Podcast appearances and mentions of Richard Thompson

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

Percussion Discussion Podcast - Episode 164 - Dave Mattacks. Joining me today is the wonderful Dave Mattacks. Dave is a british drummer ( now living in Boston ) with a quite remarkable career under his belt - he is known as the Folk Drummer (much to his occasional chargrin) Having played for Fairport Convention for a long time, however he has a lot more up his sleeve, check this out for a recording and live CV.......... Paul McCartney, Elton John, XTC, George Harrison, Chris Rea, Jethro Tull, The Proclaimers, Joan Armatrading, Mary Chapin Carpenter, Richard Thompson, Steeleye Span and many many more! We had the most wonderful conversation about his career including the moment he went from trying to impress, with flashy, busy drum parts to stripping it back and playing for the song, something that is now synonymous with Dave's name. Huge thanks to our mutual pal Nigel Constable for connecting us up! Many thanks of course for giving up his valuable time to do this! www.davemattacks.com

Two months ago, a rendition of “Dimming of the Day” was posted on Facebook. The rendition was courtesy of Ger O'Donnell and Trevor Sexton, with the fantastic addition of Don Stiffe on guitar and vocals. Ger and Trevor are gearing up to be the supporting act for Richard Thompson at the Galway International Arts Festival.

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 first 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 twenty-seven-minute bonus episode available, on “Baby It’s You” by Smith. Tilt Araiza has assisted invaluably by doing a first-pass edit, 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/ (more…)

The Infra Dig podcast returns to its infrastructure fund interview format for this latest episode, interviewing 2 key players from UK-based clean energy investor Foresight Group.  IJGlobal editorial director Angus Leslie Melville sits down (in person for this latest podcast) with 2 Foresight partners – fund managers of Foresight Energy Infrastructure Partners (FEIP) – primarily to discuss MaresConnect.  The Infra Dig guests are Richard Thompson and Dan Wells and they are both deeply experienced infrastructure investors who have been building out the FEIP platforms for many years.  While conversation ranges across the fund manager's strategy, the podcast is centred on the interconnector is being developed by MaresConnect Limited – which is owned by Foresight Energy Infrastructure Partners and Etchea Energy Nominees Limited.  MaresConnect is an electricity interconnector that will run between Dublin and Bodelwyddan, Wales, and will link Irish and British electricity markets by 2030. The 750MW project will be around 245km.  

In this episode, we present a special audio adaptation of a theological classic: “The Meaning of Christian Security”, written in 1939 by David Shelby Corlett. A respected theologian, editor, and educator in the Church of the Nazarene, Dr. Corlett was known for his clarity, depth, and passionate commitment to scriptural holiness and sanctification. This work is a rich and thoughtful exploration of what it truly means to be secure in Christ—not as a passive guarantee, but as a dynamic, ongoing relationship rooted in faith, obedience, and divine grace. Drawing deeply from Scripture and the Wesleyan-Arminian tradition, Corlett offers a vision of salvation that is both hopeful and profoundly responsible. The essay is organized into five chapters, each unpacking a vital dimension of Christian security: Security: A Divine Provision What Is Eternal Life? Security: A Vital Relationship Security Through Co-operation Its Scope Whether you're a pastor, a student of theology, or simply someone longing to walk more closely with Christ, this timeless message offers clarity, encouragement, and challenge.   This document was accessed from the Wesley Center Online.  The Wesley Center Online is a collection of historical and scholarly resources about the Wesleyan Tradition, theology, Christianity, and the Nazarene church hosted by the Wesley Center for Applied Theology at Northwest Nazarene University. We are thankful for the work of Richard Thompson in overseeing this repository.   To read the manuscript, click here To find more Holiness Classics, click here   Lifelong Learning Code: 80890 Click here to learn about Lifelong Learning   *this episode was created with the help of AI*  

We know airfares are expensive, right? Everybody, and I mean everybody, I know who's booked flights recently has made the comment that an overseas flight is cheaper than flying just about anywhere around New Zealand – especially to the provincial centres. Easter was huge in terms of airfares, but even on your normal everyday Wednesday morning, flying to Timaru, flying to Tauranga, it's going to set you back a fortune. We've been complaining about Air New Zealand's pricing now ever since we could get back in the air again after Covid, but what can we do? Air New Zealand says its experienced more cost inflation in the past three years than was typically seen in a decade, with Covid, a weak New Zealand dollar, and geopolitics all to blame. Richard Thompson, Air New Zealand's Chief Financial Officer says their costs over the past 3.5 years have gone up by roughly 30%. Domestic airfares on average have gone up by around 24%, so they're trying to absorb the costs, they say. He argues that flying is still a relatively affordable way to get around the country, with every $400 or $500 fare, he says, there are thousands of examples of $129 fares or even $99 fares. He said I was speaking with someone before Christmas who wanted to get from Timaru to Napier. They were paying $600 or $700 one way. But what's the alternative? You drive to Picton. It'll cost you $100 in gas. If you take the ferry across, that's another $250 or $300. Then another $50 or $60 in gas to get to Napier. He said driving isn't cheap either. But now the government's getting in on the act. Associate Transport Minister James Meager is not ruling out underwriting the expansion of small regional airlines to help maintain routes and keep the price of flying competitive. But truly, the thing is we simply do not have the population base to support viable competition. How many airlines have tried and failed to establish themselves in the market? Just thinking back, in the last couple of decades, Freedom Air, Kiwi Air, and Ansett - they came, they tried, they failed. Don't get me wrong, competition is a good thing. We do have Jetstar, bless them and where they fly, you'll generally find the routes are the most competitive in terms of airfares, and the most reliable – because let's not forget about reliability. And I don't think that's a coincidence. I'm supposed to be flying to Tauranga in a couple of weeks for the day, for a job. And I'm supposed to be flying down on Saturday morning and flying back on Saturday evening. I have absolutely no confidence that that will happen. None. I mean, I hope it does, because there's a film crew down there and it will be a costly exercise if I fail to make it. I'm not planning anything for that particular Saturday night because the last time I flew to Tauranga, I got down there fine and then sat for just under 7 hours in the regional lounge waiting for a plane that never came, or it didn't come for a very, very long time. And yes, you can drive, but it's a horrible drive. But what do you do? It's a horrible drive or you accept that there's a very real chance that the plane won't take off when it says it's going to. Why, though, is the government interfering in the market? I found it really interesting that successive governments, Labour and National have wanted to tinker with privately owned businesses like supermarkets, and petrol companies, and banks, and now the airlines. They want to sort of tweak and fiddle around to try and bring prices down and make things more competitive, and it's all about the consumer and you know. Fabulous. Why don't they bring down the price of power? That's something they do control. The governments are in charge of that. Not everybody flies, we all use electricity. It is what it is. It's expensive to run an airline. Really expensive now in the wake of Covid and it's all been outlined as to why it's so expensive. Flying is expensive. We know that. We baulk at paying the prices if we can. They will allow some subsidies if you're going for a funeral, if there's humanitarian reasons for getting somewhere quickly. Air New Zealand can allow for cheaper airfares, but ultimately, do we want the government, that is the taxpayer, subsidising competition in the aviation industry? I wouldn't have thought that was a good use of taxpayer money. Why on Earth should other taxpayers who don't fly, subsidise those who want to flit off to Hawkes Bay or Queenstown for a jolly. I just don't see why the government should be interfering with the business of flying planes. See omnystudio.com/listener for privacy information.

