Podcast appearances and mentions of Richard Watts

Cicadas at the Jellybean Pool, Blue Mountains, Australia. Recorded by Richard Watts.

"The original field recording is awesome so I wanted to keep as much of that as I could in the new piece. The background rhythm is created from a small sample of the orginal with some echo added. I then added some background melodies and overlay the original recording." Ancient Waorani Icaro in Ecuador reimagined by Richard Watts. 

On this episode:We heard an extract of 3CR's podcast series 'Queer Histories, Queer Futures'; where Richard Watts describes his past as a 'queer punk', and how this spurred him to create the Naarm based queer punk zine 'Burning Times' in 1995.We discussed with Jackie Turner, of the Trans Justice Project, their campaign calling on Federal election candidates to make a public commitment toprotect trans youth from attacks on their health care,make trans healthcare accessible and affordable for everyone who needs it,support reforms that give trans people the same rights and protections as everyone else andinvest in trans lives by combatting homelessness, poverty, and unemployment.  

"I loved the accordion melodies in the field recording so I wanted to use one of those as a basis of the new piece and overlay other instruments over it. I tried to capture the joy of the original recording and add a slightly repetitive bass line to help push it along." Fisherman's Bastion, Budapest reimagined by Richard Watts. ——————— This sound is part of the Sonic Heritage project, exploring the sounds of the world's most famous sights. Find out more and explore the whole project: https://www.citiesandmemory.com/heritage

A walk through Hyde Park in Sydney, Australia, with buskers, fountain, and bells from St Mary's Cathedral. Recorded by Richard Watts. 

This week on SmartArts with Richard Watts,As we all know, Melbourne is the most Irish city in Australia, and Dr Enda Murray, the Festival Director of the 2024 Irish Film Festival is here to tell us how we can embrace our Irish-ness through cinema. Showing from 24-27 October, find something on the program for yourself here: https://irishfilmfestival.com.au/ Academy Award winning filmmaker and artist, Adam Elliot has a new exhibition showing at Beinart Gallery. Opening on October 26th, All The Lonely People is a personal collection, resonating with the same melancholy and emotional depth characterising Elliot's film work. As we've been launching the various calendars for Melbourne's performing art scene, it is now time to launch next years Victorian Opera 2025 season with Artistic Director Stuart Maunder! Have a look at the full 2025 program here: https://www.victorianopera.com.au/victorian-opera-announces-season-2025/ Richard is joined by the world renowned, host, actor, writer, comedian, philosopher Stephen Fry to answer the big questions. What is art? How do you choose an acting role? And of course, what do we need to know about his upcoming Australian tour, An Evening with Stephen Fry? Hopefully all questions are answered but here's the link for tickets and more info if you need it: https://premier.ticketek.com.au/shows/show.aspx?sh=STEPHENF24&v=PLN Co-Artistic Directors Emma Valente and Kate Davis come on to discuss their project, THE RABBLE's Wake. It is showing 25/10 and 26/10 at Burrinja Cultural Centre in Upwey, tickets available here: https://thesubstation.org.au/program/wake Merlynn Tong, writer and co-star of Golden Blood, the story of a brother and sister left to fend for themselves in Singapore. Showing at Melbourne Theatre Company with a preview performance on the 25th and Opening Night on October 31st.Plus, Anne Marie Peard, wraps up Melbourne Fringe for another year!

Solange Edith Valdez Watts was born in Chile in 1964. By the time she was 8 years old, there was political turmoil in Chile and her family migrated to Australia.Her father had joined The Church of Jesus Christ of Latter-day Saints in Chile, but on settling in to Melbourne, had drifted away from the Church and Solange was raised as a Catholic. Missionaries came to visit and reignited the desire to be with the Church, and at 18 years of age, Solange was baptized and confirmed. As a young lady, Solange was introduced to Richard Watts, a recently returned missionary. They married after a short courtship of about 8 months (well, that's sort of average for LDS). They had 4 children and a few grand-kids, when Solange was diagnosed with a terminal illness, while her youngest son Nathan, was serving as a missionary in London. Solange miraculously survived long enough to see Nathan come home, which was all she prayed for.In this episode I interview, her husband Richard and their children - Dionne, Chantelle, Michael and Nathan. This is a truly uplifting episode! We hope you enjoy it!

"I like the rhythm of the conversation in the original field recording so I have written a soundtrack piece to go with it. As it's based in Africa so I have used African drum sounds to create a sense of place. I have then overlayed various melody rhythms using instrument sounds that I felt matched the drums. "I have also used processed samples from the original recording to add some emphasis in places. The title comes from something the woman in the recording said to the man in Portuguese." Guinea-Bissau migration recording reimagined by Richard Watts. Part of the Migration Sounds project, the world's first collection of the sounds of human migration.  For more information and to explore the project, see https://www.citiesandmemory.com/migration

Steph Teitelbaum fills in for Richard Watts this week for chats with Lara Thoms, the Executive Director of experimental theatre collective APHIDS about their 30th birthday; Young Australian Broadway Chorus talent James Pringle and Charlie Abbot-Higgins stop by to talk about bringing Shrek JR to life on stage; Open House Melbourne's Chief Curator Tania Davidge highlights all the big moments of the 2024 festival program; and regular theatre reviewer Anne-Marie Peard stops by to talk through her recent highlights.

