Podcast appearances and mentions of Robert Fripp

After the revolutionary In the Court of the Crimson King in 1969 King Crimson did a tour behind the record, which was a hit in the UK and a cult favorite in the U.S. Problem was, by the end, Robert Fripp and Pete Sinfield were the only full-time members left in the group. Fripp was able to talk Greg Lake, Michael Giles and Peter Giles to return to record In the Court of the Crimson King, but the tour would lead to a new lineup. Meanwhile, their second album became their highest charting in the UK, and was a sign of things to come. 

Daryl Hall has been one of the most identifiable voices and songwriters on records and radios for over half a century and he's still doing it. As the lead singer and principal songwriter in Hall & Oates he had a string of hits (quite a few of them co-written with Sara and Janna Allen) that included "She's Gone," "Sara Smile," "Rich Girl," "One on One," "I Can't Go For That," "Make My Dreams (Come True)," "Private Eyes," "Out of Touch," and more. And as a solo artist he's made landmark records like Sacred Songs (with King Crimson's Robert Fripp) and last year's D album, a collaboration with Dave Stewart (Eurythmics). In this comprehensive chat, we talk about Hall's entire career, including his successful web series, Live From Daryl's House, and his work with record making legends like Arif Mardin, Thom Bell, Kenny Gamble & Leon Huff, The Temptations, Todd Rundgren, Elvis Costello, and Bob Clearmountain.  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   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.

Kirk answers a bunch of listener questions on topics like bluegrass guitar, the music of Blue Prince, good apps for training theory skills, Robert Fripp's "Frippertronics," a mysterious sound on a Gene Clark song, different types of music notation, and the legacy of the blues. All that, and a trio of terrific singer/songwriters stops by the studio to help answer a question about lyrics.Come see Triple Click Live! Friday, July 11 at the Alberta Rose Theatre in Portland, OR. Tickets HereKirk has new music for sale on Bandcamp: Music For Podcasting and his original score for Arydia: The Paths We Dare TreadThanks to The Wailin' Jennys for coming on the show! Stay tuned for a full-length interview episode this summer, and go see them live if you can. They are amazing.FEATURED/DISCUSSED:“White Trash Wedding” by The Chicks from Home, 2002A live performance of “White Trash Wedding”“Simon's Theme” by Trigg & Gusset from the Blue Prince original soundtrack, 2025Kirk's recent essay about Blue Prince and musicTwo good free music sites: musictheory.net and muted.io“What Am I Here For” by Jade Bird from Something American - EP, 2017“Across The Sea” by The Wailin' Jennys from Bright Morning Stars, 2011“Lady of the North” by Gene Clark from No Other, 1974The terrific Wonder of Stevie podcastTantacrul's tremendous video about the history of music notation“Hammond Song” by The Roaches, 1979Chords of Orion video explaining and re-creating Frippertronics“The Heavenly Music Corporation II” by Robert Fripp and Brian Eno from No Pussyfooting, 1973“St. James Infirmary” rec. Joseph “King” Oliver, 1930“Cross Road Blues” rec. Robert Johnson, ~193x“Down Hearted Blues” rec. Bessie Smith, 1929Two versions of "Wedding Song" by Anaïs Mitchell from Hadestown, 2018Kirk's essay about musical creation and “The Spark”OUTRO SOLO: Rob Reich, prolific bay area multi-instrumentalist, died unexpectedly a few weeks ago at the age of 47. It's an unfathomable loss. Rob recorded an outro solo for Strong Songs back in its very first year, so we're including it in this episode as a tribute to him and his generous musical spirit. Read more about Rob here.----LINKS-----

