Podcasts about records

DELAYED GRATIFICATION RECORDS is a powerhouse hardcore label based out of Ohio, led by Vladimir Necovski. Listen in as he expands on the label's history, mission, and plans for the future.Music by:Sinister FeelingInnervisionThe SmokeBlood Stained ConcreteIntro music by:Hot ZonePatreon: https://www.patreon.com/GettingitoutpodcastEmail: dan@gettingitout.netWebsite: http://gettingitout.net/Instagram: @getting_it_out_podcastFacebook: www.facebook.com/gettingitoutpodcastX: @GettingItOutPodSupport this show http://supporter.acast.com/getting-it-out. Hosted on Acast. See acast.com/privacy for more information.

Records in reach. The S&P 500 is about to do something for the first time since February as the Nasdaq 100 goes four in a row. Plus, Nike providing a big lift this morning despite double digit sales slowdown. And Later, what currency traders and Ron Insana are telling the White House about its reported plans for a "Shadow Fed President."

The dollar weakens after President Trump floats naming a Federal Reserve Chair successor much earlier than expected. Plus: tech and finance sectors rebound from spring's turbulent market. Julia Carpenter hosts.  Sign up for the WSJ's free What's News newsletter.  Learn more about your ad choices. Visit megaphone.fm/adchoices

Dennis Bovell has worked his dub magic on everyone from Janet Kaye to the Slits, the Pop Group, Jarvis Cocker and Thom Yorke & Jonny Greenwood – and his own band Matumbi. He talks here about the thrill and freedom of making dub records, his new album Wise Music In Dub – which reworks ‘Pass The Dutchie', Minnie Riperton and the Stylistics – and how the phone never stops ringing with requests for an echo-filled clattery sonic re-boot. And about spending lockdown in a “dub bubble”, how recording has changed since his days with a one-track Phillips tape-machine, and recruiting Swizz The Panist (“who plays steel pans like a classical piano”) and Duke Baysee, the harmonica-playing Routemaster bus conductor. Pre-order Wise Music In Dub here: https://wiserecords.bandcamp.com/Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

Dennis Bovell has worked his dub magic on everyone from Janet Kaye to the Slits, the Pop Group, Jarvis Cocker and Thom Yorke & Jonny Greenwood – and his own band Matumbi. He talks here about the thrill and freedom of making dub records, his new album Wise Music In Dub – which reworks ‘Pass The Dutchie', Minnie Riperton and the Stylistics – and how the phone never stops ringing with requests for an echo-filled clattery sonic re-boot. And about spending lockdown in a “dub bubble”, how recording has changed since his days with a one-track Phillips tape-machine, and recruiting Swizz The Panist (“who plays steel pans like a classical piano”) and Duke Baysee, the harmonica-playing Routemaster bus conductor. Pre-order Wise Music In Dub here: https://wiserecords.bandcamp.com/Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

Would you rather own Microsoft, Nvidia, or Apple? How our traders are navigating the moves in three of the largest companies in the world, as some hit record highs, and others lag behind the broader market. And speaking records, the S&P 500 just a whisper away from touching its own, and some individual names are paving the way. But are there more gains in store? The Fast Money crew lays out whether to Trade or Fade the winners.Fast Money Disclaimer

Did We Hit Heat Records by Maine's Coast 93.1

For more than 20 years, Ryan Worsley has been studiously, methodically, prodigiously, and obsessively honing his craft. Most recently, he was nominated by the Juno Awards for Recording Engineer of the Year (2020), but he was first recognized by the Western Canadian Music Awards in 2015 with his first award for Engineer of the Year. He has since won Producer of the Year twice (2019, 2022).Ryan's collaboration with Juno Award-winners Dear Rouge (Universal Music Canada) has been particularly fruitful. He produced, wrote, and mixed their LPs Black To Gold (2015), PHASES (2018), and Spirit (2022), resulting in five Top 10 singles on the Canadian Alternative Chart—including a #1 with “Fake Fame” in 2022.He also produced, co-wrote, and mixed Monowhales' Daytona Bleach, which earned four Top 10 singles on Canadian rock radio and contributed to the band's Juno Award for Breakthrough Group of the Year (2022).Ryan has worked with a wide range of artists, including Willow, Said The Whale (Arts & Crafts), Hotel Mira (Light Organ), Mathew V (604 Records), The Royal Foundry, and Shaun Frank.IN THIS EPISODE YOU'LL LEARN:Is knowing music theory problematic?Why it's a good thing to work with poor musiciansHow to keep objective when working multiple roles on a projectMaking songs grow and building excitementUnderstanding how radio affects your mixesAutomating your mix for impactBlending samples with real instrumentationAchieving natural dynamics in a songHow to pick samples efficientlyMaking your vocals feel controlled and polishedKnowing when to double vocalsHow to process layered vocalsUsing parallel processing on vocalsCompressing vocalsTo learn more about Ryan Worsley, visit https://www.echoplantsound.com/ryanLooking for 1-on-1 feedback and training to help you create pro-quality mixes?Check out my coaching program Amplitude and apply to join:https://masteryourmix.com/amplitude/ Want additional help with your music productions?For tips on how to improve your mixes, visit: https://masteryourmix.com/ Download your FREE copy of the Ultimate Mixing Blueprint: https://masteryourmix.com/blueprint/ Get your copy of my Amazon #1 bestselling books:The Recording Mindset: A Step-By-Step Guide to Creating Pro Recordings From Your Home Studio: https://therecordingmindset.com The Mixing Mindset: The Step-By-Step Formula For Creating Professional Rock Mixes From Your Home Studio: https://masteryourmix.com/mixingmindsetbook/ Check out our Sponsors:Download Waves Plugins here: https://waves.alzt.net/EK3G2K Subscribe to the show:Apple Podcasts: https://podcasts.apple.com/us/podcast/master-your-mix-podcast/id1240842781 Spotify: https://open.spotify.com/show/5V4xtrWSnpA5e9L67QcJej Youtube: http://www.youtube.com/@MasterYourMix...