Today on Too Opinionated, singer Zara Phillips comes back for another visit. Somebody's Daughter - and the 2018 book and 2022 one-woman show the film is based on – focusses on Zara's personal journey of overcoming early addiction, navigating her life and meeting her birth father after many years and struggles after connecting with her birth mother. The project's true driving force is tofacilitate honest, vulnerable conversations about adoption. Too many people, she says, are ignoring these important issues. In addition to acting and writing, Zara is also a talented singer and songwriter who launched her career in the 80s, appearing in music videos and providing backing vocals on tour with Bob Geldof, Matt Bianco, David Essex and Nick Kamen. While taking some years away from creative endeavors to raise a family, she came back strong in the 2000s, releasing two albums(When The Rain Stops and You. Me & Us) produced by Ted Perlman, whose multi-faceted musical resume includes Whitney Houston, Bob Dylan and Chicago; earning a Best Homegrown Documentary honor for her 2008 film Roots Unknown at the Garden State Film Festival; and publishing in 2008 her first book Mother Me, a compelling memoir about her ongoing struggles as an adoptee now raising a family of her own. A few years later, Zara's song “I'm Legit,” co-written with Darryl McDaniels (DMC of Run-DMC), was a successful single in the adoption world and beyond. In 2014, Zara's one woman show Beneath My Father's Sky, directed by Eliza and Eric Roberts won Best Direction at NYC's United Solo Festival and was performed in Los Angeles, San Francisco, Connecticut and London in 2016. During this era, she was presented with an Angel in Adoption Award by the Congressional Coalition of Adoption Institute. Her most recent album, released in 2020, is Meditation and Kitkats, and she currently tours and performs with her husband, British folk-rock legend Richard Thompson, who scored Somebody's Daughter.   Want t owatch: YouTube Meisterkhan Pod (Please Subscribe)

"The opening day of the Tenth General Assembly of the Church of the Nazarene, June 16, 1940, was a memorable one in the annals of the church. The blessing of God was unmistakably present from the opening song until the closing benediction. The morning communion service with Doctor Goodwin's message lifted us to heights of spiritual fellowship with God and with one another. Doctor Williams' characteristically stirring message in the afternoon was a challenge to better things for the days to come. The evening sermon was delivered by Dr. J. B. Chapman. His subject was "Christ and the Bible." It was an eloquent, scholarly and inspiring message that seemed to electrify the congregation of almost 6,000 listeners that crowded the great auditorium. Requests and pleas for the publication of the sermon were made both to the speaker and to the Publishing House executives. Therefore the message is now available, for the benefit of many who heard it and wish to read it as well as hear it, also for the many thousands who were not privileged to attend the service but who through reading this address will be led to a deeper love for the Bible and the Christ of the Bible." P. H. LUNN   This sermon was accessed from the Wesley Center Online.  The Wesley Center Online is a collection of historical and scholarly resources about the Wesleyan Tradition, theology, Christianity, and the Nazarene church hosted by the Wesley Center for Applied Theology at Northwest Nazarene University. We are thankful for the work of Richard Thompson in overseeing this repository.   To read the manuscript, click here To find more Holiness Classics, click here   Lifelong Learning Code: 80890 Click here to learn about Lifelong Learning   *this episode was created with the help of AI*

Titans of Science series is back for another run. And to kick us off, marine biologist Richard Thompson, who first brought to the world's attention 20 years ago the problem that is micro - and now nano - plastic pollution... Like this podcast? Please help us by supporting the Naked Scientists

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Visit: www.salty.com.au No ride here to the 50's, just one or two - but OMG it's cool! THE 58's is a genre hopping douse of goodness. Cuts from Mitch Ryder, Samantha Fish, Bob Lanza, Stormcellar, Southern Avenue, Little Feat, Lecia Louise, Steve Mondel, Watchhouse, Wareen Haynes, Richard Thompson, Neil Young, Nathan Beretta, Jen Mize, Lucinda Williams, Esther Phillips, Clayton Doley, Jason Isbell, Otis Namrell, Inspector Cluzo, 63 Deluxe, The Blow Out, Ian Siegal, Endless Boogie. ARTIST / TRACK / ALBUM ** Australia 1. Mitch Ryder / Lilli May / With Love 2. Samantha Fish / I'm Done Running' / Paper Doll 3. The Bob Lanza Blues Band / Upside of Lonely / Breadman's Blues 4. ** Stormcellar / A Little Too Much Is Never Enough / Basilisk 5. Southern Avenue / What Do I Do / Southern Avenue 6. Little Feat / Too High To Cut My Hair / Strike Up The Band 7. ** Lecia Louise / One Man / single release 8. ** Steve Mondel / Long-Haul Flights / Long-Haul Flights 9. Watchhouse / Belly of The Beast / Watchhouse 10. Warren Haynes / Day Of Reckoning / Million Voices Whisper 11. Richard Thompson / Persuasion / Celtschmerz (Live UK '98) 12. Neil Young / Star of Bethlehem / Homegrown 13. ** Nathan Beretta / Drinking Alone / Love Taxman 14. ** Jen Mize / My Buzz / Neon N Nothin' Else 15. Lucinda Williams / Joy / Car Wheels On A Gravel Road 16. Esther Phillips / Flesh, Blood and Bone / Release Me - The Best of Esther Phillips 17. ** Clayton Doley's Organ Donors / Return of the Prodigal Son / Tension! 18. Jason Isbell / Ride To Robert's / Foxes In The Snow 19. ** Otis Namrell / Hard To Breath / Otis Namrell Trio 20. The Inspector Cluzo / The Duck 'Guit' Blues / Gasconha Rocks 21. ** 63 Deluxe / My Favourite Hurricane / 63 Deluxe 22. ** The Blow Out / That Ain't Lovin' Me / Version of You 23. Ian Siegal / Won't Be Your Shotgun Rider / All The Rage 24. Endless Boogie / Occult Banker / Long Island

In his sermon "New Birth" Wesley unpacks the essential transformation that takes place when a person is spiritually reborn, emphasizing that this change is not just an improvement but a complete renewal of the heart by God's grace. He explains why this new birth is necessary, how it happens, and its impact on a believer's life. Join us as we dive into Wesley's timeless insights on salvation, faith, and the work of the Holy Spirit. This sermon was accessed from the Wesley Center Online and was edited by Michael Anderson with corrections by Ryan Danker and George Lyons for the Wesley Center for Applied Theology. The Wesley Center Online is a collection of historical and scholarly resources about the Wesleyan Tradition, theology, Christianity, and the Nazarene church hosted by the Wesley Center for Applied Theology at Northwest Nazarene University. We are thankful for the work of Richard Thompson in overseeing this repository.   Lifelong Learning Code: 80890 Click here to learn about Lifelong Learning   *this episode was created with the help of AI*