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

Send us a message, so we know what you're thinking!A “Deep Cut” is something that is recognisable or familiar to passionate fans but not usually to others.  As a special treat this week, we've delved into our collections to give you some deep cuts from our favourites – things like Queen, Bowie, Joe Cocker, Nick Cave and TISM. We think you'll love them,   In Rock News, Jeff delves into songs that turn 60 on 2025, looks at Sunday Lunch with Toyah and Robert Fripp, and looks at Yachtley Crew, a strange phenomenon from California.  Our Album You Must Hear Before You Die this week is Raw Power (1973) by Iggy and the Stooges. The lo-fi production on this highly influential album is the source of much tension between Bowie and Iggy, much of it not fair. We liked it!  Enjoy.  Playlist  Songs that turn 60 this year  Sunday Lunch with Robert and Toyah  Yachtley Crew Peter Cook as The BishopREM on Letterman References:  Raw Power, Iggy Pop, The Stooges, John Cale, Columbia Records, Sex Pistols, Johnny Marr & The Smiths, Kurt Cobain, Nirvana, MainMan, Tony DeFries, Sonny Boy Williamson, Ron Asheton, Scott Asheton, “Gimme Danger”, “Search and Destroy”, Iggy on Countdown, radio-friendly, Bowie, “The Man Who Sold the World”, Unplugged, Roxy Music, “For Your Pleasure”, Roxy live in Sydney – 2001 & 2011, The Police, “Bring on the Night”, Regatta de Blanc, white reggae, T.S. Eliot, “The Love Song of J. Alfred Prufrock”, Joe Cocker, “Many Rivers to Cross”, Sheffield Steel, Queen, “Fairy Fellers Master Stroke”, Richard Dadd, State Criminal Lunatic Asylum of Bethlem Royal Hospital – Bedlam, Nick Cave, “Papa Won't Leave You, Henry”, Henry's Dream, John Cale, “Close Watch (I Keep a)”, Helen of Troy, Music for a New Society, Fragments of a Rainy Season, REM, "So. Central Rain (Sorry)", Reckoning, Lou Reed, “Street Hassle”, Warren Zevon, “Hit Somebody!  (The Hockey Song)”, My Ride's Here, Carl Hiassen, “Bad Monkey”, Vince Vaughan, David Letterman, Enjoy Every Sandwich, Jimmy Webb, “Galveston”, Kate Bush, Aerial, "Pi”, Pete Townshend, “The Sea Refuses No River”, All the Best Cowboys Have Chinese Eyes, TISM, Great Trucking Songs of the Renaissance, "The Ballad of John Bonham's Coke Roadie"  

SUMMER...officially arrives in the Northern Hemisphere the third week in June. Also known as the Summer Solstice, it's the longest day and shortest night of the year. For fans of the ambient guitar, it's an event worth celebrating. The cold and dark of winter is forgotten; the bright promise of spring has come and gone; now, fair skies, gentle breezes, sweet melodies, and the warm harmonies of early summer invite us to melt...into the season of the sun. Instrumental music for the guitar continues to evolve, and whether the genre is traditional acoustic, 20th century electric, or 21st century electronic, the slow pace and spatial sound images of the ambient guitar bring us new dimensions in atmospheric music. On this transmission of Hearts of Space, another seasonal journey for ambient guitar, on a program called "SIX STRING SUMMER." Music is by SOULFOOD & BILLY McLAUGHLIN, TOM CAUFIELD, MIKHAIL MEDVEDEV, ASCHE & SPENCER, STEVE SMITH, CHUCK JOHNSON, ERRANT SPACE, MATT BORGHI, CLIVE WRIGHT, ROBERT FRIPP & BRIAN ENO. [ view playlist ] [ view Flickr image gallery ] [ play 30 second MP3 promo ]

This week we're discussing every remaining album by legendary prog rock band King Crimson. This episode tackles 1981 - 2003, where KC mainstays Adrian Belew and Tony Levin first join the group. Despite some moments that are a bit dated (specifically in the production), Robert Fripp and company continue to surprise us with their sheer audacity in their songwriting. Maybe these albums aren't perfect, but they sure are impressive.   Intro/Overview 00:00 Discipline 11:13 Beat 27:15 Three of a Perfect Pair 36:39 THRAK 50:18 The ConstruKction of Light 1:11:34 The Power to Believe 1:26:42 What are they up to now? 1:39:13   ----------------------------------------------------------------------------------------------------------   Patreon https://www.patreon.com/everyalbumever   Merch https://pandermonkey.creator-spring.com/   Mike's EP: Pander Monkey on Bandcamp, Spotify, Apple,   Mike on Instagram @pandermonkey Alex on Bluesky @octatron3030 Tom on Instagram @tomosmansounds   History Tom's stuff: Music on Spotify, Apple Podcast on Spotify, YouTube Substack Website   ----------------------------------------------------------------------------------------------------------   Mike's Picks: Discipline (1981) -- Best Album THRAK (1995) -- Personal Favorite The Power to Believe (2003) -- Worst Album, Least Favorite   Alex's Picks: The ConstruKction of Light (2000) -- Best Album, Personal Favorite Beat (1982) -- Worst Album, Least Favorite   Albums we discussed this episode... Discipline (1981) Beat (1982) Three of a Perfect Pair (1984) THRAK (1995) The ConstruKction of Light (2000) The Power to Believe (2003)