Send us a textSean welcomes his great friend, Tom, for a debate on the top ten most unlikely sports records to ever be broken. Also, the summer intern is announced. Will he do enough for a full time position offer? Don't touch that dial! You're listening to 103.9, The SEAN!Tip Sean money on Goodpods! https://goodpods.com/profile/1039thesean-53819Or DM us to tip via Venmo!Follow us! https://www.instagram.com/103.9thesean/Follow us! https://twitter.com/1039TheSEANSubmit questions, topics, and hate mail!103.9thesean@gmail.com

Patricia Carey, Special Advocate for Survivors of Institutional Abuse, discusses the first Annual Report which highlights the interests and voices of survivors.

The PoGo Crew, is back with better tracks then ever before! The show starts off with the brand new Spiky Tops/Oi! Takus track Operation PoGo which will be  released on vinyl and CD July 13th! The record will be for sale on the 4dKidz Band camp page! Order here! https://4dkidzrecords.bandcamp.com/music Un next is a track by Blanks 77 recorded in 1990 for the PoGo Like A Kangaroo Demo, you have probably never heard before titled "My World"   Andrew Bedlam, $4 Sean and Mark keep the party moving with a primer of a new War Lovers track titles Fuck Your War! You can find the War Lovers on both coast in the month of July, more details in this episode! The party train doesn't stop there!!! The PoGo Crew has got the details on shows from all over the country from now through 2026!  Come get trashed with us!!!! Up the Punx! Check out these links: Check out these other PUNK podcasts!  Star City Punkcast! Click here or search for the show on Spotify! Punk Up The Airways Podcast https://punkuptheairwaves.podbean.com/ Artist referenced:  Dek Disaster (Switzerland) https://www.instagram.com/dekdisasterart/ Nano (Indonesia) https://www.instagram.com/nanu_nano_art/ Hipster & the PUNK (USA) https://www.instagram.com/hipsterandthepunk/ Stuff for sale: Order Punx To The Bone 16! http://punxtothebone3.bandcamp.com 4dkidz Records store w/ PoGo In The Pit 2 DVD and other merch https://4dkidzrecords.bandcamp.com/music

¡Prepárate! Se intensifican las lluvias en gran parte del país  Alertan por intentos de extorsión suplantando a personal de la SSa  Despega misión espacial de Axiom Space  con un récord de experimentos científicos  Más información en nuestro podcast

-Discussing the most unbreakable records in college football -Saturday Down South ranking the top 12 individual seasons in the CFP era

Today's Sports Daily covers the rash of Achilles injuries isn't making sense, did they show Tyrese's too much, OKC's dominance this season in terms of records set, the Kevin Durant trade, and what's coming on season 2 of “Quarterback” and “Starting 5.”Music written by Bill Conti & Allee Willis (Casablanca Records/Universal Music Group) 

In this episode of We Need to Talk, Nyla Symone sits down with singer-songwriter Kennedy Ryon for an emotional and empowering conversation about love, healing, and resilience. Kennedy opens up about the abusive relationship that inspired her viral records, sharing how pain became a catalyst for self-discovery and creative expression. They discuss the emotional honesty in her music, her growth as an artist, and what it means to reclaim your voice through storytelling. As an independent artist who recently sold out her first tour, Kennedy reflects on the power of authenticity, the weight of vulnerability, and the excitement of what’s ahead. This is a conversation about turning wounds into art—and doing it on your own terms. Tune in and comment in the socials below. Be sure to subscribe, rate and share. Follow We Need To Talk: @wnttlk @nylasymoneee @kennedy.ryonSee omnystudio.com/listener for privacy information.

Alexey Sonar Socials: Spotify: spoti.fi/2LNlsu9 Bandcamp: alexeysonar.bandcamp.com Instagram: www.instagram.com/alexeysonar Facebook: www.facebook.com/alexeysonar VK: vk.com/alexeysonar Telegram: t.me/skytopresidency YouTube: bit.ly/2MCWZXG 01. Das Pharaoh - Holding On [UV] 02. Robert R. Hardy - In the Midst of Agony (Bruno Andrada Remix) [Stellar Fountain] 03. Exile (AR) - New Opportunity (Juan Buitrago Remix) [Traful] 04. Erdi Irmak, Radical Fantasy - Memories (Extended Mix) [Son-guara Tales] 05. Kiaro (AM) - Carin (Hobin Rude Remix) [Balkan Connection] 06. Simos Tagias - Melted Pot (Maze 28 Remix) [Movement Recordings] 07. Redspace, ZERO CONTACT - One More Time [La Foresta Recordings] 08. Ilias Katelanos, Alej Ch, Plecta - Temporal Flux (Extended Mix) [Hollystone Records] 09. Joe Decks - The Constant (Extended Mix) [SkyTop] 10. Ver-dikt, Andy Dav - Lost Away (Extended Mix) [SkyTop] 11. Ilias Katelanos, Plecta - Tolerance (Jou Nielsen Remix) [Holly-stone Records] 12. Agustin Pengov, Tirso Enríquez (AR) - Tempest (Gai Barone & Aubrey Fry Remix) [Mango Alley]

Memphis is not only setting records, we're making them, too! We're taking a look at the state if the music industry Memphis is so well known for. Today's guests are shaping the way the world sees our city and its iconic culture. Matt Ross-Spang (Southern Grooves) and Brandon Seavers (Memphis Record Pressing) share why Memphis is the place to be right now and moving forward. Resources mentioned in this episode include: Memphis Listening Lab Memphis Record Pressing Southern Grooves Production 2023 TEDxMemphis talk from Matt Ross-Spang Ardent Studios Big Star: Nothing Can Hurt Me documentary Al Green WYXR Charles Hodges EgglestonWorks Andrew Scheps Lost in Translation Sun Studios Royal Studios This episode is made possible in partnership with Independent Bank.