EVERY OTHER KREATIVE KONTROL EPISODE IS ONLY ACCESSIBLE TO MONTHLY $6 USD PATREON SUPPORTERS. Enjoy this excerpt and please subscribe now via this link to hear this full episode. Thanks!Owen Williams from the Tubs discusses their excellent album, Cotton Crown, DADGAD guitar tuning and affinities for artists like Big Star, Richard Thompson, and SZA, how the humour in his music can be overlooked for its sentimentality, his unique musical upbringing and penchant for misbehaviour as a young teen, processing his mother's suicide, his prose writing background, starting Perfect Angel Press, and updates about two of his novels, what Gob Nation is all about and spitting on people, Sonic Youth and Superchunk allusions, touring, working on a new album, other future plans, and much more.Support vish on Patreon!Support Y.E.S.S., Pride Centre of Edmonton, and Letters Charity. Follow vish online.Related episodes/links:Ep. #909: Jade HairpinsEp. #900: Fugazi and Jem CohenEp. #892: Fucked UpEp. #880: Guided By VoicesEp. #834: J MascisEp. #738: SuperchunkEp. #722: The BethsEp. #673: Sonic YouthEp. #634: Richard ThompsonEp. #578: Chris Rowley of Adulkt LifeSupport this show http://supporter.acast.com/kreative-kontrol. Hosted on Acast. See acast.com/privacy for more information.

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Michael Cremo is a known name in the alternate archaeology community. His and Richard Thompson's 1993 book “Forbidden Archaeology” has been called anunderground classic.But he is an outlier when it comes to extreme human antiquity. Cremo has come to the conclusion that humans – modern humans – have existed on the planet for millions, if not hundreds of millions, of years.This almost dizzying perspective can be derived from the ancient Vedic texts, a tradition that has influenced Michael's worldview deeply.Michael Cremo looked into standard archaeology and found that many archaeologists and paleoanthropologists, over the last century or so, had found anatomically modern human artefacts like bones or footprints embedded in geological strata that were known to be millions of years old.“I thought, why aren't these reports mentioned in the literature today?” Michael says.Well, they are, he explains, but they are interpreted in a way that they can fit in with the current ideas of human history.One example are the footprints paleoanthropologist Mary Leakey found at Laetoli in Tanzania in 1979.Another smoking gun is a finger bone found in Olduvai Gorge, not far from the site of the footprints. The bone does not quite look like it would if it were from another primate or a known prehistoric hominid, but it fits well with the anatomy of modern humans.“Theoretical preconceptions can influence how scientists will react to various categories of evidence”, Michael says.“Evidence that conforms to a particular paradigm will easily pass through this social intellectual filter. You will hear scientists talk about it at seminars. Evidence that doesn't conform is filtered out: ‘It's an anomaly, we'll get to that later'.”An alternative to the rational, physicalist paradigm that dominates archaeology in the West today would be to have a plurality of archaeologies. Cremo highlights theWorld Archaeological Congress and its scientific journal “Archaeologies”.He appreciates the boom in alternative archaeology in recent years.“But we deal with different parts of the time spectrum.”In Michael Cremo's view, the study of paleoarchaeology cannot really be separated from the study of consciousness and what a human being is.“The cosmos is no accident. There is a purpose to it.”“But the cosmos goes through cycles of manifestation and unmanifestation. These cycles go on eternally. In that sense, there is no creation, there is an ongoing event.”And part of that ongoing event is the existence of human beings.“We are present, I believe, because it's in the human bodily vehicle that a conscious self can come to understand the real answer to the question ‘who am I?'”This entails that entire human civilizations have risen and fallen, time and time again, for millions of years.In the Vedic worldview, what science calls the Big Bang is perhaps merely one exhalation in the cosmic breathing, by which universes expand and collapse incessantly.Many people want simple explanations, Michael notes. That goes for Christian literalists and physicalist scientists as well as new age types, who want to explain the mysterious human evolution with extraterrestrial influence.“But the real situation may be a little more complex. There may be threads of all of those things, woven into a beautiful tapestry, and with some overall guiding intelligence”, he says.Our time is crucial in many ways, but with a cyclic Vedic view, this isn't the only crucial era. We entered the most problematic of the fouryugas, world ages, some 5,000 years ago, and we will not leave it until over 400,000 years from now. But there is a silver lining, according to Michael:“Even in the winter there are warmer periods, and we are entering one such now. It will last for 10,000 years.”Michael'swebsiteMichael'sFacebook

While we're on a brief hiatus from making all-new episodes, we thought it would be fun to compile all the moments where Paul asks his guests "What Was The First Record You Ever Bought?" and put them in a couple of "clip shows." Here's part one, featuring De La Soul, Dhani Harrison, Mac McCaughan & Laura Ballance (from Superchunk), Ringo Starr, Shelby Lynne, Redd Kross, NPR's Ann Powers, The Edge (from U2), Richard Thompson, and Matthew Caws (from Nada Surf). The Record Store Day Podcast is a weekly music chat show written, produced, engineered and hosted by Paul Myers, who also composed the theme music and selected interstitial music.  Executive Producers (for Record Store Day) Michael Kurtz and Carrie Colliton. Record Store Day 2025 is April 12th. For the most up-to-date news about all things RSD, including The List, visit RecordStoreDay.com) Please consider subscribing to our podcast wherever you get podcasts, and tell your friends, we're here every week and we love making new friends.  

Season 17, Ep 22: In news that will surprise no one, England and India don't like the World Test Championship structure because they haven't made the final. So Jay Shah and Richard Thompson of the ECB have tasked themselves with starting from scratch before their teams play five Tests against each other in June. Also this week, our view on the English wash-up from the WAshes, with renewal badly needed, Kohli plays the Ranji, Kurtis Patterson keeps making tons, new funding for the Afghan women's team, and a look at who's missing from the Australian cricket Hall of Fame. Support the show with a Nerd Pledge at patreon.com/thefinalword Maurice Blackburn Lawyers - fighting for the rights of workers since 1919: mauriceblackburn.com.au Sort your super with CBUS on their 40th birthday: cbussuper.com.au Get 10% off Glenn Maxwell's sunnies: t20vision.com/FINALWORD Find previous episodes at finalwordcricket.com Title track by Urthboy Learn more about your ad choices. Visit podcastchoices.com/adchoices