Robert Fripp, Brian Eno - An Iron Frappe אוטרקי - רקמה עבה Jack Hudson - Four And Twenty The Residents - She Was Never Lovelier Rome - Bring Me The Head Of Romanez Atticus Ross - Duty Endures Naum Gabo - Schinokapsala (Reversion) David Bowie - Subterraneans Gazelle Twin - Author Of You (Penelope Trappes Mix) Andrew Lockington - Broken Bardo Pond - New Drunks (Revisited) צוף זוהר ענבל - עוגה Sasha Le Fou & Tippi Parade - Jean Memoire לייקה - בגן Viner - Qurgo'n (Yutani Remix) Pale Blue - Have You Passed Through This Night Hadas Elimelech - Morning Threshold Trent Reznor & Atticus Ross - Life On Mars נבו סבורי - אין מה לעשות Lucrecia Dalt, David Sylvian - Cosa Rara Benefits - Missiles Death & Vanilla - Perpetuum Mobile (Civilistjavel Version) Index For Working Musik - Halb Leib I Julie & Dany - Venus Tomer Sade - Go Down Moses Frank Sinatra - In The Wee Small Hours Of The Morning Tropikal Camel - Qumagu (Glass Version) Cindy Lee - Dallas The Veils - Concrete After Rain Merciful Nuns - Lightwaves Beach Boys - Don't Talk (Put Your Head On My Shoulder) Deerhoof - A Body Of Mirrors Petbrick - Reckoning (Feat. Steve Von Till) Gnod & White Hills - Air Streams Nyxx - Salt Viagra Boys - River King Iggy Pop - Only The Lonely Yasmine Hamdan - Hon Model-Actriz - Baton Tualet - Tizkor Me'eifo Batah Iosonouncane - Girasoli https://www.facebook.com/fingeredfloodgate

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Pat welcomes singer/songwriter Daryl Hall to the show to discuss his career in music and promote his latest solo album simply called "D"See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Esta semana, Rebelión Sónica estará dedicado al concierto que efectuará el próximo martes 06 de mayo Beat, la banda de Adrian Belew, Tony Levin, Danny Carey y Steve Vai que interpreta el repertorio de principios de los 80 de King Crimson. Para celebrar el acontecimiento, tocaremos piezas de dos de los tres discos que la banda de Robert Fripp editó en aquellos años: “Discipline” de 1981 y “Three Of A Perfect Pair” de 1984. Cabe destacar que Beat cuenta con la aprobación de Fripp, quien incluso les sugirió el nombre con el que ahora están girando a nivel internacional. Durante el tour ‘Performing the Music of 80s King Crimson', el cuarteto estelar revivirá algunos de los temas incluidos en las placas "Discipline" (1981), "Beat" (1982) y "Three Of A Perfect Pair" (1984). El supergrupo hará una “reinterpretación creativa” -como los músicos han señalado- de las canciones de la etapa en la que Belew y Levin militaron en King Crimson, con la apertura del importante músico nacional Jorge Campos. Como es tradición, Rebelión Sónica se transmite por radio Rockaxis los jueves a las 10 y 22 horas, con la conducción de Héctor Aravena.