Send us a text00:00 - Intro00:39 – OpenAI proposes Microsoft own 33% equity in for-profit transition11:10 – Cluely records everything you see, say, and hear25:32 – Canva secondary deal at $37b valuation 31:54 – What is Scale's secondary valuation post-Meta deal? 

Bank of America discharged over 16,000 old mortgages after a merger with Fleet. Then it discovered more than hundreds of the loans had never been paid off after all. The bank has sued over 100 of homeowners in Massachusetts to reinstate the mortgages.

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

Fred Schneider of The B-52s discusses his massive 10,000+ record collection while sharing stories about the B-52's early days, the original "Rock Lobster" single, vinyl reissues and new boxset. Topics Include: Massive record collection visible in wall-to-ceiling custom cabinets Estimates 10,000+ records, considers himself a "record nut" Collection includes avant-garde, classical, funk, soul, bad records Loves bad Christmas records and Halloween records specifically Been collecting since age 13, started in early days Currently has broken receiver, can't play main system Portable player works for 45s but stops unexpectedly Still adding records but doing major purge now Selling and donating records, too many to listen to Donates to Archive of Contemporary Music organization regularly Most precious records are original 45s from youth Still has first album mother bought thinking Beatles Moved into funk, Led Zeppelin, then New Wave music Was Sirius Satellite Radio DJ for three years Prefers first pressings, doesn't care about reissues much Looking for "When I'm Gone" by Brenda Holloway Will clean up scuffed records if sound improves Vinyl never left his turntable despite CD popularity Listens to music most of day while doing activities Plays classical mornings while reading magazines and coffee Enjoys electronic music from 50s/60s and harp music B-52s sound came from all members' varied influences Band was lumped with punk but more "freak punk" Original "Rock Lobster" single recorded in Georgia mountains DB Records pressed 2,000 copies, sold out quickly Eventually pressed 30,000 total copies of original single Australia embraced band early, rolled out red carpet Band never saw penny from original single sales Talking Heads recommended B-52s to their manager successfully Enter to win a record from us to celebrate Ep500 High resolution version of this podcast is available at: www.Patreon.com/VinylGuide Listen on Apple: https://apple.co/2Y6ORU0 Listen on Spotify: https://spoti.fi/36qhlc8

Official Weekly Podcast from Paul Oakenfold Playlist: Episode 764 01 Paul Oakenfold, Planet Perfecto Knights & BE - Call Me (Stay) (Extended Mix) [Perfecto] 02 JJ - Flesh (Obie Fernandez Remix) [Promo] 03 LUM1NA featuring Zaa & Carly Lind - Something (Extended Mix) [Perfecto]  04 Paul van Dyk & The YellowHeads - Back 2 The FVTR (Extended) [VANDIT Alternative] Perfectomundo Moment:  Reflekt & Delline Bass - Need To Feel Loved (Tinlicker Remix) [Promo] 05 Mia Dahli - Deep Down Inside (Extended Remix) [48k Records] 06 The Cure — I Can Never Say Goodbye [Paul Oakenfold ‘Cinematic' Remix] [Polydor Records] 07 Aaron Hibell & Alex Wann - set me free [Astralwerks] 08 mOat - Buggin' Out (Rodriguez Jr. Extended Remix) [Armada Music]  09 Designer Doubt - Show You Off (Extended Mix) [48k Records] 10 Fatboy Slim & Daniel Steinberg - Bus Stop Please [Southern Fried Records] 11 Paul Oakenfold & Jessica Sweetman - Bang Bang (Club Mix) [Perfecto] 12 Anyma & Ellie Goulding - Hypnotized [Interscope Records] Perfecto Classic:  Mekka - Diamondback (Original Mix) [Perfecto]

Playlist and other information available at: https://www.freeformfreakout.com/fffoxy-podcast-260/ **This episode includes an interview with Bobby Martinez of Dandy Boy Records**

In the final hour, Bone is joined by Connor O'Neill, who previews the upcoming football seasons for Duke & Wake Forest. he & Fitty take a look at ESPN's most unbreakable college football records, and Brett Siegel joins with the latest NBA Draft intel See omnystudio.com/listener for privacy information.

John Maytham is joined by Minister of Home Affairs, Dr. Leon Schreiber, to unpack how South Africa’s identity system will be undergoing a major transformatiomed – aimed at, protecting national security, improving service delivery, and correcting a decade-long imbalance in how identity verification services are priced. Presenter John Maytham is an actor and author-turned-talk radio veteran and seasoned journalist. His show serves a round-up of local and international news coupled with the latest in business, sport, traffic and weather. The host’s eclectic interests mean the program often surprises the audience with intriguing book reviews and inspiring interviews profiling artists. A daily highlight is Rapid Fire, just after 5:30pm. CapeTalk fans call in, to stump the presenter with their general knowledge questions. Another firm favourite is the humorous Thursday crossing with award-winning journalist Rebecca Davis, called “Plan B”. Thank you for listening to a podcast from Afternoon Drive with John Maytham Listen live on Primedia+ weekdays from 15:00 and 18:00 (SA Time) to Afternoon Drive with John Maytham broadcast on CapeTalk https://buff.ly/NnFM3Nk For more from the show go to https://buff.ly/BSFy4Cn or find all the catch-up podcasts here https://buff.ly/n8nWt4x 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/@CapeTalk567 See omnystudio.com/listener for privacy information.