As she celebrates the release of her extraordinary autobiographical film Somebody's Daughter, Zara Phillips offers up some tough love truths that fly in the face of the often cheery, sanitized way adopted children (and other beings) are depicted in Disney films and other media. From her years of advocacy,studying contemporary sociological research and personal experiences as an adopted person herself, the passionate lifelong advocate for adoptees knows that even well into adulthood, their existential struggles of feeling like outsiders with little known stories of their history and birth parents makes them at least four times more likely to attempt suicide. They are also much more inclined to turn to addiction as a coping mechanism, as Zara did in her teens and early 20s. Somebody's Daughter - and the 2018 book and 2022 one-woman show the film is based on – focusses on Zara's personal journey of overcoming early addiction, navigating her life and meeting her birth father after many years and struggles after connecting with her birth mother. The project's true driving force is tofacilitate honest, vulnerable conversations about adoption. In addition to acting and writing, Zara is also a talented singer and songwriter who launched her career in the 80s, appearing in music videos and providing backing vocals on tour with Bob Geldof, Matt Bianco, David Essex and Nick Kamen.  In 2014, Zara's one woman show Beneath My Father's Sky, directed by Eliza and Eric Roberts won Best Direction at NYC's United Solo Festival and was performed in Los Angeles, San Francisco, Connecticut and London in 2016. During this era, she was presented with an Angel in Adoption Award by the Congressional Coalition of Adoption Institute. Her most recent album, released in 2020, is Meditation and Kitkats, and she currently tours and performs with her husband, British folk-rock legend Richard Thompson, who scored Somebody's Daughter.   Want t owatch: YouTube Meisterkhan Pod (Please Subscribe)  

On this episode listen to an audio production of John Wesley's sermon from Matthew 7:15-20. This sermon was accessed from the Wesley Center Online and was edited by Kristen Chamberlain with corrections by Ryan Danker and George Lyons for the Wesley Center for Applied Theology. The Wesley Center Online website is a collection of historical and scholarly resources about the Wesleyan Tradition, theology, Christianity, and the Nazarene church hosted by the Wesley Center for Applied Theology at Northwest Nazarene University. We are thankful for the work of Richard Thompson in overseeing this repository. In this message, “Upon Our Lord's Sermon on the Mount: Discourse Twelve,” we encounter a powerful message and warning to Christians for every generation. Wesley unpacks Jesus' warning in Matthew 7:15-20: "Beware of false prophets, who come to you in sheep's clothing, but inwardly are ravenous wolves. You will know them by their fruits." Wesley challenges us to discern truth from deception, cautioning against leaders who appear righteous yet lead others astray with teachings that veer from Christ's narrow path of humility, love, and holiness. He calls for careful examination of the fruits of their lives and doctrines, urging listeners to hold fast to the true way of salvation and bring all teachings to the test of Scripture.   Lifelong Learning Code: 80890 Click here to learn about Lifelong Learning   *this episode was created with the help of AI*    

In this episode, Nate Gilmore has a conversation with Richard Thompson, Professor Emeritus of New Testament at Northwest Nazarene University, about the Wesley Center Online. Dr. Thompson works with this repository to engage scholars, disseminate material, and expand the online collection. https://wesley.nnu.edu/  Richard P. Thompson has served as a professor of New Testament at three Christian universities: Northwest Nazarene University, Spring Arbor University, and Olivet Nazarene University. He holds a BA from Olivet Nazarene University, an MDiv from Nazarene Theological Seminary, and a PhD from Southern Methodist University. Among his previous publications are Acts: A Commentary in the Wesleyan Tradition (Beacon Hill Press of Kansas City, 2015), Keeping the Church in Its Place: The Church as Narrative Character in Acts (T. and T. Clark, 2006), and The Tiny Church in a Big Church World (Nazarene Publishing House, 1991). https://www.thefoundrypublishing.com/authors/richard-p-thompson.html    Lifelong Learning Code: 80890 Click here to learn about Lifelong Learning

Michael Jerome had been drumming in a post-industrial metal band when he auditioned for Richard Thompson in 1999, little knowing he would be this brilliant guitarist's percussive foil for the next 25 years and counting. Jerome also has played with Charlie Musselwhite, the Blind Boys of Alabama and, for several years, John Cale. He's been Better Than Ezra's drummer since 2009 and played and toured with Slash for his latest album—and what started as an experimental side project is now moving center stage: The Third Mind, the improvisatory psychedelic band assembled by Dave Alvin and Victor Krummenacher. As thoughtful in conversation as he is dazzling behind his kit, Jerome tells how he developed his unique style and adapts it for each project—and he relates what it's like to be in Los Angeles now as he tries to help friends and others who have lost almost everything in the catastrophic wildfires. (Photo by Robby Klein.)

Salty Dog's HAZE Podcast, January 2025 We are coming out of the HAZE from the seasons cheers tone hounds. So what better way than with a mess o fine toons to kick us into twenty twenty five. Cuts from Lothar Nabde Schack, Otis Namrell, Kuther Allison, Baker Smith Gamble, Steely Dan, McNaMarr Project, Paul Butterfield, Tony Jow White, Wilson Diesel, Richard Thompson, MOntio Amundson, Nick Charles, Teskey Brothers, William Crighton, Gary Clark Jnr, Junior Kimbrough, Charlie Parr, Jake Xerxes Fussell, John Gorka, Brett Mosley, Jeffery Foucault, Clayton Doley. ARTIST / TRACK / ALBUM ** Australia 1. Lothar Nande Schack / Get Right Church / Walk Right In 2. ** Otis Namrell Trio / Roadtrippin' Blues / Otis Namrell Trio 3. Luther Allison / Ragged And Dirty / Bad News Is Coming 4. ** The Baker Smith Gamble / The Ol' Bump N Grind / The Baker Smith Gamble 5. Steely Dan / Show Biz Kids / Countdown To Ecstasy 6. ** The McNaMarr Project / Driving Wheel / The Quasar Sessions 7. Paul Butterfield Blues Band / Just To Be With You / The Original Lost Elektra Sessions 8. Tony Joe White / Living Off The Land / Feeling Snakey 9. ** Wilson Diesel / I Can't Stand The Rain / Short Cool Ones 10. Richard Thompson / Hard On Me / Mock Tudor 11. Monti Amundson / Plain As Day / Somebody's Happened To Our Love 12. ** Nick Charles / Three Lines Deep / The River Flows 13. ** The Teskey Brothers / Drown In My Own Tears / The Circle Session 14. ** William Crighton / Your Country / Water And Dust 15. Gary Clark Jnr / Catfish Blues / Gary Clarke Jnr Live 16. Junior Kimbrough / Most Things Haven't Worked Out / Most Things Haven't Worked Out 17. Charlie Parr / Dog / Dog 18. Jake Xerxes Fussell / Pork And Beans / Jake Xerxes Fussell 19. John Gorka / Thorny Patch / After Yesterday 20. ** Brett Mosley / What You Feel / Charge 21. Jeffrey Foucault / The Universal Fire / The Universal Fire 22. ** Clayton Doley / Barely Alive / Nervous