This episode is an adapted version of a presentation that Adam Barfoot, M.Ed., LPC-MHSP, gave at the 2024 Tennessee Licensed Professional Counselors Conference in Nashville, Tennessee on June 15th, 2024. In this episode, Adam discusses the therapeutic skill of encouragement, the Adlerian philosophical concepts of how all actions are purposeful, phenomenology (which means therapists understanding their clients' perspectives), and lifestyle (which means the client's blueprint for facing challenges in life). Adam also discusses the 4 phases of Adlerian therapy in this episode. While this episode, is not a complete overview of Adlerian therapy, this episode is about how Adam specifically implements Adlerian therapy with clients who are in recovery from addiction. Adam's website: https://www.adambarfoottherapy.com/ Email: counselingandfunctionalfitness@gmail.com Books mentioned in this episode: Introduction to Theories of Counseling and Psychotherapy by Dr. Timothy Barclay, Adlerian Psychotherapy by Jon Carlson and Matt Englar-Carlson, Theory and Practice of Counseling and Psychotherapy by Gerald Corey, Why Therapy Works by Louis Cozolino, The Seven Habits of Highly Effective People by Stephen Covey Research articles mentioned in this episode: An Adlerian Perspective on Cognitive Restructuring and Treating Depression by Peter Emerson, Gary Gintner, and John West, Adlerian "Encouragement" and the Therapeutic Process of Solution-Focused Brief Therapy by Dale Pietrzak and Richard Watts, Adlerian Counseling: A Viable Approach for Contemporary Practice by Richard Watts --- Support this podcast: https://podcasters.spotify.com/pod/show/counselingandfitness/support

For one week more, Oliver Coleman keeps the seat nice and toasty for resident SmartArts host, Richard Watts. And what a cracking show to end the run!Writer Georgia Ketals & scent artist Erin Adams tell us about Recollection, a unique play that offers a sensory experience. Based on a story about a mother trying to recreate her late daughters smell, it's an aromatic journey that guides the audience by the nostrils. The show is on at Fortyfivedownstairs from the 26th of June until the 7th of July - get tickets here.Moira Finucane & performer Piera Dennerstein, on the latest Finucane & Smith production The Exotic Lives of Lola Montez. In this chat we hear about the trials and tribulations of these effervescent artists while learning about the history of theatres original bad girl… The show will be on from 20th to 30th of June at Chapel Off Chapel - and Piera delights with a performance from the show!The CEO of Arts Access Victoria, Caroline Bowditch on 50 years of Arts Access Victoria, ‘The Collective!' a month long exhibition celebrating AAV's past, present and further throughout July for Disability Pride Month. We hear about the origins of the orginisation in prisons, hospitals, residential care and how it has evolved to bring art to hundreds of people every week.Plus, writer and director Francis Greenslade & actor John Leary are in the studio to talk their show The Platypus premiering at Theatre Works from 19 June - 6 July. John divulges what it's like to become the leading man, and Francis brags about his perfect marriage.

Surf breaking on Coogee Beach, Sydney, Australia.  Recorded by Richard Watts.

Oslo Davis fills in for Richard Watts for a jam packed show. Oslo chats with Mark Kilmurry, the Director of Neil Simon's 'The Odd Couple' at the Comedy Theatre, and John Gethin Lewis, the Creative Director of a new exhibition at ACMI called 'Beings'. Also joining Oslo on the show is Geelong Gallery Senior Curator Lisa Sullivan who breaks down new exhibition 'Cutting Through Time' and Comedian Tom Ballard drops by to talk about organising a fundraising event called Comedy in the West in Yarraville.