In this ongoing podcast series, I interview Akashic Records Practitioners to explore how working with the Akashic Records has transformed their lives. We discuss topics such as: what it means to "hear the call of the Records" (and answer that call) the vast healing, personal evolution, and growth that happens when we activate the energy of the Akashic Records in our lives how the Akashic Records can help us fully awaken our intuitive, multidimensional, and healing gifts - both for ourselves and to serve others how tapping into the Akashic field can help us release outdated, long-standing patterns, beliefs, and attachments that aren't serving us the Akashic Records as a potent tool for psychospiritual development and to align fully with your highest purpose as a healer or lightworker   In this episode, I speak with Gretchen Hill, a certified Akashic Records Master Practitioner (through Josephine's certification program) and Transformational Coach who guides women entrepreneurs and professionals to break free from generational money blocks and reconnect with their True Self. After surviving a near-death car accident, Gretchen experienced a profound awakening that led her to leave a long-term marriage and a 22-year career in higher education. She discovered her Soul's purpose: to help women heal inherited money patterns rooted in ancestral trauma and scarcity. Gretchen's personal journey revealed deep, lineage-based beliefs—passed down through her Jewish ancestry—that kept her stuck in survival mode. Through forgiveness, ancestral healing, and intuitive guidance, she transformed her own story and now empowers others to do the same. Gretchen created the Multi-Generational Money Map™, a unique methodology that helps clients trace and release old money narratives, replacing them with abundant, soul-aligned beliefs. With advanced training in therapeutic modalities, including Internal Family Systems, CBT, Reiki, and psychosynthesis, she brings over a decade of experience in career counseling and a rich academic background in mental health and cultural geography. You can learn more about Gretchen's work by visiting her main website: https://gretchenhillcoaching.com Book a complimentary call to work through your "money story" with Gretchen here: https://calendly.com/hello-gretchenhillcoaching/free-45-minute-meeting *** Join my (Josephine's) email community and get access to my free Akashic Records Mini Course: https://josephinehardman.com/akashic-records-intro/ Explore becoming a certified Akashic Records Practitioner with Josephine: https://josephinehardman.com/work-with-me/akashic-records-certification-program/ Visit my website: https://josephinehardman.com Thank you for being here, doing your inner work, and leading the way for others with your light. It matters! Music & editing by G. Demers Inner Work 2025 All Rights Reserved.