We had an amazing chat with Casey Neill about his latest release "Time Zero Land," sequencing the album, and something music fans should never do! Portland, Oregon-based songwriter Casey Neill talks about time zero land  (released July 26th on Fluff & Gravy Records). This album follows last fall's Casey Neill & the Norway Rats' Sending Up Flares, and includes two outtakes from those band sessions. Neill engineered the rest at his home studio and plays the lion's share of the instruments. It's a dreamy affair with sonic homages to Elliott Smith, Nick Drake, Sade, the acoustic side of Rust Never Sleeps, and the Brit-folk pioneered by Bert Jansch, Richard Thompson, and June Tabor. One of the things people often say about the Norway Rats is how their music defies easy genre categorization and while Sending Up Flares leans into the fruits of that collaboration, time zero land embraces the influences and craft songwriting that has been at the core of Neill's work.  A prolific songwriter and road warrior since the late 1990s, Americana and Scots/Irish-folk influences have often underscored his songwriting. Sending Up Flares hints at a European influence too, with songs that channel everything from the cinematic sweep of golden-era U2 to the dark, complex alt-rock of PJ Harvey. If time zero land is intimate and largely acoustic, then Sending Up Flares is broad, eclectic, and every bit as explosive as its title. A four-piece string section (Bizarre Star, arranged by Kyleen King) adds a symphonic punch to “How Beautiful Am I?,” the album's tribute to Marianne Faithfull. Synths, stacked vocal harmonies, and burbling electronics run throughout “Fall Into Forever,” bringing to life the song's bizarre storyline involving a Tokyo typhoon, Dante's Paradiso, and pop star Britney Spears. Together, these 11 songs shine new light on a band who, after more than a dozen years together, have arrived somewhere singular and startlingly unique.  Check him out here:  Website: caseyneill.com IG: casey_neill FB: Casey Neill

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On this week's show, we wrap up the merry month of Debts-cember (and the year in general) with the most honorable of mentions, the runners-up that fill our cup, the best of the rest of 2024  All this & much, much less! Debts No Honest Man Can Pay is over 2 rock-solid hours of musical eclectica & other noodle stories. The show started in 2003 at WHFR-FM (Dearborn, MI), moved to WGWG-FM (Boiling Springs, NC) in 2006 & Plaza Midwood Community Radio (Charlotte, NC) in 2012, with a brief pit-stop at WLFM-FM (Appleton, WI) in 2004.

140 - Iain Matthews In episode 140 of “Have Guitar Will Travel”, presented by Vintage Guitar Magazine host, James Patrick Regan speaks with singer/songwriter Iain Matthews. In their conversation Iain tells us about his home in the Netherlands. Iain takes us through his new solo album, he has over 40 solo albums. Iain talks about his guitars Harmony's and Cromwell's converted by Mark Swanson in Grand Rapids, Michigan (markswansonmusic.com). Iain tells us about his current tour schedule and how he manages to travel with his guitars… Iain talks about his musical upbringing with his mom's boogie woogie piano and tells us about how his early bandmate Richard Thompson (in their band Fairport Convention) bought him his first guitar. Iain tells us about growing up and playing in bands in Northern England and making the move to London and working on Carnaby street. Iain describes his time living in the U.S.: LA, Seattle and Austin which preceded his move to the Netherlands. To find out all you about Iain and listen to his music you can check out his website at: iainmatthews.nl Please subscribe, like, comment, share and review this podcast! #VintageGuitarMagazine #IainMatthews #FairportConvention #MarkSwansonGuitars #SwansonGuitars #Guitar #GuitarHero #theDeadlies #haveguitarwilltravelpodcast #guitarcollector #Travelwithguitars #hgwt #HGWT . . Please like, comment, and share this podcast! Download Link

Episode 302: Joe Boyd is one of the most accomplished and eclectic record producers in the story of popular music. As an American living in London, he helped break psychedelic folk rock pioneers The Incredible String Band and worked with Pink Floyd, Nick Drake, and Fairport Convention. He founded Hannibal Records, giving a home to the solo career of Richard Thompson. He's also worked with Kate and Anna McGarrigle, Toumani Diabate, Geoff and Maria Muldauer, and many more. He was also part of the small cadre of music marketers and labels that created the market category of World Music in the 1980s. Here, Boyd talks about his journey and his epic new book And The Roots of Rhythm Remain. 

Will and David discuss the latest releases by The Cure, 2nd Grade, and Humdrum, plus live reports and bonus songs.

It sometimes seems that there's not an abundance of great instrumental recordings around today. It takes quite a bit more talent and compositional ability to construct a recording that's varied and interesting; the project should be a cohesive creation and not just a series of jams. We'll share some tunes from Richard Thompson, The Rebirth Brass Band, Cindy Kallet & Grey Larsen along with a few surprises. Send the singer home … this week (and next) on The Sing Out! Pete Seeger / “If I Had A Hammer”(excerpt) / Songs of Hope and Struggle / Smithsonian FolkwaysRuss Barenberg / “Little Monk” / When At Last / CompassAlasdair Fraser & Natalie Haas / “Keeping Up With Christine” / Ports of Call / CulburnieJoel Mabus / “Ukulele Scrabble” / Ukulele Crimes / FossilRebirth Brass Band / “You Move Ya Lose” / Rollin' / RounderDon Pedi / “Walking in the Parlor” / Little Songs from The Southern Mountains / Walnut MountainBill Frisell / “Surfer Girl” / Guitar in the Space Age / OkehRichard Thompson / “Rockin' in Rhythm” / Strict Tempo / CarthageRuss Barenberg / “On Milo's Back” / When At Last / CompassCindy Kallet & Grey Larsen / “Playing with a Full Deck” / Cross the Water / Sleepy CreekDavey Graham / “The Road to Lisdoonvarna (Jig & Reel)” / The Complete Guitarist / Stefan Grosman's Guitar WorkshopChris Thile / “Panhandle Rag” / Leading Off / Sugar HillFlaco & Max / “Fiesta alegre” / Legends & Legacies / Smithsonian FolkwaysFleetwood Mac / “Albatross” / The Pious Bird of Good Omen / ColumbiaAl Di Meola / “I'll Follow the Sun” / Across the Universe / Ear MusicPete Seeger / “If I Had A Hammer”(excerpt) / Songs of Hope and Struggle / Smithsonian Folkways

Interview with Jeff Lang 2024 Australian guitarist-songwriter-vocalist-producer, Jeff Lang has built a reputation for making startling music that is accomplished, intricate, gutsy, melodic and loaded with soul. Often taking unexpected turns, he has consistently inspired his audiences by creating a stylistically diverse catalog of over 25 albums. Jeff has mischievously called his music ‘Disturbed Folk.' One writer referred to him as a “quiet achiever.” But the overall impression one has from observing Jeff's lengthy career is that of a driven man who keeps his head down, playing and recording music as if his very life depends on it. Outside of his homeland, Jeff has toured the UK, Europe, Japan, India, China, South Africa, New Zealand and Canada as well as concentrated work in the U.S., where he has played upwards of 300 shows, living there for 6 months at a time. He has appeared on prestigious American radio programs A Prairie Home Companion, Mountain Stage and Acoustic Café. Jeff has shared stages with Bob Dylan, Dr. John, Richard Thompson, Bonnie Raitt, Ani Di Franco, Chris Whitley, Albert Collins, Loudon Wainwright III, Greg Brown, John Butler, AR Rahman and Bob Geldolf, among many others. Jeff has delivered show-stopping performances at festivals all across the globe: The Dublin Blues Festival, Philadelphia Folk Festival, Quebec City Music Festival, Falcon Ridge Folk Festival, Winterhawk Bluegrass Festival, Fuji Rock, Glastonbury, Echo Park China, Ottawa BluesFest as well as on his home turf at Port Fairy, Woodford, Bluesfest Byron Bay and Womadelaide. Jeff Lang's unique musical vision easily finds a home in myriad settings, from large festival stages to the intimate, long-running Ann Arbor, Michigan club The Ark to the Sydney Opera House. Most importantly, Jeff Lang has achieved what is a rarity in the cluttered world of contemporary sounds: his own voice. Jeff's info https://jefflang.com.au  