In this week's edition of the Weekly Investment Trust Podcast, Jonathan Davis, editor of the Investment Trusts Handbook, reviews the week in the markets and speaks to Sandy Nairn, chief investment officer and at Global Opportunities Trust (GOT), alongside Alan Bartlett from specialist advisory firm Goodhart Partners; and Richard Watts, a co-manager of Chrysalis Investments Ltd (CHRY). We are grateful for the support of J.P. Morgan Asset Management, which enables us to keep the podcast free. Section Timestamps: 0:00:39 - Review of the week 0:02:46 - Summary of results 0:03:52 - Corporate news and announcements 0:06:04 - This week's guests 0:07:55 - Money Makers Circle 0:08:37 - Q&A with Sandy Nairn and Alan Bartlett 0:09:09 - The situation with the market sell-off 0:12:15 - The shape of the portfolio 0:14:54 - The type of investor interested in the Trust 0:20:37 - Portfolio differences to other trusts 0:24:27 - Volunteer Park Capital Fund 0:28:40 - Portfolio performance 0:37:51 - Mispriced volatility 0:39:52 - Communication 0:43:04 - Potential for yield, and the use of gearing 0:44:57 - Q&A with Richard Watts 0:45:48 - The current position for Chrysalis 0:52:09 - Realising value 0:57:13 - Plans for the holdings 1:02:10 - The cash position 1:04:53 - The enhanced risk process 1:07:30 - Is Chrysalis a 'complex investment'? 1:09:08 - Ambitions for the next five years 1:12:14 - Close Trusts mentioned this week (with tickers): BlackRock Smaller Companies Trust (BRSC), Asian Energy Impact Trust (AEIT), Abrdn Equity Income (AEI), Polar Capital Global Healthcare (PCGH), Baillie Gifford European Growth (BGEU), Tritax Eurobox (EBOX), Henderson Euro Trust (HNE), Henderson European Focus (HEFT), UK Commercial Property (UKCM), Tritax Big Box (BBOX), Pantheon International (PIN), Chrysalis (CHRY). If you enjoy the weekly podcast, you may also find value in joining The Money Makers circle. This is a membership scheme that offers listeners to the podcast an opportunity, in return for a modest monthly or annual subscription, to receive additional premium content, including interviews, performance data, market/portfolio reviews and regular extracts from the editor's notebook. This week, as well as the usual features, the Circle features a profile of CQS Natural Resources Growth and Income (CYN). Future profiles include  RTW Biotech Opportunities (RTW) and CT Private Equity (CTPE). Look out for the latest edition of our new expanded weekly subscriber email which summarises Jonathan's latest thoughts including some of his most recent trust purchases, and includes a comrehensive summary of all the latest news. The content of that email is also available for subscribers via the website. For more information about the Money Makers circle, please visit money-makers.co/membership-join. Membership helps to cover the cost of producing the weekly investment trust podcast, which will continue to be free. We are very grateful for your continued support and the enthusiastic response to our more than 210 podcasts since launch. You can find more information, including relevant disclosures, at www.money-makers.co. Please note that this podcast is provided for educational purposes only and nothing you hear should be considered as investment advice. Our podcasts are also available on the Association of Investment Companies website, www.theaic.co.uk. Produced by Ben Gamblin.

"I wanted to capture the rolling rhythm of a water in the original field recording so I've used a series of pads and synth sounds to create that feeling. I also used a repeating piano melody to mimic the sounds of the water going over rocks etc. I tweaked the original recording to bring up the bird song." Vermont bird soundscape reimagined by Richard Watts. 

Matthew Pantelis speaks with Frank Pangallo MLC who calls for the State Government to compensate taxi/hire car owners after Uber agrees to multimillion dollar compensation payout. Michael Clifford and Richard Watts discuss their personal situations.See omnystudio.com/listener for privacy information.

if you want to cross reference anything I said: https://www.researchgate.net/profile/Richard-Watts-2/publication/265377647_A_Review_of_200_Birth-Order_Studies_Lifestyle_Characteristics/links/540a222c0cf2df04e74921a6/A-Review-of-200-Birth-Order-Studies-Lifestyle-Characteristics.pdf 14-signs-you-were-parentified-as-a-child Learn more about your ad choices. Visit megaphone.fm/adchoices

The British Army isn't necessarily associated with education, but in this episode of HEP Talks, Richard Watts, Director of Educational and Regional Marketing for the Recruiting Partnership Project at British Army and Capita, explains to Luke Kemper that, actually, the Army is an educational provider. On top of the Army Foundation College in Harrogate, the Army has also developed the BASE - British Army Supporting Education - Programme, which provides free digital resources in multiple subjects for class teachers to use, and opportunities for pupils to learn a little bit more about the Army in the meantime. Richard and Luke talk about these resources, how and why they were designed, and why the Army makes education one of its priorities. You can find the BASE resources at the link here: https://jobs.army.mod.uk/base/

Richard Watts is back in the studio to chat to director Gary Abrahams and actress Evelyn Krape on the production of Yentl, an adaptation of a Yiddish short story. Plus, S.Shakthidharan, the writer and associate director of Counting and Cracking for the 2024 RISING festival; conductor Carlo Antonioli visits the studio to discuss the new performance of When We Were Young at the Sidney Myer Music Bowl, showing off new and emerging composers; and Richard celebrates a new achievement with Bruce Gladwin, the artistic director and Co-CEO of Back to Back Theatre, recipients of the Venice Biennale's Golden Lion Award for Lifetime Achievement in Theatre.Into the last hour, Richard catches up with Anne-Marie Peard on all things theatre in Melbourne, and co-curatorsa Tilly Boleyn and Bern Hall, aboout the new new exhibition of Not Natural at Science Gallery Melbourne.

How does an insurance industry leader integrate a simple yet profound question—Would you do that to your mom?—to transform customer service and decision making? In this episode, Richard Watts, board member at Farmers Insurance and former sales and service president at Progressive, discusses how asking this question improves business operations. He explores how this unique approach revolutionizes customer service and sets a new industry standard for empathy and customer focus. Richard also shares insights into how this philosophy transformed internal practices, significantly influenced customer satisfaction and loyalty, and how it continues to shape his leadership and strategic decisions. We'll also revisit Richard's journey from biology to computer science and his shift toward customer-centric innovations in insurance. Guest: Richard Watts, board member, Farmers Insurance Episode Highlights Introduction and background [02:05] The genesis of the "Would You Do That to Your Mom?" philosophy [05:10] Reflections on the evolution of customer service in insurance [11:25] How empathy drives customer loyalty and business success [14:15] Challenges and triumphs in embedding this into organizational culture [18:30] The ongoing influence of this approach in Richard's career [22:45] Balancing data-driven strategies with ethical considerations [25:50] Quotable Quotes: “There isn't a single business initiative or change program that people don't say has to be CEO-led or have the CEO's blessing.” [21:19] “Having someone out there to take the machete and, hack through the jungle of all these processes, being able to go there and say, ‘Okay, we need real-time processing. We can't live with these batch systems anymore.” [22:30] Host: Rob Markey Get in touch: Send us your podcast feedback here. Send Rob a note here.

"For so many, Autumn can be a lovely time of year. For many others, it can be difficult. Cold, rainy, windswept piers. Broken umbrellas in garbage bins. Filthy birds fighting over discarded fish and chips. Warm beer and stale cigarettes. Stubborn sunsets holding high hopes or false promises. Long, sleepless nights. And questions. Lots of questions.  The field recording by Richard Watts spoke to me because of the cacophony in the arcade reflects the current chaos in the world. My interpretation of the field recording represents how this time of year isn't always a bright, colorful place being sold to many of us 24 hours a day." Sydney arcade reimagined by Bill McKenna.

Arcade Plaza with lots of different games playing music all at once. Recorded in Sydney, Australia by Richard Watts.

"This piece evolved out of the orginal field recording. I processed the original recording within Logic Pro and added some instruments that I felt fitted the sound. It seems to have a slight religious overtone to it due to the organ sounds I've used." Screamer kites in Bermuda reimagined by Richard Watts.

"I love the power in the field recording and I wanted to use that to describe the feeling when you have a nightmare - how the brain fires off and the images you 'see'. I processed the original recording adding some distortion and tweaking the EQ. Then I overlayed some pads and sounds. I wanted to create something that was on the limit of overload." Farmoor reservoir water treatment reimagined by Richard Watts.  Part of the Music for Sleep project - for more information and to hear more sounds from the collection, visit https://citiesandmemory.com/music-for-sleep/

"I've used an underlying rhythm which is supposed to reflect the breathing while you sleep, then a layer of sweeping synth-like dreams coming and going, and finally the birdsong over the top as if thoughts are interrupting the sleep. I've treated the original recording with some clipping distortion and echo." Paris birdsong reimagined by Richard Watts.  Part of the Music for Sleep project - for more information and to hear more sounds from the collection, visit https://citiesandmemory.com/music-for-sleep/

This week is the anniversary of the Apollo 11 mission to the Moon. Kendrick tells the story of the US space program and the religious lives of some of the astronauts. Fr. Sean Davidson discusses the life of St. Mary Magdalene, the Prophetess of Eucharistic Love, and Richard Watts asks if life's best things can be bought.

Tourist moving inside the Hallgrimskirkja church, Reykjavik, Iceland. Recorded by Richard Watts.

The noise in a brewhouse in Reykjavik, Iceland. Recorded by Richard Watts.

"I liked the journey that the original field recording had so I've tried to keep that in my reimagined piece. I have used samples of the original recording to create the drum beat, which I have put through various filters and slowed down samples to create that various sounds. I have also added some melodies using a synth." Fiesta de la Trashumancia reimagined by Richard Watts.

Richard Watts is head of Educational Marketing at the British Army. He is a former secondary school teacher with over a decade of classroom experience.We discuss how the British Army encourages students to look at Remembrance through the prism of representation, diverse voices and personal histories.BASE - Engaging resources and inspiring workshops to support teachers and career development servicesFree school visitsFree work experienceCareers educationFunding universityFree resources including their LGBTQ+ Voices PSHE assembly and lesson which won best free resource at the 2021 Teach Secondary Awards! Websitehttps://apply.army.mod.uk/baseSocial Media Informationtwitter.com/britisharmyResources MentionedThe HobbitShow SponsorThe National Association for Primary Education speaks for young children and all who live and work with them. Get a FREE e-copy of their professional journal at nape.org.uk/journal

How can we help the next generation avoid “Entitlemania?” Richard Watts weighs in, and Ismael Hernandez looks at a way forward for civil rights. David Sanborn shares how studying John chapter 6 helped lead him to the Church.

"I love the various chants in the original field recording so I've used those at the centre of my reimagined piece. I isolated them and created a melody behind them. I have also used various other samples from the original recording to create background rhythms. The name of the piece comes from a comment by someone in the crowd." Arsenal vs. Leicester City reimagined by Richard Watts. 

Recording from Zealandia, formerly known as the Karori Wildlife Sanctuary, is a protected natural area in Wellington, New Zealand, the first urban completely fenced ecosanctuary, where the biodiversity of 225 ha of forest is being restored. You can hear lots of cicadas and various birds including a Tūī.  Recorded by Richard Watts. Part of the Well-Being Cities project, a unique collaboration between Cities and Memory and C40, a global network of mayors of nearly 100 world-leading cities collaborating to deliver the urgent action needed right now to confront the climate crisis. The project was originally presented at the C40 Cities conference in Buenos Aires in 2022. Explore Well-Being Cities in full at https://citiesandmemory.com/wellbeing-cities/

"I wanted to reflect a peaceful walk around Essaouira in the composition. The walk would take you from the busy and angry sounds of a city into more quiet and interesting squares and areas, full of the sounds of water, birds, people and music. I like the idea of creating hidden quiet spaces to help with well-being. "I have used a very slowed down and treated version of the original recording to create the background noise of a city and added some synth pad sounds. I have also used an extract from the original which I treated to give a sense of a passing sound as you walk by. There are also some bell sounds to give a sense of contemplation." Essaouira buskers reimagined by Richard Watts. Part of the Well-Being Cities project, a unique collaboration between Cities and Memory and C40, a global network of mayors of nearly 100 world-leading cities collaborating to deliver the urgent action needed right now to confront the climate crisis. The project was originally presented at the C40 Cities conference in Buenos Aires in 2022. Explore Well-Being Cities in full at https://citiesandmemory.com/wellbeing-cities/

Acclaimed co-writer/director Abderrahmane Sissako discusses his film Timbuktu with moderators Richard Watts and Peter Bloom. Sissako details the development of the script and its connection to real-world news stories from Mali. He also recalls the political and logistical challenges during the film production. Watts and Bloom discuss the poetic qualities of the film, and in his own words, Sissako describes his artistic objectives with landscape and setting. Series: "Carsey-Wolf Center" [Humanities] [Show ID: 38160]

Acclaimed co-writer/director Abderrahmane Sissako discusses his film Timbuktu with moderators Richard Watts and Peter Bloom. Sissako details the development of the script and its connection to real-world news stories from Mali. He also recalls the political and logistical challenges during the film production. Watts and Bloom discuss the poetic qualities of the film, and in his own words, Sissako describes his artistic objectives with landscape and setting. Series: "Carsey-Wolf Center" [Humanities] [Show ID: 38160]

Acclaimed co-writer/director Abderrahmane Sissako discusses his film Timbuktu with moderators Richard Watts and Peter Bloom. Sissako details the development of the script and its connection to real-world news stories from Mali. He also recalls the political and logistical challenges during the film production. Watts and Bloom discuss the poetic qualities of the film, and in his own words, Sissako describes his artistic objectives with landscape and setting. Series: "Carsey-Wolf Center" [Humanities] [Show ID: 38160]

Acclaimed co-writer/director Abderrahmane Sissako discusses his film Timbuktu with moderators Richard Watts and Peter Bloom. Sissako details the development of the script and its connection to real-world news stories from Mali. He also recalls the political and logistical challenges during the film production. Watts and Bloom discuss the poetic qualities of the film, and in his own words, Sissako describes his artistic objectives with landscape and setting. Series: "Carsey-Wolf Center" [Humanities] [Show ID: 38160]

Composition by Richard Watts.  "The piece is composed of various samples from the original recording. The drums I made up from the clicks and tweaked them using Logic Pro. The background melody is a guitar piece I wrote but never used which has been reversed and put through a synth." This is part of the Obsolete Sounds project, the world's biggest collection of disappearing sounds and sounds that have become extinct – remixed and reimagined to create a brand new form of listening. Explore the whole project at https://citiesandmemory.com/obsolete-sounds

Legacy planning is much more than transferring money from one generation to the next. It's also about transferring values. If you simply “give” the money to your children, they might lack the wisdom, grit, and satisfaction of accomplishment that only struggle and adversity can bring. In this episode, Duncan MacPherson joins Richard Watts, author of … Continue reading Entitlemania with Richard Watts (Ep. 25) →

Somewhere in America each week, two more newspapers call it quits. Some 2,500 dailies and weeklies have closed since 2005, and just 6,500 remain. In places where once there was vibrant local coverage, there are now news deserts.The Community News Service at The University of Vermont thinks it has an answer to this growing blight: student journalists. UVM's Community News Service, or CNS, partners with nearly half of Vermont's approximately 40 news outlets to provide them with reporting free of charge, including VTDigger.Now the Vermont model is going national. Last month, UVM and the Knight Foundation announced a $400,000 grant to launch the Center for Community News at UVM. The idea is for student reporters and other citizen journalists around the country to fill the local news void.We spoke with Richard Watts, coordinator of the Community News Service at UVM and director of the national Center for Community News; Lisa Scagliotti, founder and editor of Waterbury Roundabout, a new community news outlet; and Dom Minadeo, a UVM senior, assistant editor of The Winooski News and a reporter for CNS.Watts said that 1,300 communities around the country no longer have any local news coverage. “That's bad for democracy,” he said. “If you don't have a local news source, you don't know what's going on in your community, and it's very hard to engage … Research shows that losing local news increases divisions and polarization and undercuts all these important institutions that we believe in.”