This weeks show starts off in a classic style with music from Peter Tosh, Don Carlos, Keith & Tex, Barry Brown, Kenny Knotts, Steel Pulse, Pablo Moses, Steve Boswell, The Gladiators, More Relation, Max Romeo, The Mighty Diamonds, Cornell Campbell, Prince Jazzbo, Jackie Mittoo, Leroy Smart, Prince Fatty, Wayne Jarrett, Jah Stitch, King Tubby, The Wailers, Richard McDonald, Dennis Brown, Everton Blender, Bitty McLean, and Burning Spear. New Music this week comes from Perfect Giddimani, Clinton Fearon, Clive Matthews, Neto Yuth, ZIkki with Bost & Bim, Lion Fiyah, Dre Island, Soulfiya, Jelliss, Ras Kuku and the Dub Wizards, The Georgetown Orbits, Pachyman, The Breadwinners, Sista Livity, Yeza, Sailor Jane, Skarra Mucci & Manudigital, and Mellow Mood. Also this week we take a trip to Studio One featuring music from Freddie McKay, Jackie Bernard, and Johnny Osbourne with Earl 16 & Jennifer Lara. We also ride the Kuff ridden from King Jammy featuring Leroy Gibbons, Admiral Bailey, and Tiger.  Enjoy! Peter Tosh - Coming In Hot - Wanted Dread & Alive - Rolling Stones Records Don Carlos - Mr. Sun - Niney The Observer Roots With Quality - VP Records Barry Brown - Own Feet - Roots Youths 12” Keith & Tex - On The Streets - Gun Life - Liquidator Music Kenny Knotts & Roberto Sanchez - Love & Glory/Jah Children Dub - Pirates Choice 12” Addis Pablo - In My Father's House - In My Father's House - Jah Solid Rock  Steel Pulse - Steppin' Out - Rastanthology - Wise Man Doctrine Pablo Moses - Reggae Warrior - The Revolutionary Years 1975-1983 - Grounded Music Steve Boswell & Jah Berry - Cool Rastaman Cool - Children Of Jah: The Chantells & Friends 1977-1979 Blood & Fire More Relation - Cartoon Actor - Freedom - More Realtion The Gladiators - Stick A Bush - Dreadlocks The Time Is Now - Virgin/Frontline Max Romeo & The Upsetters - Stealin' - War Ina Babylon - 4 Men With Beards The Mighty Diamonds - Natural Natty - Right Time: I Need A Roof - Channel One Cornel Campbell - Mash You Down - I Man A The Stal-A-Watt - VP Records Prince Jazzbo - School - Studio One Classics - Soul Jazz Records Jackie Mitoo - Freak Out - Downbeat The Ruler: Killer Instrumentals From Studio One - Heartbeat Records Leroy Smart - No Love - Dread Hot In Africa - Makasound Prince Fatty - No Dub In Their Heart - Prince Fatty Meets The Gorgon In Dub - VP Records Wayne Jarrett - Satta Dread - King Tubby's In Fine Style - Trojan Records Jah Stitch - Conference At Waterhouse - Micron Music Presents: Every Mouth Must Be Fed - Pressure Sounds King Tubby - Satta Version - King Tubby's In Fine Style - Trojan Records Bob Marley & The Wailers - Put It On - African Herbsman - Trojan Records Richard McDonald - Do Your Thing - Boat To Progress: The Original Pantomine Vocal Collection 1970-74 - Greensleeves Freddie McKay - Drunken Sailor/Drunken Sailor Version - Picture On The Wall Deluxe Edition - Studio One Jackie Bernard - Torture & Flames - Studio First: From The Vaults Vol. 2 - Studio One Johnny, Earl & Jenny - Dub Street - The #1 Sound: From The Vaults Vol. 1 - Studio One Im & The Invaders - The Great Wall - Studio First: From The Vaults Vol. 2 - Studio One Dennis Brown - Africa We Want To Go - Slow Down - Greensleeves Dennis Brown feat. DYCR & Triston Palma - Back To Africa - King Jammy Presents: Dennis Brown Tracks Of Life - VP Records Everton Blender - My Father's Home - Lift Up Your Head - Heartbeat Records Bitty McLean w/ Sly & Robbie - My Call - Love Restart - Taxi/Tabou1 Dubmones feat. Earl 16 & Oku Onuara - I Believe In Miracles /I Believe In Miracles (Dub Cut) - Echo Beach Luciano - Great Controversy - Great Controversy - Jet Star Burning Spear - Stick To The Plan - Jah Is Real - Burning Music  Israel Vibration - Reggae Music Never Dies - Reggae Music Never Dies - Riddim Agency Perfect Giddimani - Ethiopian Sunshine - Sibusiso - Giddimani Music Nadia McAnuff & The Ligerians - So Jah Seh - Shelter From The Storm - SoulNurse Records Clinton Fearon - Can't Stop Us - Jah Is Love - Baco Music/Boogie Brown Productions Clive Matthews Meets Lone Ark - Going Home - Going Home - A-Lone Productions/Evidence Music Neto Yuth feat. Little Lion Sound - Most High Love - Angels Of Light - Heartical Youth Records/Evidence Music Zikki w/ Bost & Bim - Love And Wars - Angaza - The Bombist Lion Fiyah - Defeat The Devil - Judgement Council & Drumwise Dre Island - Cold World -  Pon Di Island Riddim - Bebble Rock Music Soulfiya & Yungg Trip - Box Down Babylon - No Worries Riddim - More Badder Media Sugar Minott - Dreadlocks Chalice - Ghetto Child - VP Records Jelliss - Medication - Conquering Lion Records Ras Kuku Meets Dub Wizards Band - Cruzar Fronteras /Fronteras Dub - Time To Roots Records Dennis Brown & Augustus Pablo - Spirit Of Umoja/Spirit Of Umoja Dub - Emmanuel Music  The Georgetown Orbits - Downtown Strut - Constellations - Orion Anderson Pachyman - Another Place - Another Place - ATO Records The Breadwinners - Take Cover - Hi Dynamic Instrumental & Dub - Breadwinners Records The Breadwinners - Natural  - Hi Dynamic Instrumental & Dub - Breadwinners Records Ras Ibuna & The Village Bunch - Diverse Doctrine/Diverse Doctrine Version - More Pressure Vol. 1: Straight To The Head - Pressure Sounds Joseph Lalibela Meets Vibronics & Mafia & Fluxy  Band - Upfull/Upfull Dub - Ancient Breeze - Scoops Records Sista Livity & Good Over Evil - Power Of The Rasta/Power Of Dub - Good Over Evil Vibronics featt. Sis I leen - Peaceful Warriors - Vibronics & Cross Club Present Woman On A Mission - Scoops Records Vibronics feat. Koko Vega - Lion Knight - Woman On A Mission 2 - Scoops Records Don Carlos - I Love Jah (Stepwizer Reemix) - Stepwizer Music Aza Lineage - Rule The Sound - VP Records Sailor Jane - Legends - Leroy Sibbles Presents: Vibes Man Riddim - Tad's Records Yeza & RoryStonelove - Road Runner - Black Dub Music Skarra Mucci & Manudigital - Ragga Blasta - X-Ray Production Mellow Mood feat. Anthony B & Dub Inc. - Home Or Abroad - 7 - La Tempesta Dub Sugar Minott & Bounty Killer - Give The People What They Want - Hits 38 Production/Jammy's Leroy Gibbons - Magic Moment - King Jammy's Selectors Choice Vol. 3- VP Records Admiral Bailey - Jump Up - King Jammy's Selectors Choice Vol. 3- VP Records Tiger - Bam Bam - King Jammy's Selectors Choice Vol. 3- VP Records

It dawns on me now that we recorded Golden Ages our first ever recording, before we added guitarist Randy Thomas.

Prepare for fireworks, Kopites! Liverpool has just made history, smashing the Premier League transfer record with a staggering €150M deal for German phenom Florian Wirtz. This episode dives deep into why Wirtz is worth every penny, how Arne Slot plans to unleash his creative genius, and the tactical revolution he brings alongside Jeremie Frimpong. We analyze the strategic shift this monumental signing represents for FSG and what it means for Liverpool's Premier League and Champions League aspirations. Get ready for "Trophyball" – the Wirtz era has begun! Florian Wirtz, Liverpool FC, Premier League Transfer Record, Arne Slot Tactics, Anfield Transfers

​In Case Number CR01-24-31665, the State of Idaho has submitted a reply to defendant Bryan C. Kohberger's objection concerning the self-authentication of certain records intended for use at trial. The State aims to admit various pieces of evidence—including surveillance footage, financial records, and communication data—by relying on the Idaho Rules of Evidence (I.R.E.) 803(6) and (8) for hearsay exceptions, and I.R.E. 902(4) and (11) for self-authentication, thereby eliminating the need for foundational witnesses. They assert that each item will be accompanied by the necessary Certificates of Authenticity to establish proper foundation and relevance.In response to the defense's objections, the State details specific items of evidence, such as surveillance footage from properties on Linda Lane and video from Albertson's in Clarkston, Washington, outlining their relevance and the steps taken to authenticate them. Additionally, the State addresses records from Amazon, AT&T, and various financial institutions, emphasizing that Certificates of Authenticity have been obtained or are in the process of being secured. The State maintains that utilizing these evidentiary rules does not infringe upon the defendant's due process rights and is a standard procedure to ensure efficiency and reliability in the admission of evidence.to contact me:bobbycapucci@protonmail.comsource:032425-States+Reply+to+Defendants+Objection+to+MIL+RE+Self+Authentication+of+Records.pdfBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-moscow-murders-and-more--5852883/support.