Sima Cunningham has had two albums released this year: Not God from Finom, her band with fellow Chicago singer-songwriter-multi-instrumentalist Macie Stewart; and a long-gestating solo project, High Roller. With Finom kicking off a tour this weekend and a solo album launch and a Roches-themed show coming up, Cunningham is enjoying the culmination of a lifetime of music-making and collaboration. Here she recalls growing up in a musical and artistic household; tells of her sibling-like connection with Stewart and how they find their beautiful, surprising, distinct harmonies; recounts their history with Jeff Tweedy, who produced Not God, and her work with Chance the Rapper, Richard Thompson and Waxahatchee; emphasizes the importance of community; and explains as best as she can why the band had to change its name from Ohmme. Plus, she sings snippets of songs she wrote when she was 11. (Photo by Shannon Marks.)

Joe Boyd has had many job descriptions over the course of his nearly sixty-year career in music, and there was simply no way to cover everything in this conversation. That said, Paul and Joe focus on Boyd's important new book, And The Roots of Rhythm Remain: A Journey Through Global Music, and themes of cultural cross-pollination in music, the birth of hip hop and ska, the reason Hitler spared the life of virtuoso Roma guitarist Django Reinhardt, what happened with Nick Drake, and Boyd's phenomenal earlier book, the memoir, White Bicycles: Making Music in the 1960s.  As a music producer, Boyd has delivered records by Nick Drake, Pink Floyd, R.E.M., Taj Mahal, Fairport Convention, Richard and Linda Thompson, Sandy Denny. He tour-managed European dates for Muddy Waters, Sister Rosetta Tharpe, and was a production manager at the 1965 Newport Folk and Jazz Festivals, before flying off to open Elektra Records' UK office in London where he and John Hopkins opened the UFO club, giving a psychedelic home to Pink Floyd and others.  In 1971 he moved to Los Angeles to work for Warner Brothers Films (Deliverance, A Clockwork Orange, and the documentary Jimi Hendrix). In 1979, he worked for Lorne Michaels' film company, Broadway Pictures, and the following year, launched his own label, Hannibal Records, releasing works by John Cale, Richard Thompson and more, while bringing global artists such as ¡Cubanismo!, Toumani Diabaté, Ali Farka Touré, Trio Bulgarka, and Songhai, to western audiences. The Record Store Day Podcast is a weekly music chat show written, produced, engineered and hosted by Paul Myers, who also composed the theme music and selected interstitial music.  Executive Producers (for Record Store Day) Michael Kurtz and Carrie Colliton. For the most up-to-date news about all things RSD, visit RecordStoreDay.com)   Sponsored by Dogfish Head Craft Brewery (dogfish.com), Tito's Handmade Vodka (titosvodka.com), RSDMRKT.com, and Furnace Record Pressing, the official vinyl pressing plant of Record Store Day.   Please consider subscribing to our podcast wherever you get podcasts, and tell your friends, we're here every week and we love making new friends.   Rest in Peace, Phil Lesh: "A box of rain will ease the pain / And love will see you through" 

Iain Matthews was an early member of the pioneering British folk-rock band Fairport Convention, singing on its first two albums and leaving during the recording of the third one, Unhalfbricking. Since then this singer-songwriter has formed other bands — Matthews Southern Comfort, Plainsong — and released much solo work, including the just-released How Much Is Enough. He has scored some hits — Southern Comfort's cover of Joni Mitchell's “Woodstock,” his 1979 solo song “Shake It”—and says he has recorded about 70 albums total, all projects included. So he has many tales to tell —about the Fairport years with Richard Thompson, Judy Dyble and Sandy Denny and his break from the group; the many places he has lived and whether they had an impact on his music; his years as an A&R rep; and that vocal arrangement of his that the Eagles borrowed without credit. (Photo by Lisa Margolis.)

Hugh Cornwell is preparing for his “All The Fun Of The Fair” tour which begins in November and here he talks to David Hepworth about:….why rehearsals are best in bursts….why he no longer carries keyboards….the special magic of going to see Chuck Berry with Richard Thompson….how the two of them have recorded “Tobacco Road” for an Alzheimers benefit record…being at the Marquee when Clapton, Beck and Page all played with the Yardbirds….playing the Golders Green Ionic with Helen Shapiro….how there are nights when the guitarist think it's been a disaster but the drummer knows it's been a triumph…the film podcast (http://mrdemillefm.com/) that started as a hobby…what you can expect when his tour (http://www.hughcornwell.com/tour/) hits your town.Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Hugh Cornwell is preparing for his “All The Fun Of The Fair” tour which begins in November and here he talks to David Hepworth about:….why rehearsals are best in bursts….why he no longer carries keyboards….the special magic of going to see Chuck Berry with Richard Thompson….how the two of them have recorded “Tobacco Road” for an Alzheimers benefit record…being at the Marquee when Clapton, Beck and Page all played with the Yardbirds….playing the Golders Green Ionic with Helen Shapiro….how there are nights when the guitarist think it's been a disaster but the drummer knows it's been a triumph…the film podcast (http://mrdemillefm.com/) that started as a hobby…what you can expect when his tour (http://www.hughcornwell.com/tour/) hits your town.Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

The ECB is currently seeking investors for The Hundred franchises, the short form cricket competition and are selling a 49% stake that values them at up to £150m each. Today's guest Lalit Modi disagrees. The founder of the Indian Premier League explains exclusively to Unofficial Partner why: “Based on the information memorandum a 100% stake in a team would be between £5m and £9m [for] outside London teams, and maximum, if one really wants a trophy asset, is London teams closer to £25m.”Earlier this year, Modi was involved in a $1bn (£747m) offer to buy the entire competition – with the intention of turning it into a T20 tournament – which was rebuffed. When an unrelated bid of £400m for a 75% stake was also rejected last year Richard Thompson, the ECB's chairman, said it would take a bid of “a few billion” to convince them to sell.Unofficial Partner is the leading podcast for the business of sport. A mix of entertaining and thought provoking conversations with a who's who of the global industry. To join our community of listeners, sign up to the weekly UP Newsletter and follow us on Twitter and TikTok at @UnofficialPartnerWe publish two podcasts each week, on Tuesday and Friday. These are deep conversations with smart people from inside and outside sport. Our entire back catalogue of 400 sports business conversations are available free of charge here. Each pod is available by searching for ‘Unofficial Partner' on Apple, Spotify, Google, Stitcher and every podcast app. If you're interested in collaborating with Unofficial Partner to create one-off podcasts or series, you can reach us via the website.

You may know Iain Matthews from his time with Fairport Convention. Or, you may know him from all his other groups, projects and solo records. And he's about to add another one to the list. How Much is Enough is his newest. We talked with Iain in what turned out to be a master class on songwriting.How Much is Enough is out on October 25th via Sunset Blvd records. For more information, check out Iain's website.