Introducing the Band:Your hosts Scot Bertram (@ScotBertram) and Jeff Blehar (@EsotericCD) are joined by Andrew Stuttaford. Andrew needs little introduction as the editor of NR's Capital Matters. Find him online right here at National Review or at @AStuttaford on Twitter/X.Andrew's Music Pick: Brian EnoHere he comes, the boy who tried to vanish to the future or the past. Yes, it's time for Political Beats to celebrate one of the most influential musicians in the history of modern recorded sound -- a man who, ironically enough, is at pains to characterize himself as a non-musician. Children of the Eighties and Nineties may primarily understand Brian Eno as the producer who took U2 to megastardom, but his work as a producer is properly only a footnote to his work as a songwriter and (most importantly of all) a conceptualist. Eno first achieved fame with Roxy Music as their "noise man," providing outrageous sounds alongside "treatments" -- electronic reprocessing -- of the rest of the group's instruments. But Roxy Music was ultimately pianist/vocalist Bryan Ferry's baby, and so Eno soon struck out on his own, for a solo career that would bring him into collaboration with some of the best and most innovative musicians of the Seventies as he put out a sequence of four "lyrical" albums which bent the definition of "popular music" well past its breaking point and into the avant-garde. At the same time, Eno was creating an entirely new genre of recorded sound: so-called "ambient" music, written and recorded in such a way as to (per his maxim) "reward your attention without demanding it."This, of course, is only the tip of the iceberg in a career that also includes brilliant songwriting collaborations with Robert Fripp, David Bowie, and Talking Heads among others. All of this and much more are discussed on a episode Political Beats has been waiting to do for eight years: Brian Eno played an enormous role in inventing the sonic world we still live in, and also made some of the most unexpectedly profound and beautiful music while doing so. We are lucky to be joined by NR's own Andrew Stuttaford for this episode, who lends particular credibility to the discussion as a fan from all the way back in 1972, during the Roxy years. Enjoy stepping into another (green) world.

Te voy a enumerar todos los objetos que para mí son mágicos. Un Dilo Camilo con musica de Siete Rayos, Chico Electrico, King Coya, La Perla, Maria Daniela y su sonido lasser , Secta Suicida Siglo 20, Robert Fripp, Martin Newell, Lua Gramer, La Hermana de Miguel, Biscote y muchos más.Escuchar audio

This week on RITY... The mini theme is Celestial Navigation... Plus, from "Seven League Boots" to "Southern Cross": The story behind the final Top 20 hit for Crosby, Stills & Nash... Music from a band that shares their name with the Irish-American gangster, Jack "Legs" Diamond... Deep cuts from Blodwyn Pig, Robert Fripp, Zebra, Rodriguez, Sharon Jones, Paul Westerberg, Gordon Lightfoot, and more! For info on the show, visit reelinwithryan.com

From the Shadow of the Wall: Finding Inspiration in a Divided Berlin Want to uncover the secrets behind David Bowie's creative process and the impact of Berlin on his music? Discover the solution to gaining a deeper understanding of the legendary artist's Heroes album analysis. Get ready to dive into the intriguing world of Bowie's musical journey and the influential forces that shaped his iconic sound. Stay tuned for a mind-bending exploration of Bowie's artistry and musical evolution. In this episode, you will be able to: Explore the intricate layers of David Bowie's "Heroes" album and unravel its artistic brilliance. Uncover how the city of Berlin significantly influenced David Bowie's musical evolution and creative expression. Discover the captivating influence of Chris Burden on the creation of "Joe the Lion" and its impact on Bowie's music. Gain insight into the fascinating and innovative creative process behind David Bowie's iconic "Heroes" album. Delve into the intriguing relationship between performance art and its profound influence on music, including David Bowie's work. The key moments in this episode are: 00:03:13 - Oblique Strategies  00:06:25 - Album Vibes and Dinner  00:09:29 - History of "Heroes"  00:13:44 - Embracing Unnerving Experiments  00:15:43 - Responding to Emergency  00:20:54 - Tony de Visconti's Production Technique  00:27:10 - David Bowie's Vocal Recording Process  00:29:36 - David Bowie's Appearance  00:31:51 - Blue Apron Ad Read and Robert Fripp's Performance  00:32:36 - Planning the Episode  00:33:53 - Musical Depth and Track by Track  00:37:26 - David Bowie and Iggy Pop in Berlin  00:41:31 - Brian Eno's Artistic Antics  00:47:09 - Bowie's World Tour Adventures  00:49:12 - David Bowie's approach to substance use  00:51:32 - Bowie's voracious reading habits  00:58:23 - Mentality during the recording of "Heroes"  01:00:14 - Bowie's creative energy in Berlin  01:04:33 - Evolution of Bowie's music  01:05:58 - Dan's Approach to Information Sharing  01:06:41 - Discussion about Real Songs and Music  01:09:10 - Chris Burden's Artistic Stunts  01:15:55 - Bluechew Ad Read  01:19:04 - Tier List Ranking of Albums  01:23:57 - Ranking David Bowie Albums  01:25:32 - Album Ranking Continues  01:27:02 - Assessing Scary Monsters  01:28:34 - Final Album Rankings  01:35:34 - Closing Remarks  01:40:24 - British Man vs. American Cuisine  01:41:14 - Introduction to Meatloaf and Other British Dishes  01:42:25 - Exploring American Dishes  01:43:41 - Cornbread, Biscuits, and Gravy  01:46:11 - Waffle House Training Video  01:53:58 - Waffle House Breakfast Orders  01:59:25 - Omelet Marking System  02:03:01 - Breakfast Sandwiches and Deluxe Orders  02:05:26 - Hash Brown and Dinner Orders  02:08:03 - Waffle House Marking System  02:09:12 - Major Meat Sandwiches  02:10:53 - Special Preparation for Sandwiches  02:11:03 - Burritos and Hispanic Food  02:12:50 - Importance of the Pull Drop Mark System  This podcast is powered by Pinecast.

In the early ‘80s, The Police guitarist Andy Summers and King Crimson mastermind Robert Fripp formed an unexpected partnership—blending avant-garde progressive rock with stadium-ready new wave. Despite their vastly different styles, the duo released I Advance Masked (1982) and Bewitched (1984), crafting intricate soundscapes that pushed musical boundaries. Surprisingly, Summers wasn't even a King Crimson fan when they first collaborated. In a recent Guitarist interview, he revealed that he and Fripp had a “cosmic connection” dating back to their teenage years in England. Their journey—from crossing paths in local music scenes to creating two groundbreaking albums—remains one of rock's most fascinating stories. Now, previously unheard recordings from their sessions have surfaced in Mother Hold the Candle Steady, part of the Complete Recordings reissue. Summers admits he was “knocked out” revisiting these lost tracks, questioning why they were left behind in the first place. In this video, we explore how this unique collaboration came to life, why it still resonates, and how their experimental approach influenced generations of guitarists. Plus, we dive into the latest discussions surrounding Fripp, King Crimson, and the ongoing legacy of progressive rock.

Daryl Hall is here discuss to his latest album D, historic home preservation and restoration, working with the Eurythmics' Dave Stewart, classic rock radio and how legacy artists stay vital, why he started the inventive, award-winning web series Live from Daryl's House and its current status, working with Robert Fripp on 1980's Sacred Songs and his interest in outsider music, what he makes of contemporary pop singing, working with younger artists, whether he misses working with John Oates, touring a lot, other future plans, and much more.EVERY OTHER COMPLETE 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!Thanks to Blackbyrd Myoozik, the Bookshelf, Planet Bean Coffee, and Grandad's Donuts. Support Y.E.S.S., Pride Centre of Edmonton, and Letters Charity. Follow vish online. Support vish on Patreon!Related episodes/links:Ep. #957: The Burning HellEp. #815: Geordie GordonEp. #711: Bret McKenzieEp. #681: Jane Inc.Ep. #64: Sharon JonesEp. #58: Charles BradleyVan Dyke Parks (2010) – TeaserSupport this show http://supporter.acast.com/kreative-kontrol. Hosted on Acast. See acast.com/privacy for more information.

Here we are with musician, songwriter, and activist David Fagin who has spent his career challenging the industry. As frontman of The Rosenbergs, he pioneered artist-friendly deals and teamed up with Robert Fripp to fight for master ownership. He's testified on Capitol Hill, composed for major networks, and co-wrote Boston Strong, the Boston Marathon theme song.A former HuffPost columnist, he's never shied away from controversy, from taking on corporate exploitation to creating viral videos with millions of views. Leading The Counterfeiters and The Wankers, he mixes music, satire, and pranks—including fooling the internet with a fake Oasis reunion tour. We will get to hear about his unique experience and the advice he shares for artists.