​In Case Number CR01-24-31665, the State of Idaho has submitted a reply to defendant Bryan C. Kohberger's objection concerning the self-authentication of certain records intended for use at trial. The State aims to admit various pieces of evidence—including surveillance footage, financial records, and communication data—by relying on the Idaho Rules of Evidence (I.R.E.) 803(6) and (8) for hearsay exceptions, and I.R.E. 902(4) and (11) for self-authentication, thereby eliminating the need for foundational witnesses. They assert that each item will be accompanied by the necessary Certificates of Authenticity to establish proper foundation and relevance.In response to the defense's objections, the State details specific items of evidence, such as surveillance footage from properties on Linda Lane and video from Albertson's in Clarkston, Washington, outlining their relevance and the steps taken to authenticate them. Additionally, the State addresses records from Amazon, AT&T, and various financial institutions, emphasizing that Certificates of Authenticity have been obtained or are in the process of being secured. The State maintains that utilizing these evidentiary rules does not infringe upon the defendant's due process rights and is a standard procedure to ensure efficiency and reliability in the admission of evidence.to contact me:bobbycapucci@protonmail.comsource:032425-States+Reply+to+Defendants+Objection+to+MIL+RE+Self+Authentication+of+Records.pdfBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-moscow-murders-and-more--5852883/support.

Grab your shades and your beach towel, it's summer time! Fire and Water Records is back for the hottest season with a hot new playlist. Ryan and Neil Daly continue their seasonal odyssey with some fun Summer Jams recounting summer flings, vacations, festivals, and more nostalgia than you can shake Batman at. Plus Neil's divorce and Ryan's baseball trauma: y'know, fun stuff! Track list "Ray of Light" by Madonna "Summer Nights" by John Travolta, Olivia Newton-John, and the Cast of Grease "Rock and Roll Girls" by John Fogerty "Summer of '69" by Bryan Adams "Caress Me Down" by Sublime "Summer Nights" by Van Halen "Lonely Town" by Brandon Flowers "Motorcycle Drive By" by Third Eye Blind "Walk of Life" by Dire Straits "Wasted Time" by Keith Urban "End of Beginning" by Djo "Batdance" by Prince Let us know what you think! Leave a comment or send an email to: RDalyPodcast@gmail.com. This podcast is a proud member of the FIRE AND WATER PODCAST NETWORK. Visit our WEBSITE: http://fireandwaterpodcast.com/ Like our FACEBOOK page – https://www.facebook.com/FWPodcastNetwork Use our HASHTAG online: #FWPodcasts Subscribe to FIRE AND WATER RECORDS on iTunes: https://podcasts.apple.com/us/podcast/fire-and-water-records/id1458818655 Or subscribe via iTunes as part of the FIRE AND WATER PODCAST: http://itunes.apple.com/podcast/the-fire-and-water-podcast/id463855630 Support FIRE AND WATER RECORDS and the FIRE AND WATER PODCAST NETWORK on Patreon: https://www.patreon.com/fwpodcasts Thanks for listening!

JT Habersaat was dubbed the "Godfather of Punk Rock Comedy" by Chicago Now and launched The Altercation Punk Comedy Tour in 2007, which he headlined for over a decade. His latest special Swamp Beast hit #1 on the Amazon Comedy Charts and was released by 800 Pound Gorilla / Warner Music Group. He curates the Altercation Comedy Festival in Austin, which Vulture named one of the top comedy festivals in the world. JT has toured with Lydia, appeared on Comedy Central, released albums on Stand Up! Records, and creates custom action figures collected by artists like Patton Oswalt, John Carpenter, and Raymond Pettibon. In July JT has a new book coming out titled Doing Time: Comedians Talk Standup.

Translator was one of those bands on the precipice of breaking big in the 80s. Signed to local indie label 415 Records, they soon found themselves part of the big-time music business when their label signed a distribution deal with Columbia Records. In 1982, their single, "Everywhere That I'm Not”, became popular on the burgeoning college radio circuit.  In 1986, the band decided to call it quits, scheduling a hometown show to reward their ardent fan base with a final San Francisco show. This performance, along with two new songs, are now available on an LP entitled Translator--Beyond Today: Live at the Farm San Francisco 1986. Lead singer/guitarist Steve Barton and drummer Dave Scheff join the podcast to look back at their 80s musical journey, as well as offer some insight into new developments within the band.  Learn more about your ad choices. Visit megaphone.fm/adchoices

Collections become clutter as soon as they outgrow our systems of organization, the space allotted to them, or our capacity to enjoy them. It takes a careful, thoughtful approach to store and display collections and to recognize when it's time to cut back. In episode #259 of The Clutter Fairy Weekly, Gayle Goddard, professional organizer and owner of The Clutter Fairy in Houston, Texas, discusses collections—how they accumulate, why they get out of control, and what you can do to rein them in when the need arises.Show notes: https://cfhou.com/tcfw259The Clutter Fairy Weekly is a live webcast and podcast designed to help you clear your clutter and make space in your home and your life for more of what you love. We meet Tuesdays at noon (U.S. Central Time) to answer your decluttering questions and to share organizing tools and techniques, success stories and “ah-hah!” moments, seasonal suggestions, and timeless tips.To participate live in our weekly webcast, join our Meetup group, follow us on Facebook, or subscribe to our mailing list. You can also watch the videos of our webcast on YouTube.Support the show

11am hour of The K&C Masterpiece! Most ridiculous college football records. AM on the FM: obscure collections/getting traded on your own holiday. Gridiron Gravy: Adrian Peterson's wild game of poker.