A Central American lizard creates a bubble of air underwater to breatheSemi-aquatic lizards in the western rainforests of Central America have the ability to hide from predators underwater by breathing from a bubble of air they forms over its head. In a new study in the journal Biology Letters, ecologist Lindsey Swierk from New York State University at Binghamton, found that the lizards with this bubble-breathing trick could stay underwater for 30 per cent longer than the lizards without a bubble. A really weird fish walks on its fingers and tastes with them tooThe sea robin is a strange fish with wing-like fins and finger-like bony structures that it uses to prop itself up as it roams the ocean floor. New research from a team of scientists from Harvard and Stanford Universities, including Nick Bellono, looked at how these bizarre creatures use their legs to hone in on their prey. It turns out these funny finny fingers can also taste food in the sediment of the sea bottom. The research was published in the journal Current Biology.We can make our food production systems more stable by reintroducing natureA new study by a team of researchers at the University of Guelph suggests that removing large animals and destroying natural habitat is making our agricultural systems and fisheries more unstable and vulnerable to boom and bust cycles. But the study, published in the journal Nature Ecology and Evolution, also suggests that restoring nature can help stabilize our food production to better feed the world's billions. Giant clams live off sunlight and could inspire solar power systems Working in the protected reefs of Palau, Dr. Alison Sweeney, associate professor of physics and of ecology and evolutionary biology at Yale University, was intrigued by the iridescence of the giant clams. Her team discovered that the giant clams tissues are optimized to channel sunlight to photosynthetic algae that live inside them. They work like solar panels, but far more efficiently than manufactured versions, providing inspiration for bio-inspired energy technology. The study was published in the journal PRX Energy.Plastic: Understanding the problem, and the struggle for a solutionPlastic is a miracle material, and one of the most useful innovations of the modern age. But its ubiquity and the durability that makes it so useful mean it's also becoming one of our biggest waste problems. Twenty years after he discovered microplastics on beaches around the UK, marine biologist Richard Thompson has just released a new study looking at what we've learned about these pervasive plastics, and urges scientists to turn their research focus towards solving the problem. We also speak with RJ Conk from the University of Berkeley about his work on vaporizing plastics down to their chemical building blocks, which could finally make real recycling a reality.

This week on Transmissions, we're sitting down with a genuine legend: Joe Boyd, author of And The Roots of Rhythm Remain: A Journey Through Global Music, out September 24 from ZE Books. On the front cover of the book Brian Eno—a venerated saint in the Aquarium Drunkard canon—declares: “I doubt I'll ever read a better account of the history and sociology of popular music than this one.”  Joe Boyd's career is the stuff of myth. As a producer, he's worked with a murder's row of collaborators, including Pink Floyd, Nick Drake, Fairport Convention, R.E.M., Richard and Linda Thompson, Incredible String Band, Vashti Bunyan, 10,00 Maniacs, and many more. In 2006, Boyd released a memoir, White Bicycles – Making Music in the 1960s, which documented his time in the studio during that decade, but And the Roots of Rhythm Remain casts an even wider net, exploring the overlap of musical cultures and the complicated, human negotiations that undergird creative synthesis.  As you'll hear in the early part of our talk, Joe played a pivotal role Transmissions host Jason P. Woodbury's music writing journey. In 2008, Woodbury reviewed a Nick Drake box set for the sorely missed Tiny Mix Tapes. The piece also included an email interview with Boyd, whose responses were insightful and in-depth—an experience that inspired Woodbury to chase after interviews. So this conversation picks up the thread some decade and a half later, detailing not only Boyd's new book, but also his experiences with Nick Drake, Fairport Convention, Richard Thompson, Sandy Denny, Vashti Bunyan, and many more adventures. Aquarium Drunkard is supported by our subscribers. Head over and peruse our site, where you'll find nearly 20 years worth of playlists, recommendations, reviews, interviews, podcasts, essays, and more. Subscribe at Aquarium Drunkard.  Transmissions is a part of the Talkhouse Podcast Network. Visit the Talkhouse for more interviews, fascinating reads, and podcasts. This episode is brought to you by DistroKid. DistroKid makes music distribution fun and easy with unlimited uploads and artists keep 100% of their royalties and earnings. To learn more and get 30% off your first year's membership, visit: distrokid.com/vip/aquariumdrunkard

A household name for many decades amongst those with an interest in challenging, forward-thinking music, Fred Frith initially gained an audience through his work as the guitarist with 60's group Henry Cow, and has since had a prolific career as a player on many recordings under his own name as well as collaborations with players ranging from Henry Kaiser, to The Residents, to Richard Thompson, to John Zorn. He has appeared on over 400 recordings and continues to push forward artistically with each new release. We spoke to Frith in front of a live audience at the Big Ears Festival in Kn0xville in March of 2024.See omnystudio.com/listener for privacy information.

    Sometimes a mix comes along at just the right time. This new mix from Paul comes as summer has ended and the weather, at least around here, has turned a bit chilly. There's something about this collection of tracks that seems to work well with this change of seasons.   This mix is different from the usual LLM fair and definitely a change in direction for Paul, a temporary change but a welcome one. These are all vocal tunes, each with its own story to tell.   Here's what Paul says about this compilation:   “Just some of my favorite story songs from the past few decades. Some classics and some I hope will be a delightful discovery for you, as they were to me. Interesting that more than half of them turned out to be about death. But we end on a hopeful note, celebrating life, the universe and friendship.”   Perfect for night time listening around a fire with a good whiskey. Thanks Paul!   Cheers!     T R A C K L I S T : 00:00   Michael Smith - Panther in Michigan (Love Stories  1992) 04:43   Mary Lee's Corvette - Tangled Up In Blue (Blood On The Tracks 2011) 11:01   The Chieftains - The Magdalene Laundries (Tears Of Stone 1999) 15:50   John McCutcheon - Christmas In The Trenches (Winter Solstice 1984) 21:16   The Longest Johns - Fire & Flame (Cures What Ails Ya 2020) 23:38   Neil Young & Crazy Horse - Powderfinger (Rust Never Sleeps 1979) 29:02   James Keelaghan - Cold Missouri Waters )A Recent Future 1995) 33:53   Gordon Lightfoot - The Wreck Of The Edmund Fitzgerald (Summertime Dream 1976) 40:15   Bruce Springsteen - You're Missing (The Rising 2002) 45:01   Laurie Rose Griffith - Easy Way to Live (Tocoi Light 2005) 50:20   James McMurtry - Crazy Wind (Too Long in the Wasteland 1989) 54:22   David Wilcox - Eye of the Hurricane (How Did You Find Me Here 1989) 57:51   Richard Thompson - 1952 Vincent Black Lightning (Rumor and Sigh 1991) 62:28   Lucinda Williams - Sweet Old World (Sweet Old World (1992) 67:09   Bruce Cockburn - Look How Far (Breakfast in New Orleans, Dinner in Timbuktu 1999) 72:40   end

Matthew's guest on this month's show is the wonderful Jenny Sturgeon talking about her epic 864km walk from the Scottish borders to Cape Wrath - and sharing the evocative sounds she recorded along the way. There's also a live performance from The Breath filmed at Cornwall's spectacular Minack Theatre, plus music from Kathryn Tickell and the Darkening, John Smith, Sam Carter, Katherine Priddy, Johnny Flynn and Robert Macfarlane, Tumbling Paddies and Richard Thompson.---We rely on support from our listeners to keep this show on the road. If you like what we do please either...Become a member and get great rewards: patreon.com/folkonfootOr just buy us a coffee: ko-fi.com/folkonfootSign up for our newsletter at www.folkonfoot.comFollow us on Twitter/Facebook/Instagram: @folkonfoot---Subscribe to the Folk Forecast to explore all the gigs and album news we ran through in the show: https://thefolkforecast.substack.com/ Hosted on Acast. See acast.com/privacy for more information.