For more than six decades, Robin Trower's career has known no bounds. At the age of 76, the British guitarist can reflect on a journey in which he has planted flags across the musical sphere and played every role imaginable. He's been the driving force behind Sixties icons Procol Harum. The transatlantic solo star who filled US stadiums with 1974's Bridge Of Sighs. The collaborator and occasional supergroup member. The elder-statesman songwriter whose late period still crackles with invention. Few would dispute that the title of Trower's latest album – No More Worlds To Conquer – is a fair summary of the thumbprint he has left on the musical universe. But as he reminds us, it should not be misinterpreted as his mission being accomplished. “I definitely feel like I'm still reaching,” he considers, “with the guitar, and the songs, and everything else.” On Waiting For The Rain To Fall, Trower's playing is crystalline as a dew drop, while the aching finale, I Will Always Be Your Shelter, offers a solo whose masterful touch is compelling as anything in his catalogue. “That's a real high point for the playing,” he nods. “And Waiting For The Rain To Fall, I think is influenced by Tamla Motown. It's a bit left-of-centre for me to do a song like that. But I think it's potent stuff. I'm hoping this album will surprise people.” Once again, Trower also handles bass duties, but as a lifelong servant of the song over his own ego, he didn't hesitate to enlist other musicians. “Chris Taggart is on drums,” he explains. “He's a wonderful drummer, and he's done the last three or four albums. And I started to realise, after I'd tried to sing these songs myself, that I wasn't vocally up to it. Richard Watts has done a great job on vocals. He's got a fantastic instrument – such a soulful singer – and he's willing to get it exactly how I'm hearing it in my head. The other great thing about having Richard is that there's quite a few songs on this album that I wouldn't be able to play and sing live at the same time.” Yet Trower also addresses the contemporary problems in front of him. “There's three or four songs there that cover what I'm thinking about. The Razor's Edge and Cloud Across The Sun, those are definitely about my dissatisfaction with the politicians of the day, pointing the finger at the ones that don't keep their promises. But then, with Deadly Kiss, the lyric is someone talking to a friend who has become a junkie. There's broken-hearted songs. There's love songs. “ “It was difficult, but I'm glad I did it,” he considers. “This album is an evolution. I'm hoping that's what is always happening with my music. There's a huge step between Bridge Of Sighs and now. It's like anything. The more you work on it, in theory, the better you should be at it. And I definitely feel like this album is one of the best things I've ever done.”

For more than six decades, Robin Trower's career has known no bounds. At the age of 76, the British guitarist can reflect on a journey in which he has planted flags across the musical sphere and played every role imaginable. He's been the driving force behind Sixties icons Procol Harum. The transatlantic solo star who filled US stadiums with 1974's Bridge Of Sighs. The collaborator and occasional supergroup member. The elder-statesman songwriter whose late period still crackles with invention. Few would dispute that the title of Trower's latest album – No More Worlds To Conquer – is a fair summary of the thumbprint he has left on the musical universe. But as he reminds us, it should not be misinterpreted as his mission being accomplished. “I definitely feel like I'm still reaching,” he considers, “with the guitar, and the songs, and everything else.”On Waiting For The Rain To Fall, Trower's playing is crystalline as a dew drop, while the aching finale, I Will Always Be Your Shelter, offers a solo whose masterful touch is compelling as anything in his catalogue. “That's a real high point for the playing,” he nods. “And Waiting For The Rain To Fall, I think is influenced by Tamla Motown. It's a bit left-of-centre for me to do a song like that. But I think it's potent stuff. I'm hoping this album will surprise people.” Once again, Trower also handles bass duties, but as a lifelong servant of the song over his own ego, he didn't hesitate to enlist other musicians. “Chris Taggart is on drums,” he explains. “He's a wonderful drummer, and he's done the last three or four albums. And I started to realise, after I'd tried to sing these songs myself, that I wasn't vocally up to it. Richard Watts has done a great job on vocals. He's got a fantastic instrument – such a soulful singer – and he's willing to get it exactly how I'm hearing it in my head. The other great thing about having Richard is that there's quite a few songs on this album that I wouldn't be able to play and sing live at the same time.”Yet Trower also addresses the contemporary problems in front of him. “There's three or four songs there that cover what I'm thinking about. The Razor's Edge and Cloud Across The Sun, those are definitely about my dissatisfaction with the politicians of the day, pointing the finger at the ones that don't keep their promises. But then, with Deadly Kiss, the lyric is someone talking to a friend who has become a junkie. There's broken-hearted songs. There's love songs. ““It was difficult, but I'm glad I did it,” he considers. “This album is an evolution. I'm hoping that's what is always happening with my music. There's a huge step between Bridge Of Sighs and now. It's like anything. The more you work on it, in theory, the better you should be at it. And I definitely feel like this album is one of the best things I've ever done.”

For more than six decades, Robin Trower's career has known no bounds. At the age of 76, the British guitarist can reflect on a journey in which he has planted flags across the musical sphere and played every role imaginable. He's been the driving force behind Sixties icons Procol Harum. The transatlantic solo star who filled US stadiums with 1974's Bridge Of Sighs. The collaborator and occasional supergroup member. The elder-statesman songwriter whose late period still crackles with invention. Few would dispute that the title of Trower's latest album – No More Worlds To Conquer – is a fair summary of the thumbprint he has left on the musical universe. But as he reminds us, it should not be misinterpreted as his mission being accomplished. “I definitely feel like I'm still reaching,” he considers, “with the guitar, and the songs, and everything else.”On Waiting For The Rain To Fall, Trower's playing is crystalline as a dew drop, while the aching finale, I Will Always Be Your Shelter, offers a solo whose masterful touch is compelling as anything in his catalogue. “That's a real high point for the playing,” he nods. “And Waiting For The Rain To Fall, I think is influenced by Tamla Motown. It's a bit left-of-centre for me to do a song like that. But I think it's potent stuff. I'm hoping this album will surprise people.” Once again, Trower also handles bass duties, but as a lifelong servant of the song over his own ego, he didn't hesitate to enlist other musicians. “Chris Taggart is on drums,” he explains. “He's a wonderful drummer, and he's done the last three or four albums. And I started to realise, after I'd tried to sing these songs myself, that I wasn't vocally up to it. Richard Watts has done a great job on vocals. He's got a fantastic instrument – such a soulful singer – and he's willing to get it exactly how I'm hearing it in my head. The other great thing about having Richard is that there's quite a few songs on this album that I wouldn't be able to play and sing live at the same time.”Yet Trower also addresses the contemporary problems in front of him. “There's three or four songs there that cover what I'm thinking about. The Razor's Edge and Cloud Across The Sun, those are definitely about my dissatisfaction with the politicians of the day, pointing the finger at the ones that don't keep their promises. But then, with Deadly Kiss, the lyric is someone talking to a friend who has become a junkie. There's broken-hearted songs. There's love songs. ““It was difficult, but I'm glad I did it,” he considers. “This album is an evolution. I'm hoping that's what is always happening with my music. There's a huge step between Bridge Of Sighs and now. It's like anything. The more you work on it, in theory, the better you should be at it. And I definitely feel like this album is one of the best things I've ever done.”

For more than six decades, Robin Trower's career has known no bounds. At the age of 76, the British guitarist can reflect on a journey in which he has planted flags across the musical sphere and played every role imaginable. He's been the driving force behind Sixties icons Procol Harum. The transatlantic solo star who filled US stadiums with 1974's Bridge Of Sighs. The collaborator and occasional supergroup member. The elder-statesman songwriter whose late period still crackles with invention. Few would dispute that the title of Trower's latest album – No More Worlds To Conquer – is a fair summary of the thumbprint he has left on the musical universe. But as he reminds us, it should not be misinterpreted as his mission being accomplished. “I definitely feel like I'm still reaching,” he considers, “with the guitar, and the songs, and everything else.” On Waiting For The Rain To Fall, Trower's playing is crystalline as a dew drop, while the aching finale, I Will Always Be Your Shelter, offers a solo whose masterful touch is compelling as anything in his catalogue. “That's a real high point for the playing,” he nods. “And Waiting For The Rain To Fall, I think is influenced by Tamla Motown. It's a bit left-of-centre for me to do a song like that. But I think it's potent stuff. I'm hoping this album will surprise people.” Once again, Trower also handles bass duties, but as a lifelong servant of the song over his own ego, he didn't hesitate to enlist other musicians. “Chris Taggart is on drums,” he explains. “He's a wonderful drummer, and he's done the last three or four albums. And I started to realise, after I'd tried to sing these songs myself, that I wasn't vocally up to it. Richard Watts has done a great job on vocals. He's got a fantastic instrument – such a soulful singer – and he's willing to get it exactly how I'm hearing it in my head. The other great thing about having Richard is that there's quite a few songs on this album that I wouldn't be able to play and sing live at the same time.” Yet Trower also addresses the contemporary problems in front of him. “There's three or four songs there that cover what I'm thinking about. The Razor's Edge and Cloud Across The Sun, those are definitely about my dissatisfaction with the politicians of the day, pointing the finger at the ones that don't keep their promises. But then, with Deadly Kiss, the lyric is someone talking to a friend who has become a junkie. There's broken-hearted songs. There's love songs. “ “It was difficult, but I'm glad I did it,” he considers. “This album is an evolution. I'm hoping that's what is always happening with my music. There's a huge step between Bridge Of Sighs and now. It's like anything. The more you work on it, in theory, the better you should be at it. And I definitely feel like this album is one of the best things I've ever done.”

For more than six decades, Robin Trower's career has known no bounds. At the age of 76, the British guitarist can reflect on a journey in which he has planted flags across the musical sphere and played every role imaginable. He's been the driving force behind Sixties icons Procol Harum. The transatlantic solo star who filled US stadiums with 1974's Bridge Of Sighs. The collaborator and occasional supergroup member. The elder-statesman songwriter whose late period still crackles with invention. Few would dispute that the title of Trower's latest album – No More Worlds To Conquer – is a fair summary of the thumbprint he has left on the musical universe. But as he reminds us, it should not be misinterpreted as his mission being accomplished. “I definitely feel like I'm still reaching,” he considers, “with the guitar, and the songs, and everything else.” On Waiting For The Rain To Fall, Trower's playing is crystalline as a dew drop, while the aching finale, I Will Always Be Your Shelter, offers a solo whose masterful touch is compelling as anything in his catalogue. “That's a real high point for the playing,” he nods. “And Waiting For The Rain To Fall, I think is influenced by Tamla Motown. It's a bit left-of-centre for me to do a song like that. But I think it's potent stuff. I'm hoping this album will surprise people.” Once again, Trower also handles bass duties, but as a lifelong servant of the song over his own ego, he didn't hesitate to enlist other musicians. “Chris Taggart is on drums,” he explains. “He's a wonderful drummer, and he's done the last three or four albums. And I started to realise, after I'd tried to sing these songs myself, that I wasn't vocally up to it. Richard Watts has done a great job on vocals. He's got a fantastic instrument – such a soulful singer – and he's willing to get it exactly how I'm hearing it in my head. The other great thing about having Richard is that there's quite a few songs on this album that I wouldn't be able to play and sing live at the same time.” Yet Trower also addresses the contemporary problems in front of him. “There's three or four songs there that cover what I'm thinking about. The Razor's Edge and Cloud Across The Sun, those are definitely about my dissatisfaction with the politicians of the day, pointing the finger at the ones that don't keep their promises. But then, with Deadly Kiss, the lyric is someone talking to a friend who has become a junkie. There's broken-hearted songs. There's love songs. “ “It was difficult, but I'm glad I did it,” he considers. “This album is an evolution. I'm hoping that's what is always happening with my music. There's a huge step between Bridge Of Sighs and now. It's like anything. The more you work on it, in theory, the better you should be at it. And I definitely feel like this album is one of the best things I've ever done.”

In this episode, Gary Shattuck, author of the Night Rider Legacy, and Lane Marshall, a former Vermont State Trouper, speak of the Irasburg Affair, a shooting-turned-adulatory case from the 1960s in Irasburg, Vermont. Special thanks to Gary Shattuck, Lane Marshall, Emmet Avery, Sarah Blow, and Richard Watts. Produced by Ben Keil.Narration and Music by Ben Keil See acast.com/privacy for privacy and opt-out information.

Piazza della Biade, Vicenza reimagined by Richard Watts. "I've used lots of samples of bells from the original recording and created some repeated rhythms. Then I added some melodies and some reserved samples of the people talking at the end of the original recording."

Geldingadalir volcano, Iceland reimagined by Richard Watts.  "I really like the original recording so have tried to enhance that by bringing up more bottom end and then adding a soundtrack. I wanted to get the feeling of the power of a volcano, its beauty and mystic nature. All the sounds are created by Alchemy in Logic Pro X."

Richard Watts was admitted to the California State Bar to practice law in 1982 and is an alumni of the Harvard Business School. He is a renowned speaker and contributor to national publications such as Forbes, Huffington Post, NPR, Variety Magazine, Washington Times, and CNBC, PBS, and has appeared on national television programs to spread his positive message of making your family strong. He is also the author of Fables of Fortune: What Rich People Have that You Don't Want and Entitlemania: How Not to Spoil Your Kids, and What do Do if You Have. A resident of Laguna Beach, California, Richard is the proud father of his three sons; Aaron (wife Rene), Todd (wife Stephanie), and Russell (wife Natalie), and has three granddaughters; Maclane, Lucy, and Chandler, as well as two grandsons; Bennett and Ford.   Richard Watts, founder and President of Family Business Office®, joins me on The Wow Factor podcast today to share his valuable insights into why he moved away from a traditional lawyer role and started a company with a real mission connected to it. He describes the key differences between those who have worked hard to make money and the subsequent generations who have inherited it. He emphasizes the value of thoughtful transitional wealth planning. Richard also discusses the need to have a spiritual connection to the world around you.   “The behavioral fork in the road begins early. You can choose the easier path and placate your children but, but pay the price later. Or you can choose the bumpier road now and use every opportunity that presents itself to teach your kids that taking the shortcut now will cause their life to be rougher as they mature.” Richard Watts, Entitlemania   “There comes a time in your life, and often more than one time, where it's really important to exercise the control over your life that you believe your faith has. If you really say I'm a man of faith, then at some point, you have to exercise that faith.” - Richard Watts   "People that are wealth creators will spend their entire lives being considerate of building wealth. But when it comes to their estate plan, they're not going to be here to worry about it. So, they don't put the same amount of effort in looking at and recognizing what the ramifications may be of a poor plan.” - Richard Watts   “Often the wanting turns out better than the having. If you can teach yourself that the wanting is often more enjoyable than having; that the journey is more appealing than the destination, you have taught yourself a most valuable life lesson that your kids will learn without words. Teach them not to confuse wants with needs...there are few things more rewarding than needing less.” Richard Watts, Entitlemania   This Week on The Wow Factor: The goal behind Family Business Planning and how they help clients with comprehensive family office services How Richard grew the business from six initial client families Why a sense of value tends to fade away when money is no object What ‘option fatigue' is and why it can prevent you from feeling positive about your life Why newly wealthy people, famous or not should practice not having the things that they want How to encourage people to maintain a servant mindset even when they achieve material success The Importance of clever, forward-thinking wealth planning Why drone parents who are strategic in ensuring that their kids don't fail or struggle are doing their kids a disservice Why Richard feels that it's important to stay sharp in terms of your spiritual capital and how he maintains his faith   Richard Watts's Words of Wisdom: The spiritual muscle is one that most people don't take the time to exercise, so it can get a little atrophied — but when those spiritual muscles begin to be used and exercised, we begin to recognize spiritual connections all around us and that's such a key element of an optimistic and fulfilled life.   Connect with Richard Watts: Family Business Office Website Entitlemania Book Website Author Richard Watts on Facebook Richard Watts on Twitter     Connect with The WOW Factor: I Like Giving: The Transforming Power of a Generous Life by Brad Formsma Words of Wisdom Website Brad Formsma on LinkedIn Brad Formsma on Instagram Brad Formsma on Facebook Brad Formsma on Twitter