Carter Freemon joins the program to discuss the most insane records in college football.

Translator was one of those bands on the precipice of breaking big in the 80s. Signed to local indie label 415 Records, they soon found themselves part of the big-time music business when their label signed a distribution deal with Columbia Records. In 1982, their single, "Everywhere That I'm Not”, became popular on the burgeoning college radio circuit.  In 1986, the band decided to call it quits, scheduling a hometown show to reward their ardent fan base with a final San Francisco show. This performance, along with two new songs, are now available on an LP entitled Translator--Beyond Today: Live at the Farm San Francisco 1986. Lead singer/guitarist Steve Barton and drummer Dave Scheff join the podcast to look back at their 80s musical journey, as well as offer some insight into new developments within the band.  Learn more about your ad choices. Visit megaphone.fm/adchoices

MIT has a warning: ChatGPT might be turning your brain to mush. In a recent study, researchers measured brain activity during writing tasks using ChatGPT, Google, or nothing—and ChatGPT users showed the lowest brain engagement. Is AI making us forget how to think for ourselves? Plus, a record-breaking moment in sports history: the Buss family has reportedly sold their majority stake in the Los Angeles Lakers for $10 billion, making it the most expensive sports team sale ever. How does that compare to other big-name franchises? And in case you missed it: The Dallas Cowboys cheerleaders just scored a 400% pay raise The debate continues—do AI tools hurt or help creativity?

Grab your shades and your beach towel, it's summer time! Fire and Water Records is back for the hottest season with a hot new playlist. Ryan and Neil Daly continue their seasonal odyssey with some fun Summer Jams recounting summer flings, vacations, festivals, and more nostalgia than you can shake Batman at. Plus Neil's divorce and Ryan's baseball trauma: y'know, fun stuff! Track list "Ray of Light" by Madonna "Summer Nights" by John Travolta, Olivia Newton-John, and the Cast of Grease "Rock and Roll Girls" by John Fogerty "Summer of '69" by Bryan Adams "Caress Me Down" by Sublime "Summer Nights" by Van Halen "Lonely Town" by Brandon Flowers "Motorcycle Drive By" by Third Eye Blind "Walk of Life" by Dire Straits "Wasted Time" by Keith Urban "End of Beginning" by Djo "Batdance" by Prince Let us know what you think! Leave a comment or send an email to: RDalyPodcast@gmail.com. This podcast is a proud member of the FIRE AND WATER PODCAST NETWORK. Visit our WEBSITE: http://fireandwaterpodcast.com/ Like our FACEBOOK page – https://www.facebook.com/FWPodcastNetwork Use our HASHTAG online: #FWPodcasts Subscribe to FIRE AND WATER RECORDS on iTunes: https://podcasts.apple.com/us/podcast/fire-and-water-records/id1458818655 Or subscribe via iTunes as part of the FIRE AND WATER PODCAST: http://itunes.apple.com/podcast/the-fire-and-water-podcast/id463855630 Support FIRE AND WATER RECORDS and the FIRE AND WATER PODCAST NETWORK on Patreon: https://www.patreon.com/fwpodcasts Thanks for listening!

Urbana Radio Show By David Penn Chapter #695 1. Kate Stein & Lord Fascinator - Asteroid (Aeroplane Remix) - Eskimo Recordings 2. Claptone, Sea Girls feat. Henry Camamile - Put Your Love On Me (Marco Lys Remix) 3. Messina, Mel Bundo, Mrossi - Groove Thang - Haute Couture Music 4. Illyus Barrientos - Capitale - In / Rotation 5. Meeko - The Feeling - Medina Records 6. Jerk Boy & Birdee - Rock The Beats - Motive Records 7. Fuzzy Hair - Got The Power - Milk & Sugar Recordings 8. Tommy Vee, Mauro Ferrucci, Keller - Inside At Night - Airplane! Records 9. Richard Earnshaw, Ridney & Jovonn - House Is The Message - Soulfuric Deep 10. Mason, David Penn & Erire - Dusk Till Dawn - Altra Moda 11. Lefti - Heart And Soul - There Was Jack 12. The Goodfellas - Soul Heaven (Glen Horsborough 2025 Remix) - Saifam 13. Alaia & Gallo - Lipstick - Toolroom Thanks to all the labels and artist for their music. All tracks selected and mixed by David Penn DJDAVIDPENN.COM FACEBOOK DJDAVIDPENN INSTAGRAM @DJDAVIDPENN INGENIUM BOKINGS EUROPA MUSIC MANAGEMENT Encoded by MUSICZONE PODCAST SERVICES.

Tercera entrega de esta serie de programas dedicados al catálogo de New Rose Records. Esta disquera francesa que se convirtió en uno de los sellos independientes más importantes de los años 80 y en refugio para numerosos grupos y artistas que rompían los moldes o, que simplemente, se salían de las formas más comerciales y convencionales del rock y el rock’n’roll.Playlist;BLOOD ON THE SADDLE “Abilene”THE BAND OF BLACKY RANCHETTE “Code of the road”THE TURBINES “Rules of the world”REPTILES AT DAWN “Zenith”SIRENS OF THE 7TH AVENUE “Shine on”CHRIS SPEDDING “Counterfeit”DOUG SAHM and THE TEXAS MAVERICKS “Just let her go”PIANOSAURUS “Thriftshoppin”CHARLIE FEATHERS “Jungle fever”LMNOP “Tapes”LOLITAS “Tu me plais”CARMAIG DE FOREST “Big business”EDDIE RAY PORTER “Through the night”BRUCE JOYNER “Melrose Avenue”Escuchar audio

Join Ste for today's Bitesize podcast as he talks about Alexander Isak, Florian Wirtz, Federico Chiesa, Harvey Elliott and more!Support this show http://supporter.acast.com/redmentv. Hosted on Acast. See acast.com/privacy for more information.

  NEW SUBSCRIPTION INTERFACE DOOHICKY!   You can now find our subscription page at GeorgeHrab.com at this link. Many thanks to the majestic Evo Terra for his assistance.   THE SHOW NOTES  The “Proof” of Blessings Intro Predator: Killer of Killers Interesting Fauna      - Feather-legged lace weaver (Uloborus plumipes) Phombast Series-8 Replicandor Scrim Manual Ask George      - Etude, Prelude, Nocturne, Sonata,        Minuet, & Suite? from Robert D. The Man In Love With You Religious Moron of the Week      - The Taliban from Mike Molnar Tell Me Something Good      - Vatican Now 100% Solar Show Close .........................   MENTIONED IN THE SHOW  Feather-legged lace weaver  .........................   EVENTS ON THE SCHEDULE  FRIDAY, JULY 25th 9:00- 11:00 The George HraBand OUTDOOR CONCERT HBS Community Stage at Steel Stacks, Bethlehem PA FREE! MUSIKFEST: SUNDAY, AUGUST 3, 2025 5:00 - 5:45 George Hrab: Solo Acoustic LYRICPLATZ STAGE  (Frank Banko Cinemas) Bethlehem, PA FREE! MUSIKFEST: TUESDAY, AUGUST 5, 2025 6:00 - 6:30 pm George Hrab: Solo Acoustic LAGERPLATZ STAGE Bethlehem, PA FREE! MUSIKFEST: THURSDAY, AUGUST 7, 2025 9:00 – 11:00 pm The George HraBand LIEDERPLATZ STAGE  (Sun Inn Courtyard) Bethlehem, PA FREE! .........................   Get George's Music Here  https://georgehrab.hearnow.com https://georgehrab.bandcamp.com ................................... SUBSCRIBE! You can sign up at GeorgeHrab.com and become a Geologist or a Geographer. As always, thank you so much for your support! You make the ship go. ................................... Sign up for the mailing list: Write to Geo! Check out Geo's wiki page, thanks to Tim Farley. Have a comment on the show, a Religious Moron tip, or a question for Ask George? Drop George a line and write to Geo's Mom, too!

-The list in order of 1-10: 1) Oklahoma's 47-game win streak in the 1950s  2) Barry Sanders individual season rush record (Ashton Jeanty was close but also had 3 more games)    3) Florida State's run of Top 5 finishes (every year 1987-2000); 4) Oklahoma's 472.4 rushing yards per game in 1971    5) Florida's John Reaves throwing 9 INTs in a game in 1969 -6) Derrick Thomas' 27 sacks in a season at Alabama in 1988  7) Antonio Perkins' 3 punt return TDs in 2003 game  8) Marcus Allen rushing over 200 yards in 8 of 11 games in 1981  9) Patrick Mahomes' 819 yards of offense in a game, and 10) Nick Saban's 100 straight wins over unranked teams   Show Sponsored by NEBCOOur Sponsors:* Check out Hims: https://hims.com/EARLYBREAKAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

(0:35:00) Sam Khan, The Athletic (1:05:00) Shehan Jeyarajah, CBS Sports (1:28:00) Jon Wilner, The Wilner Hotline (1:45:00) Craig Smoak's “Off The Radar” (2:27:00) Mickey Spagnola, DallasCowboys.com (2:46:00) Paul Catalina's “Top 5” Learn more about your ad choices. Visit megaphone.fm/adchoices

Guest mix by: DJ EKL 01. Fatboyslim - eat sleep Breakbeat repeat [ DJ EKL CLIP REMIX ] 02. aSwang - Continuity 03. Wizard - Jonny 5 (The Brainkiller & Dj Tortu Remixes) 04. DJ ICEY - Do What Ya Want 05. DJ EKL & LADY WAKS - in the bass 06. D-MONEY - Sending emotion 07. Hankook & Paket - Feel The Vibe 08. Brothers of funk - Hype Da Funk 09. DJ EKL - Again Now 10. Hyper Go · Rasco · Hankook · Perfect Kombo - Hyper Go 11. Adam_Vyt - Dreams (Vocal Mix 5º Anniversary Remastered) 12. DJ EKL - Vibrations 13. Colombo - Clap Yah Hands 14. DJ EKL & D-MONEY - Its a fine Day 15. Deekline - Bass Shaker VIP 16. Jiro - Submission 17. Krafty Kuts - Wub Juggler 18. LADY WAKS - Flame 19. DJ EKL - In The Sky 20. Brothers of funk - The Situation (DJ EKL 2K24 Remix) 21. KWERK - Drum Rolls Deep 22. Sekret Chadow - Big Breaks (Original Mix) [13monkeys Records] 23. BZRNT & DJ EKL - Only Now 24. NITRO - Boogie Time 25. OFlynn, Frazer Ray - Count You In 26. Plump DJs - Shifting Gears (Stanton Warrior Remix)

David joins the guys with a list of some college football records he doesn't think will ever be broken.

FBI director Kash Patel has turned over to Congress an intel report raising concerns that China had mass-produced fake US driver's licenses to carryour a scheme to hijack the 2020 election with fake mail-in ballots for Joe Biden. Voters support Trump sending the Guard into LA as CNN's parent company eyes a network spinoff to save money. A curious Truth from Trump in early January about America getting involved in the war in the Middle East is almost chilling today...