My guest is Grammy Nominated Music Metadata Professional Tony Brooke. Tony has worked on projects for Richard Thompson, Coldplay, David Byrne, twenty one pilots, Maroon 5, Jane's Addiction, Duran Duran, Steve Miller, Norah Jones, Erasure, Ramblin' Jack Elliott, Doobie Brothers, Sarah McLachlan, Elvis Costello, Seal, George Clinton, Emmylou Harris, Indigo Girls, Lucinda Williams, Dave Chappelle, Khaled & Carlos Santana, Herbie Hancock, Stern Grove Festival, Hardly Strictly Bluegrass Festival. He's also worked for Pandora/SiriusXM and Warner Music Group. --------------------------------- In this episode, we discuss Tony's Audio Production Journey Background and Education Bay Area Move Technical Skills & Equipment Live Music Engineer to Entrepreneur Tascam DA88 Benefits Multi-Track Services Gig Organization Logistics Music Industry Experiences Seasonal Income Fluctuations Business Diversification Website Development Ultimate Track Sheet Career Transition Insights Digital Console Shift Career Coach Influence Master's Degree Pursuit Family Support Gratitude Work-Life Balance Challenges Music Industry Pressures Honesty and Humility Importance Music Data Exchange Research DDEX XML Format Pandora Credit Inclusion Apple Credit Attribution Issues Identifier Initiative Music Data Management Tools Sound Credit Replacement Muse.AI & Other Databases Data Accuracy Challenges Technological Changes Preparation Three-Tiered Data Storage Data Preservation Strategies Copyrighted Compositions Importance Streaming Service Identification Online Course Idea Digital Data Management Strategies --------------------------------- Matt's Rant: Embracing Social Media --------------------------------- Links and Show Notes Book Matt mentions in Rant: Day Trading Attention Tools for capturing data in the studio:  Sound Credit: https://www.soundcredit.com/  Session Studio: https://www.sessionstudio.com/  VEVA Collect: https://vevacollect.com/  Identifiers: ISNI (International Standard Name Identifier): http://isni.org/  ISWC (International Standard Musical Work Code): https://www.iswc.org/  DDEX standards for music data exchange: https://ddex.net/  CLIP - Free resource to learn industry terminology, creator rights, and how to get credited and paid: https://goclip.org/en/music  Master Tape Rescue project to find a home for lost tapes and other formats (Brian Kehew and Danny White): https://www.mastertaperescue.com/  Tony Brooke on LinkedIn: https://www.linkedin.com/in/tonybrooke/  SilentWay.com: http://www.silentway.com/  --------------------------------- Credits Guest: Tony Brooke Host: Matt Boudreau Engineer: Matt Boudreau Producer: Matt Boudreau Editing: Anne-Marie Pleau  WCA Theme Music: Cliff Truesdell  Announcer: Chuck Smith     

At long last the filmmaker Susan Seidelman on Filmwax Radio! She has a new memoir called "Desperately Seeking Something" (St. Marin's Press, 2024). Also, a short conversation with the legendary musician Richard Thompson whose new album "Ship to Shore" is available.

On the final day of travel for the June 2024 New Music train, Scot Isom leaps behind the wheel and takes us for a long ride. Along the way, he discusses new music from Wilco, Richard Thompson, Liily and Cutest Nuisance.  Rockin' the Suburbs on Apple Podcasts/iTunes or other podcast platforms, including audioBoom, Spotify, Google Podcasts, Amazon, iHeart, Stitcher and TuneIn. Or listen at SuburbsPod.com. Please rate/review the show on Apple Podcasts and share it with your friends. Visit our website at SuburbsPod.com Email Jim & Patrick at rock@suburbspod.com Follow us on the Threads, Facebook or Instagram @suburbspod If you're glad or sad or high, call the Suburban Party Line — 612-440-1984. Theme music: "Ascension," originally by Quartjar, covered by Frank Muffin. Visit quartjar.bandcamp.com and frankmuffin.bandcamp.com.

British singer/guitarist Richard Thompson spoke to Fresh Air in 1994 and 2022 about about his formative years and about pioneering a new musical genre that blended rock with traditional music of the British isles. He has a new album called Ship to Shore. Justin Chang reviews the new film Janet Planet, the first feature from the Pulitzer Prize-winning playwright Annie Baker.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

Richard started as guitarist in the folk-rock staple Fairport Convention in 1967 but left in 1970 after five albums. He then recorded his debut solo album, six as Richard and Linda Thompson, and has since recorded 20 more solo albums of lyrically inventive, stylistically varied tunes that nearly always feature very skilled guitar work. We discuss "Freeze," the first single from his new album Ship to Shore, "The Ghost of You Walks" from You? Me? Us? (1996), and "Don't Take It Lying Down" from Still/Variations EP (2015). End song: "When I Get to the Border" by Richard and Linda Thompson from I Want to See the Bright Lights Tonight (1974). Intro: "1952 Vincent Black Lightning" from Rumor and Sigh (1991). More at richardthompson-music.com. Hear more Nakedly Examined Music. Support us on Patreon.

Richard Thompson began his music career as the guitarist for the English folk rock band Fairport Convention. Following his time with the group, he began performing as part of a duo with his then wife, Linda. Then, after the couple split, as a solo artist. Thompson has recorded over two dozen albums. His latest record is called Ship to Shore and it's out now! He talks with us about the new record, his time with Fairport Convention and even performs a few songs alongside his wife, Zara Phillips.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

NPR Music's Ann Powers and Lars Gotrich are your guides to this week's new releases.Featured albums:• Arooj Aftab, 'Night Reign'• Shaboozey, 'Where I've Been, isn't Where I'm Going'• Bonnie "Prince" Billy, Nathan Salsburg & Tyler Trotter, 'Hear the Children Sing The Evidence'Other notable albums out May 31:• Richard Thompson, 'Ship To Shore'• Dos Monos, 'Dos Atomos'• Anna Tivel, 'Living Thing'• Beak>, '>>>>'• Swamp Dogg, 'Blackgrass'• Thou, 'Umbilical'• Chris Housman, 'Blueneck'• Psychic Temple, 'Doggie Paddlin' Thru the Cosmic Consciousness'• John Muq, 'Flying Away'• Robin Holcomb, 'One Way or Another, Vol. 2'Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy