Game 3 of the WHL Championship goes tonight in Prince Albert. And a shootout is coming to the CFL! The Carolina Hurricanes have already punched their ticket to the 3rd round of the Stanley Cup Playoffs. The currently await the winner of the Montreal/Buffalo series. We check in with how the Hurricanes are spending their free time and trying to stay game ready. The Green Zone

HOUR 1 - The Montreal Canadiens take Game 3 from Buffalo and lead their series 2-1. The Carolina Hurricanes are awaiting the winner of the Montreal/Buffalo series as they swept the Philadelphia Flyers. Hockey Canada names Macklin Celebrini their captain for the World Hockey Championship. The Prince Albert Raiders and Everett Silvertips take the WHL Championship series back to P.A. tied 1-1. And training camp for the Saskatchewan Roughriders is underway in Saskatoon. The WHL Championship series shifts back to Prince Albert for Game 3 tomorrow night. The Prince Albert Raiders and Everett Silvertips split their first two games 1-1. Will the P.A. Raiders be able to take advantage of home ice for the next 3 games? The Green Zone

My homily for May 10, 2026 at Sacred Heart cathedral Prince Albert. 6th Sunday of Easter and Mother's Day.

Coming Down the Pipe... [0:00] - The intro montage for Season 21 of The Pipeline Show [1:14] - An intro segment with a recap of Friday night action in the CHL and USHL playoffs [17:02] - Nathan Reiter, WHL beat writer and co-host of The Two Paper Guys Podcast, joins to recap the WHL Draft before discussing the playoffs and previewing the Championship series between Everett and Prince Albert.

Mike Benton and Everett Fitzhugh discuss and react to the NHL Draft Lottery, where the Kraken have options at the seventh overall selection, and is the pick tradable? Plus, Mike checks in with Kraken prospect center, Julius Miettinen of the Everett Silvertips, ahead of the WHL Championship Series opening Friday against Prince Albert. See omnystudio.com/listener for privacy information.

The Tampa Bay Lightning evened up their series with the Montreal Canadiens. The Utah Mammoth earned their first ever NHL playoff victory. The Oilers and Ducks enter Game 2 tonight. The Regina Pat Canadians improve to 2-0 at the Telus Cup. The Blue Jays have won 3 in a row! And an NBA superstar takes a nasty spill. The Prince Albert Raiders are itching to start the Eastern Conference Final of the WHL Playoffs. The Raiders will face the Medicine Hat Tigers with the winner moving on to the WHL Championship. The Green Zone

Imagine a jazz festival where the stage is a mountain pass. Where the first performance starts at sunrise. Where the entire town becomes part of the music. Journey to Jazz is returning to Prince Albert and it’s not just a festival, it’s an experience. We find out what makes it so special. Views and News with Clarence Ford is the mid-morning show on CapeTalk. This 3-hour long programme shares and reflects a broad array of perspectives. It is inspirational, passionate and positive. Host Clarence Ford’s gentle curiosity and dapper demeanour leave listeners feeling motivated and empowered. Known for his love of jazz and golf, Clarrie covers a range of themes including relationships, heritage and philosophy. Popular segments include Barbs’ Wire at 9:30am (Mon-Thurs) and The Naked Scientist at 9:30 on Fridays. Thank you for listening to a podcast from Views & News with Clarence Ford Listen live on Primedia+ weekdays between 09:00 and 12:00 (SA Time) to Views and News with Clarence Ford broadcast on CapeTalk https://buff.ly/NnFM3Nk For more from the show go to https://buff.ly/erjiQj2 or find all the catch-up podcasts here https://buff.ly/BdpaXRn Subscribe to the CapeTalk Daily and Weekly Newsletters https://buff.ly/sbvVZD5 Follow us on social media: CapeTalk on Facebook: https://www.facebook.com/CapeTalk CapeTalk on TikTok: https://www.tiktok.com/@capetalk CapeTalk on Instagram: https://www.instagram.com/ CapeTalk on X: https://x.com/CapeTalk CapeTalk on YouTube: https://www.youtube.com/@CapeTalk567See omnystudio.com/listener for privacy information.

Host Anthony Desiato and guest Rick Lee James (Truth, Justice, and the Way: Superman & Spirituality Podcast) break down "The Prince Albert Coat" (Season 5, Episode 10) from ADVENTURES OF SUPERMAN starring George Reeves — in which a young boy mistakenly donates a coat containing his great-grandfather's fortune.Be sure to listen to our sister podcast series, DIGGING FOR KRYPTONITE, which explores Superman across time and media. Support both shows and receive exclusive podcast content at Patreon.com/AnthonyDesiato, including the spinoff podcasts BEYOND METROPOLIS and DIGGING FOR JUSTICE!Visit BCW Supplies and use promo code FSP to save 10% on your next order of comics supplies. FACEBOOK GROUP: Digging for Kryptonite: A Superman Fan GroupFACEBOOK PAGE: @diggingforkryptonitepodINSTAGRAM: @diggingforkryptonitepodTWITTER: @diggingforkrpodBLUESKY: @diggingforkrpod.bsky.socialEMAIL: flatsquirrelproductions@gmail.comWEBSITE: FlatSquirrelProductions.com Another Exciting Episode is a Flat Squirrel Production. Theme music by Dan Pritchard. Key art by Gregg Schigiel. Mentioned in this episode:Fat Moose ComicsAw Yeah ComicsAlways Hold On To SmallvilleThis Podcast Will Never DieSingle Bound Podcast

Writer Daisy Goodwin on Victoria: A Queen Unbound. Was the marriage between Victoria and Albert as idyllic as it has been portrayed? Her new play explores the idea that Prince Albert exerted coercive control over Queen Victoria. Following the launch of the Official UK Christian & Gospel Singles Chart, we speak to the founder of the chart's partner organisation, O'Neil Dennis, and Mobo winning Christian rapper Guvna B, who's playing live in studio.Tayari Jones, Winner of the Women's Prize for Fiction, discusses on her new novel, Kin.Ben Beaumont-Thomas reports on the cancellation of this year's Wireless festival following the row over Kanye West as the headlining artist. Presenter: Samira Ahmed Producer Harry Graham

On hour one of Flames Talk, Pat Steinberg and Logan Gordon discuss the accelerating youth movement in Calgary. With Aydar Suniev officially recalled and set to make his NHL debut Tuesday night in Dallas, the guys break down the 21-year-old's impressive second half in the AHL and what a successful "runway" looks like for him. They also look at the red-hot Rory Kerins, who was named AHL Player of the Week after a massive seven-point weekend, and debate how soon we'll see him—and potentially Abram Wiebe—join the big club. (29:32) Brad Curle, the voice of the Calgary Hitmen, joins the show to recap a historic first round that saw Ethan Moore score four consecutive game-winning goals. They discuss the impact of captain Axel Hurtig's new entry-level deal and look ahead to a potential second-round matchup against either Prince Albert or Medicine Hat. The views and opinions expressed in this podcast are those of the hosts and guests and do not necessarily reflect the position of Rogers Media Inc. or any affiliate. https://www.sportsnet.ca/960/flames-talk/Get full Flames games and great shows like Quick 60: The Stamps Show, Wranglers Watch and more ON DEMAND.

My homily for April 5, 2026, at Sacred Heart cathedral in Prince Albert. Easter Sunday. The gardens of new life!

My homily for April 4, 2026 Easter vigil at Sacred Heart Cathedral in Prince Albert. The source of our joy.

My homily for Sacred heart cathedral Prince Albert. April 3, 2026. Good Friday. Jesus I trust in you

Belfast singer songwriter Joshua Burnside released his sixth studio album It's Not Going To Be Okay via Nettwork Music Group on March 20. This is a record born out of loss and the fragile act of continuing. Written and recorded in the wake of the death of Joshua's close friend Dean Jendoubi, the album is his most stripped-back and unguarded work to date. “It's a grief record but also a love record for Dean, for my family, for being alive at all," he says. On this episode of the TPOE podcast, Joshua Burnside talks about touring the US with Ye Vagabonds; getting nominated for the Choice Prize for 2025 album Teeth of TIme; embracing traditional Irish music; grief, the creative process and paying tribute to his friend Dean; the direct nature and homour in the songs; and his family's reaction to the record. Buy the album: https://joshuaburnside.bandcamp.com/album/its-not-going-to-be-okay Joshua Burnside tour dates: Friday, May 1: Cyprus Avenue, Cork Saturday, May 2: Button Factory, Dublin Wednesday, May 6: Oran Mor, Glasgow Thursday, May 7: Brudenell Social Club, Leeds Saturday, May 9: Prince Albert, Stroud (two shows (2pm, 9pm) Sunday, May 10: EartH Theatre, London Monday, May 11: Beacon, Bristol Wednesday, June 17: Cornish Bank, Falmouth Thursday, June 18: Barrel House, Totnes Friday, June 19: The Tree House, Frome Saturday, June 20: Craufurd Arms, Milton Keynes Sunday, June 21: Beverley Folk Festival, Beverley Saturday, August 15: Custom House Square, Belfast (supporting Foy Vance)

Ep 365 – WWF Monday Night RAW 06/07/1999 The Higher Power is announced 0:27 - Welcome 9:00 - RAW Opening 20:47 – The Brood (Edge/Gangrel) vs the Acolytes (Bradshaw/Faarooq) for the WWF Tag Team Championships 26:08 - X-Pac and Kane vs Shane McMahon 28:45 - HHH (w/ Chyna) vs the Rock 30:16 - Debra (w/ Jeff Jarrett) vs Nicole Bass (w/ Val Venis) in a Bikini contest 33:07 - Godfather (w/ ho's) vs Mr Ass Billy Gunn 35:25 - Al Snow vs Droz (w/ Prince Albert) for the WWF Hardcore Championship 37:28 - Vince McMahon vs Ken Shamrock in a Lion's Den match 41:00 - Big Show vs Undertaker (w/ Paul Bearer) for the WWF Championship 43:02 - Overall Thoughts 46:43 - Smarking It Up 57:00 - Ready to Rumble – Mission to Moscow (1943) 1:02:16 - Goodbyes Music from this week's show is “Thorn in My Eye” by Jim Johnston and “Big” by Jim Johnston Rate and review us on iTunes, Spotify, YouTube, or wherever you find your podcasts Email – WrestlingHistoryX@gmail.com X – WrestlingHistoX

In the frozen heart of the 1883 Canadian frontier, a single death unveils a darkness that could consume a town—and the men sworn to protect it.Corporal Belvedere, a Mountie scarred by a brutal past, and Surgeon Virgil Montgomery, a newcomer haunted by his own doubts, are drawn into a murder investigation in the isolated settlement of Prince Albert. As winter's grip tightens, the killing exposes a web of secrets buried beneath the snow, threatening to unravel the fragile order of the North-West Territories.In a community steeped in mistrust, Belvedere's unyielding quest for justice collides with Montgomery's struggle to uphold his oath to do no harm. Each clue they uncover draws them deeper into a maze of deception, where allies and enemies blur and every step risks a deadly reckoning. As the ice on the North Saskatchewan River begins to crack, they must confront a truth that could cost them their lives—or their souls.A gripping tale of vengeance and redemption, The Laundryman plunges you into a world where justice battles betrayal, and the truth lies buried in a frozen wilderness.Support this show http://supporter.acast.com/houseofmysteryradio. Hosted on Acast. See acast.com/privacy for more information.

TEATIME WITH MISS LIZ SERVES: DWAYNE BRENNA TitleThe Laundryman: Justice, Secrets & Survival in the Frozen Frontier TaglineWhen truth lies buried beneath snow and silence.TopicHistorical fiction, storytelling, Canadian frontier history, justice, and the craft of writing across genres. In this captivating Teatime, Miss Liz welcomes Dwayne Brenna, an award-winning Canadian author, playwright, and poet whose work spans humour, poetry, historical fiction, and cultural storytelling. His gripping novel The Laundryman transports readers to the frozen Canadian frontier of 1883, where a single death in the isolated settlement of Prince Albert exposes secrets buried beneath the snow. Through the intertwined journeys of a hardened Mountie and a conflicted surgeon, Brenna crafts a powerful narrative exploring justice, redemption, and the moral complexities of frontier life. Over a distinguished career, Brenna has written across multiple genres, from poetry collections such as Stealing Home to award-winning fiction like New Albion. For nearly four decades, he also directed theatre in a university drama department, shaping generations of performers and storytellers. His creative voice—versatile, poetic, and accessible—continues to resonate with readers drawn to stories that blend literary depth with compelling human experience. Introduction (On Air)“Welcome to Teatime with Miss Liz, where I don't serve a beverage — I serve real-life changemakers. Today we sit with Dwayne Brenna, an award-winning Canadian author whose storytelling takes us from poetry and theatre to gripping historical fiction set in the frozen frontier.”Closing SummaryDwayne will remind us that storytelling preserves history, challenges our understanding of justice, and connects us through shared human struggles. His work proves that powerful stories can come from anywhere—from the theatre stage to the pages of a novel set deep in Canada's northern wilderness. Dwayne Brenna is an award-winning Canadian author, poet, and playwright whose work spans fiction, humour, poetry, and theatre history. His novels and poetry have received national recognition, and his storytelling has aired on CBC Radio. Brenna's writing blends lyrical expression with accessible narratives rooted in history, culture, and humanity. Resources Website: dwaynebrenna.com LinkedIn: Dwayne Brenna#TeatimeWithMissLiz#DwayneBrenna#TheLaundryman#CanadianAuthors#HistoricalFiction

From Epstein to Prince Albert of Monaco-Wealth & Power on immoral ground The mystery surrounding Jeffrey Epstein continues—especially when it comes to Zorro Ranch, his secluded New Mexico compound that many believe never received the scrutiny it deserved. While other Epstein properties were heavily investigated, questions remain about what may have happened at the remote ranch and why it was largely overlooked. In this episode, investigative journalist and former intelligence chief Robert Eringer joins the conversation. Having built Monaco's first intelligence service for Albert II, Prince of Monaco, Eringer witnessed firsthand how power, wealth, and influence can shield elite figures from consequences. We explore the darker side of elite networks, corruption, and the unanswered questions surrounding Epstein's empire. BUY the BOOK- https://amzn.to/4ba0nmt Robert Eringer-https://substack.com/@roberteringer The Elite Unchecked with Robert Eringer - Mysteries, Mayhem & Merlot Check out the merch, blog, buy the book, and so much more! mysteriesmayhemandmerlot.net WHERE'S WINNIE! - https://linktr.ee/WinnieSchrader Check out Winnie's Linktree for everything Winnie! From merch for Paranormal 60, Love+Lotus Tarot & Mysteries, Mayhem & Merlot to digital designs with WS Media & more! IF YOU NEED HELP, PLEASE CONTACT Call or Text to 988 Chat online at https://988lifeline.org/ PLEASE SUPPORT THE ADVERTISERS THAT SUPPORT THIS SHOW Love & Lotus Tarot with Winnie Schrader - ⁠⁠⁠⁠⁠http://lovelotustarot.com/⁠ Visit Minnesota's premiere haunted hotel, The Palmer House -⁠https://www.thepalmerhousehotel.com/⁠ OR Call Now and Book a Room -320-351-9100⁠⁠⁠⁠ Follow all the events and updates at The Palmer House on FACEBOOK- https://bit.ly/PalmerHouseFacebook PLEASE RATE & REVIEW MYSTERIES, MAYHEM & MERLOT PODCAST WHEREVER YOU LISTEN #TrueCrime #RodFerrell #VampireCultKiller #VampireClanMurders #VampireCult #TeenKiller #TrueCrimePodcast #CultMurders #1990sCrime #FloridaMurders #EustisFlorida #WendorfMurders #DarkTrueCrime #MurderCase #TrueCrimeStory #NotoriousKillers #DeathRowCase #CrimePodcast #ERVernor #MysteriesMayhemMerlot #TrueCrimeCommunity #CultCrime #MurderMystery #TrueCrimeAddict #PodcastEpisode ️ Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

"Rational Mind and Non-Rational Agency: Aquinas' Augustinian Account of the Sinning Will & the Hierarchy of the Soul", a lecture given by Prince Albert von Thurn und Taxis at Thomas Aquinas College, New England, on February 27, 2026. Part of Thomas Aquinas College's St. Vincent de Paul Lecture and Concert Series.

The Herle Burly was created by Air Quotes Media with support from our presenting sponsor TELUS, as well as CN Rail, Bruce Power, and Fidelity Investments Canada.Greetings, you curiouser and curiouser Herle Burly-ites. A fellow podcaster on the show today. But leaving his credentials there would be selling our guest very short indeed. Michael Liebreich is here!He's an acclaimed thought leader on clean energy, mobility, technology, climate, sustainability and finance. The CEO of Liebreich Associates and co-managing partner of EcoPragma Capital, which focuses on companies committed to the net-zero transition. Michael's former roles include membership in the UK's Taskforce on Energy Efficiency, advisor to the UK Board of Trade, as well as advisor to the UN on Sustainable Energy for All. He's addressed the UN General Assembly.His very own podcast is called “Cleaning Up” where he hosts in-depth conversations with leaders in climate change and its solutions.  Guests have included Tony Blair, Prince Albert of Monaco ... and some fellow named Mark Carney.So today, I'm talking with Michael about clean energy and the energy transition. Lessons learned from efforts until this point. I want to know how clean electrification moves forward and accelerates as political interest in western democracies wanes. And lastly, what should Canada's role in all of this be?Thank you for joining us on #TheHerleBurly podcast. Please take a moment to give us a rating and review on iTunes, Spotify, Stitcher, Google Podcasts or your favourite podcast app.Watch episodes of The Herle Burly via Air Quotes Media on YouTube.The sponsored ads contained in the podcast are the expressed views of the sponsor and not those of the publisher.

Hi beloved Slops! Please bear with the chaotic audio vibes this week as Big Dipper and Meatball record Sloppy Seconds fully feral from their Palm Springs AirBNB during IBC, because nothing says professionalism like airplane flyovers and desert delirium! This week, Meatball drives straight from Fat Slut to Palm Springs at 3AM, Dipper loses his dick ring somewhere in the house, they debate the psychology of Prince Albert piercings, discuss being force-fed milkshakes, and warn that there WILL be cheese toots in the pool. The IBC chaos starts now!Listen to Sloppy Seconds Ad-Free AND One Day Early on MOM Plus⁠Call us with your sex stories at 213-536-9180!Or e-mail us at ⁠sloppysecondspod@gmail.com⁠⁠FOLLOW SLOPPY SECONDS⁠⁠FOLLOW BIG DIPPER⁠⁠FOLLOW MEATBALL⁠⁠SLOPPY SECONDS IS A FOREVER DOG AND MOGULS OF MEDIA (M.O.M.) PODCASTSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

The Thursday edition of the Bob Rose Show, including the breaking news that Prince Andrew has been arrested over charged improprieties dealing with the late Jeffrey Epstein. Now reports are focusing on Epstein's jailed associate Ghislaine Maxwell's role in establishing the Clinton Global Initiative. Perspective and commentary on all the morning's biggest news stories.

Ep 359 – WWF Smackdown 04/29/1999 WWF comes to UPN! 0:28 - Welcome 6:35 - Smackdown Opening 11:45 – Val Venis vs Jeff Jarrett (w/ Debra) 15:52 - Big Show vs Test 19:24 - Droz (w/ Prince Albert) vs D'Lo Brown (w/ Ivory) 21:50 - X-Pac and Kane vs the New Age Outlaws (Road Dogg Jesse Jame/Bad Ass Billy Gunn) for the WWF Tag Team Championships 29:15 - Bradshaw vs Ken Shamrock 32:34 - Big Bossman vs Mankind 35:05 - The Corporate Ministry (HHH/Undertaker) (w/ Chyna, the Mean Street Posse (Pete Gas/Rodney), Paul Bearer and Shane McMahon) vs the Rock and Stone Cold Steve Austin 39:09- Overall Thoughts 42:59 - Smarking It Up 53:11 - Ready to Rumble 59:07 - Goodbyes Music from this week's show is “Everybody on the Ground” by Jim Johnston and “I Won't Do What You Tell Me” by Jim Johnston Rate and review us on iTunes, Spotify, YouTube, or wherever you find your podcasts Email – WrestlingHistoryX@gmail.com X – WrestlingHistoX

A 25 ans, l'officier de marine Bellot s'embarque dans le périlleux sauvetage de l'expédition Franklin perdue en Arctique et découvre de nouveaux détroits maritimes.Remontez le temps dans cet épisode captivant des « Grands dossiers de l'Histoire » avec Franck Ferrand. Plongez dans l'épopée tragique de Joseph-René Bellot, jeune officier de la marine française qui a participé à une expédition risquée pour retrouver les traces de l'explorateur britannique John Franklin, disparu dans l'Arctique avec son équipage.En 1851, la goélette Prince Albert, commandée par le capitaine britannique William Kennedy, part à la recherche des navires d'exploration l'Erebus et le Terror, disparus depuis quatre ans. À bord, le lieutenant de vaisseau Joseph-René Bellot, un jeune officier français de 25 ans, avide d'aventure. Leur mission : explorer les terres glacées du Grand Nord à la recherche de survivants de l'expédition de Franklin.Après de longues semaines de navigation périlleuse, la goélette se retrouve prise dans les glaces de l'île de Somerset. Bellot et ses compagnons se lancent alors dans une série d'expéditions à traîneau pour tenter de retrouver les traces de Franklin, affrontant les tempêtes de neige, les blizzards et les dangers mortels de cet environnement hostile.

A 25 ans, l'officier de marine Bellot s'embarque dans le périlleux sauvetage de l'expédition Franklin perdue en Arctique et découvre de nouveaux détroits maritimes.Remontez le temps dans cet épisode captivant des « Grands dossiers de l'Histoire » avec Franck Ferrand. Plongez dans l'épopée tragique de Joseph-René Bellot, jeune officier de la marine française qui a participé à une expédition risquée pour retrouver les traces de l'explorateur britannique John Franklin, disparu dans l'Arctique avec son équipage.En 1851, la goélette Prince Albert, commandée par le capitaine britannique William Kennedy, part à la recherche des navires d'exploration l'Erebus et le Terror, disparus depuis quatre ans. À bord, le lieutenant de vaisseau Joseph-René Bellot, un jeune officier français de 25 ans, avide d'aventure. Leur mission : explorer les terres glacées du Grand Nord à la recherche de survivants de l'expédition de Franklin.Après de longues semaines de navigation périlleuse, la goélette se retrouve prise dans les glaces de l'île de Somerset. Bellot et ses compagnons se lancent alors dans une série d'expéditions à traîneau pour tenter de retrouver les traces de Franklin, affrontant les tempêtes de neige, les blizzards et les dangers mortels de cet environnement hostile.

Send a textInteresting things about the distillery:take their name from the Gaelic for “Black Rock.”The main Speyside part of Johnnie WalkerHelen Cummings and her husband, John, started the distillery in 1824The distillery was sited high up on Mannoch Hill, above the River Spey, due to the peat softening the water.Helen was the distiller. Since the distillery was on the top of the hill, she could see the authorities coming.  She would put flour on herself to say she was baking to cover the smell, offered them tea, and put up a flag to warn other distillers in the area.In 1885, they moved the distillery to grow and sold the old distillery to the Grant family; it is now where Glenfiddich began.In 1893, sold to Johnnie Walker and Sons, but continued to be run by the Cummings family.Joined Distillers Company in 1925, which was bought by Guinness in 1986, and became Diageo in 1997.Our Bottle: Pipe Pairings: Prince AlbertCocktails:Research Sourceshttps://en.wikipedia.org/wiki/Cardhu_distillery https://www.malts.com/en-us/cardhu Support the showWebsite:www.whiskeychaserspod.comFacebook:https://www.facebook.com/whiskeychaserspodcastInsta:https://www.instagram.com/whiskeychaserspodcast/TikTok:https://www.tiktok.com/@whiskeychaserspodcastThanks For Listening! Tell a Friend!

It's only a week until the 2026 Winter Olympic Games get underway in Milano-Cortina in Italy. Four athletes will represent Team Ireland, in what will be their ninth appearance at the Winter Games. Ireland's debut at the Games in 1992 is a fascinating story - all starting with a note left taped to a boat at the Henley Regatta. Terry McHugh, a six-time Olympian and part of the '92 bobsleigh team, spoke to our own Cameron Hill.Become a member and sign up at offtheball.com/join

Now that With Love, Meghan has apparently entered the holiday canon, Tatler asks a dangerous question: across nearly a thousand years of royal Christmases, who was the greatest host of them all?We go back to Christmas Day 1066 and William the Conqueror, then trace the monarchy's festive evolution through medieval excess, bizarre gifts, and court spectacle. Tatler's verdict narrows to two very different champions: James the First, the patron saint of riotous Jacobean revelry, and Queen Victoria, whose family-centred traditions with Prince Albert helped shape the Christmas Britain still recognises today.Hear our new show "Crown and Controversy: Prince Andrew" here.Check out "Palace Intrigue Presents: King WIlliam" here.

We went in hard on this one… you're getting a 2 for 1. A live spectacular on Kaiser Wilhelm II and his mother Empress Frederick AND some musings from us afterwards because we couldn't get enough of this German/British collab that ended, well… terribly.Follow Vicky, daughter of Queen Victoria and liberal reformer Prince Albert, as she dives into the absolute viper's nest that was the 19th Century court of Prussia ruled over by the Hohenzollerns. She's got a gorgeous, kind husband, representing the hopes of German reformers. But first born Kaiser Wilhelm will fall terribly far from the tree and ruin a lot.If you get to the end, you will be rewarded with the scandal of how Empress Frederick was possibly buried  and the traditional British cure for cancer… smiling at it. (Sorry that some of the sound goes up and down and that you can occasionally Pip fanning herself dramatically. It was hot)++++++  

All Bones Considered: Laurel Hill Stories #081, part 3 Nathan Dunn was born to Quaker parents in New Jersey. After early financial difficulties and disownment by the Philadelphia Quaker Meeting, he sailed to China around 1818 to rebuild his fortunes. In Canton, he gained respect by avoiding the opium trade and engaged in commerce involving tea, silks, porcelain, and other goods. In 1835 he joined with John Jay Smith and others to form Laurel Hill Cemetery, for which he served as primary financial backer.  Dunn's decade-long residence in China allowed him to collect a vast array of authentic Chinese artifacts, reflecting a broader American interest in understanding China beyond commerce. His collection later formed the basis of the Chinese Museum in Philadelphia, opened in 1838, one of the first American institutions dedicated exclusively to Chinese culture. The museum featured thousands of objects, life-size wax figures, dioramas, and detailed exhibits of daily life, religion, and governance in China. Dunn transferred the museum to London in 1842, where it was visited by Queen Victoria and Prince Albert. Late in life, he was accused of illegal homosexual activity and put on trial for the crime of sodomy. 

Canada's Food Price Report predicts grocery prices will rise 4-6% next year. Despite trade tensions, Prime Minister Mark Carney, US President Donald Trump, and Mexican President Claudia Sheinbaum will all be on stage together tomorrow for FIFA World Cup Draw. Ukraine's lead negotiator is preparing for a high-stakes meeting with US Envoy Steve Witkoff in Miami today. Officials say five people, including two children, were killed in Israeli air strikes near Khan Younis. Social media giant Meta begins to remove access to its platforms for young Australians, ahead of world-first social media ban. A Prince Albert retiree is speaking out, after falling victim to a cryptocurrency scam involving a deep-fake CBC news report. Steve Cropper, song writer, guitarist with Booker T and the McG's, dies in Nashville at age 84.

In recent weeks, Prince Albert of Monaco dramatically overruled his parliament to halt the passage of a new law. This week we'll be discussing his decision, breaking down which other monarchs still have the power to overrule the government, and exploring other cases where monarchs got involved in politics. LINKSFollow the podcast: onheirpodcast.tumblr.com/ or https://instagram.com/onheirpodcast Follow Grace: https://princesscatherinemiddleton.net/ and https://www.instagram.com/_kmiddy/ Follow Jessica: https://duchessofostergotlands.tumblr.com/ and https://www.instagram.com/howtodresslikeaprincess/Send us a voice message: https://www.speakpipe.com/onheirpodcast

James and Dick give a taste of the kind of enthralling drivel they're going to be talking at their action packed Christmas Special on December 6th. Dick has some not that surprising news. James is still quite impressed. Also features: bad impersonation of Simon Callow as Charles Dickens interrupting Queen Victoria and Prince Albert having sex against a Christmas tree. James forgets the word Tannenbaum but it's OK because he has concussion, again. ↓ ↓ ↓ Tickets are now available for the James x Dick Christmas Show 2025 on Saturday, 6th December. See website for details: https://www.jamesdelingpole.co.uk/Shop/

*Live at Gebhards Beer Culture NYC with Opie and comedians Ron Berman and Tony P (nipple rings,    ticket fighter, abortion survivor).*Ron's dad swiped his bar mitzvah cash. Tony's mom botched the abortion.$75 ticket dings mid-app download. Who has the most dreamy eyes?*Jewish mob tales: 78-year-old boss Mr. Toby.*Tony's GF froze in a car at Mohegan Sun during his 5–6 year blackjack bender. Turks & Caicos casino freakout: “I DON'T WANNA GO BACK!”*Ex-fiancée bolted for Playgirl's Man of the Year—Brad Pitt's Fight Club double with a Prince Albert.*Ron's right side shorter (leg, thumb, testicle); hip surgery needed.*NYC Marathon hell: 3:30am start, 2-hour wait in colonial barracks, 55,000 runners doing WHAT off Verrazano Bridge! Ron hand-holds stunning London stranger for final 2 miles, finishes together.*Rant: “Every show has a gay character—I watch Matlock.” Tony caps with 90s freestyle rap battle.

The House of Grimaldi has ruled the tiny principality of Monaco since January 8, 1297, when Francois “The Spiteful” Grimaldi disguised himself as a monk and knocked on his uncle's castle door, launching a coup. In the violence that followed, according to legend, a woman – possibly a lover of Francois, possibly a witch he had wronged (can't it be both?) – issued a curse that has resonated across the centuries: “Never will a Grimaldi find true happiness in marriage.” The Grimaldi family was considered scandalous enough in Queen Victoria's time that she forbade any of her close relatives to marry into it, leading Prince Albert I of Monaco to marry an American heiress in 1889 – a precedent that would matter decades later when Prince Rainier III, urged on by none other than shipping tycoon Aristotle Onassis, began interviewing Hollywood A-listers for a very special role: Princess of Monaco. Which is how Grace Kelly abandoned the big screen for the Rock of Monaco, and would go on to celebrate her 40th birthday in High Scorpio style. Listen ad-free at patreon.com/trashyroyalspodcast. Sources: The Grimaldis of Monaco: Centuries of Scandal, Years of Grace, by Anne Edwards (Amazon) Grace: The Secret Lives of a Princess, by James Spada (Amazon) Elizabeth Taylor: There is Nothing Like a Dame, by Darwin Porter and Danforth Prince (Amazon) A Detailed Look at the Many Romances of Prince Albert of Monaco (esquiremag.ph) Portrait of Princess Caroline: Love and Philanthropy (hellomonaco.com) Who is Giving Prince Ernst August a little TLC During his Marital Strife? (vanityfair.com) Is Princess Caroline the Latest Victim of the Grimaldi Family Curse? (vanityfair.com) A Runaway Princess Bride and Feudal Feuds: Three Insane Royal Weddings (vanityfair.com) Learn more about your ad choices. Visit megaphone.fm/adchoicesSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

The House of Grimaldi has ruled the tiny principality of Monaco since January 8, 1297, when Francois “The Spiteful” Grimaldi disguised himself as a monk and knocked on his uncle's castle door, launching a coup. In the violence that followed, according to legend, a woman – possibly a lover of Francois, possibly a witch he had wronged (can't it be both?) – issued a curse that has resonated across the centuries: “Never will a Grimaldi find true happiness in marriage.” The Grimaldi family was considered scandalous enough in Queen Victoria's time that she forbade any of her close relatives to marry into it, leading Prince Albert I of Monaco to marry an American heiress in 1889 – a precedent that would matter decades later when Prince Rainier III, urged on by none other than shipping tycoon Aristotle Onassis, began interviewing Hollywood A-listers for a very special role: Princess of Monaco. Which is how Grace Kelly abandoned the big screen for the Rock of Monaco, and would go on to celebrate her 40th birthday in High Scorpio style. Listen ad-free at patreon.com/trashyroyalspodcast. Sources: The Grimaldis of Monaco: Centuries of Scandal, Years of Grace, by Anne Edwards (Amazon) Grace: The Secret Lives of a Princess, by James Spada (Amazon) Elizabeth Taylor: There is Nothing Like a Dame, by Darwin Porter and Danforth Prince (Amazon) A Detailed Look at the Many Romances of Prince Albert of Monaco (esquiremag.ph) Portrait of Princess Caroline: Love and Philanthropy (hellomonaco.com) Who is Giving Prince Ernst August a little TLC During his Marital Strife? (vanityfair.com) Is Princess Caroline the Latest Victim of the Grimaldi Family Curse? (vanityfair.com) A Runaway Princess Bride and Feudal Feuds: Three Insane Royal Weddings (vanityfair.com) Learn more about your ad choices. Visit megaphone.fm/adchoices

In Keep Canada Weird Jordan and Aaron Airport explore the weird and offbeat Canadian news stories from the past week. In this episode your hosts discuss; the fella in the pink Barbie Jeep in Prince Albert, BC the security cameras of Hamilton, ON Happy 104th Rachel! TEENAGE TERROR in a Winnipeg Walmart Series Links Keep Canada Weird Series: ⁠https://www.thecanadiangothic.com/keep-canada-weird⁠ Send a voice memo:⁠ www.thecanadiangothic.com/contact⁠ Join the Keep Canada Weird Discussion Group: ⁠https://www.facebook.com/groups/keepcanadaweird⁠ Provide feedback and comments on the episode: ⁠thecanadiangothic.com/contact⁠ Subscribe to the show: ⁠thecanadiangothic.com/subscribe⁠ Contact: Website:⁠ https://www.thecanadiangothic.com⁠ Facebook: ⁠https://www.facebook.com/NightTimePod⁠ Instagram: ⁠https://www.instagram.com/nighttimepod⁠ Support the show: ⁠https://www.patreon.com/nighttimepodcast⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

In the 18th century, modern Germany continued to be a patchwork of various duchies, which kept German nobles in the marriage rotation throughout Europe. So it was that two brothers - Ernst and Leopold - came into the world in the Duchy of Saxe-Coburg-Saalfeld in 1784 and 1790. One would become the King of Belgium, and one would be the legal father of Prince Albert, later the husband of Queen Victoria. We say "legal father" because apparently it's not 100% clear that Ernst's estranged wife, the long suffering Princess Louise, wasn't comforting her brother-in-law after the death of his wife, England's Princess Charlotte, whose death in childbirth prompted the Hanoverian race to reproduce that gave the world Queen Victoria.  It is, as they say, complicated. Want early, ad-free episodes, regular Dumpster Dives, bonus divorces, limited series, Zoom hangouts, and more? Join us at patreon.com/trashydivorces! Want a personalized message for someone in your life? Check us out on Cameo! To advertise on our podcast, please reach out to info@amplitudemediapartners.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

In the 18th century, modern Germany continued to be a patchwork of various duchies, which kept German nobles in the marriage rotation throughout Europe. So it was that two brothers - Ernst and Leopold - came into the world in the Duchy of Saxe-Coburg-Saalfeld in 1784 and 1790. One would become the King of Belgium, and one would be the legal father of Prince Albert, later the husband of Queen Victoria. We say "legal father" because apparently it's not 100% clear that Ernst's estranged wife, the long suffering Princess Louise, wasn't comforting her brother-in-law after the death of his wife, England's Princess Charlotte, whose death in childbirth prompted the Hanoverian race to reproduce that gave the world Queen Victoria.  It is, as they say, complicated. Want early, ad-free episodes, regular Dumpster Dives, bonus divorces, limited series, Zoom hangouts, and more? Join us at patreon.com/trashydivorces! Want a personalized message for someone in your life? Check us out on Cameo! To advertise on our podcast, please reach out to info@amplitudemediapartners.com. Learn more about your ad choices. Visit megaphone.fm/adchoicesSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

In the 18th century, modern Germany continued to be a patchwork of various duchies, which kept German nobles in the marriage rotation throughout Europe. So it was that two brothers - Ernst and Leopold - came into the world in the Duchy of Saxe-Coburg-Saalfeld in 1784 and 1790. One would become the King of Belgium, and one would be the legal father of Prince Albert, later the husband of Queen Victoria. We say "legal father" because apparently it's not 100% clear that Ernst's estranged wife, the long suffering Princess Louise, wasn't comforting her brother-in-law after the death of his wife, England's Princess Charlotte, whose death in childbirth prompted the Hanoverian race to reproduce that gave the world Queen Victoria.  It is, as they say, complicated. Listen ad-free at patreon.com/trashyroyalspodcast. To advertise on this podcast, reach out to info@amplitudemediapartners.com. Learn more about your ad choices. Visit megaphone.fm/adchoicesSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

In the 18th century, modern Germany continued to be a patchwork of various duchies, which kept German nobles in the marriage rotation throughout Europe. So it was that two brothers - Ernst and Leopold - came into the world in the Duchy of Saxe-Coburg-Saalfeld in 1784 and 1790. One would become the King of Belgium, and one would be the legal father of Prince Albert, later the husband of Queen Victoria. We say "legal father" because apparently it's not 100% clear that Ernst's estranged wife, the long suffering Princess Louise, wasn't comforting her brother-in-law after the death of his wife, England's Princess Charlotte, whose death in childbirth prompted the Hanoverian race to reproduce that gave the world Queen Victoria.  It is, as they say, complicated. Listen ad-free at patreon.com/trashyroyalspodcast. To advertise on this podcast, reach out to info@amplitudemediapartners.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

Trigger warning: This episode contains discussion of disordered eating around the 45 - 55 minute mark. Viewer discretion advised. This week on Sibling Rivalry, Bob and Monét share their bucket list dreams, from travel destinations to career goals. Bob raves about seeing Death Becomes Her on stage, spills on being invited to a Lady Gaga show in San Francisco, and names the most annoying pop fans. They talk Broadway ambitions, thrill seekers, and the juicing era, while debating if Madonna was born in New York City. Bob reveals his love for hotels over travel, breaks down his “three types of cities” theory, and asks for Monét's take on his Phantom of the Opera performance. Plus, they swap stories about celebrities from their neighborhoods and wonder—does Monét have a Prince Albert fetish? Thanks to our sponsors: Stop putting off those doctors appointments and go to ⁠https://Zocdoc.com/RIVALRY⁠ to find and instantly book a top-rated doctor today. Get 35% off your entire order at ⁠https://Lolablankets.com⁠ by using code RIVALRY at checkout. Experience the world's #1 blanket with Lola Blankets. Slay your summer look. Go to ⁠https://paireyewear.com/SIBLING15⁠ for 15% off your first pair! Go to ⁠https://brooklynbedding.com⁠ and use promo code RIVALRY to get 30% off site wide!  Want to see exclusive Sibling Rivalry Bonus Content? Head over to ⁠⁠⁠⁠⁠⁠⁠⁠www.patreon.com/siblingrivalrypodcast⁠⁠⁠⁠⁠⁠⁠⁠ to be the first to see our latest Sibling Rivalry Podcast Videos! @BobTheDragQueen @MonetXChange Learn more about your ad choices. Visit ⁠⁠⁠⁠⁠⁠⁠⁠megaphone.fm/adchoices⁠⁠⁠⁠ Learn more about your ad choices. Visit podcastchoices.com/adchoices

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