This week we're discussing every album by King Crimson from 1969 to 1974. Led by the legendary (and partially insane) Robert Fripp, King Crimson is one of the pioneers of prog rock, as well as one of the wildest and most influential bands of all time. This era of the band chronicles some of the most memorable albums in all of prog rock. But be warned, this is not a band that welcomes everyone. The insanity is real.Closing track” One More Red Nightmare” from Red (1974)Patreonhttps://www.patreon.com/everyalbumeverMerchhttps://pandermonkey.creator-spring.com/Mike's EP:Pander Monkey on Bandcamp, Spotify, Apple,Mike on Instagram @pandermonkeyAlex on Bluesky @octatron3030Tom on Instagram @tomosmansoundsHistory Tom's stuff:Music on Spotify, ApplePodcast on Spotify, YouTubeSubstackWebsiteMike's Picks:In the Court of the Crimson King (1969) — Best AlbumRed (1974) — Personal FavoriteLarks' Tongues in Aspic (1973) — Worst Album, Least FavoriteAlex's Picks:Red (1974) — Best Album, Personal FavoriteIslands (1971) — Worst Album, Least FavoriteAlbums we discussed this episode…In the Court of the Crimson King (1969)In the Wake of Poseidon (1970)Lizard (1970)Islands (1971)Larks' Tongues in Aspic (1973)Starless and Bible Black (1974)Red (1974)

On this episode of Vinyl Verdict, Bell, Jamie and Adam listen to Adam's next pick, King Crimson's "Red". Released in 1974, it was their seventh studio album, and the last King Crimson album until the group was re-formed by bandleader Robert Fripp in 1981. The album has been cited as an important work in both progressive rock and heavy metal, influencing a multitude of other artists, such as Kurt Cobain. But what will the boys think of the album? Will they describe it as "One More Red Nightmare" or will it influence them as well? Come along and find out!

Welcome to Live From Progzilla Towers Edition 553. In this All Request edition, we heard music by Rush, Andrew Lloyd Webber, Dave Kerzner & Sonic Elements, Geordie Greep, Godspeed You! Black Emperor, Kayak, Marillion, Rick Wakeman, Cybotron, Wendy Carlos, Van Der Graaf Generator, Robert Fripp, King Crimson, The Cure, RPWL, Opeth, Schnauser, Wally, Tiles, The Staves & Transatlantic.

A well-placed song in a film holds the power to shape a viewer's emotions, heighten tension, set the tone, foreshadow events, provide insight into characters, or deepen the narrative. In essence, music is the heartbeat of the cinema that can elevate a film from good to sublime. Take it from someone who knows, like this week's Third Lad, Barry Andrews - he's had songs soundtracking pivotal moments in films such as Manhunter and Band of the Hand. Barry Andrews began his professional music career in the punk era lending his keyboard stylings to a little band that you may have heard of, XTC, giving them one of the most defining and distinctive features of their sound for their first two albums. After leaving XTC in 1979, he released a fine solo EP and single, formed the short lived Restaurant for Dogs, and played with Iggy Pop and Robert Fripp's League of Gentlemen before forming the band Shriekback with Gang of Four bassist Dave Allen and singer Carl Marsh in 1981. For the better part of the last 43 years, Barry has kept Shriekback alive through various incarnations, continuing to release music that's daring, experimental, and artful, as well as maintaining an ambitious and rewarding solo career. Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to Why Music Matters, a podcast where we examine the power and influence that music can wield in our lives.  I'm your host, Jeff Miers. Today, my guests are three musicians who seemed destined to end up playing together. Guitarist/vocalist Drew Azzinaro, bassist/vocalist Eamon Rayhn and drummer Ethan Fox all hail from Buffalo, NY, and they met in the music department at the State University of New York at Fredonia a decade back.  It would take them a few years and a handful of varied musical ventures for them to finally come together as the FAR Trio. But when they did start playing together as a unit, to borrow a phrase from Robert Fripp, “Grace was present.” Performing what they describe as a blend of “earthy fusion and soul-drenched rock'n roll,”  with a healthy dose of improvisation and a keen ear for adventurous song structures, the Far Trio quickly earned a reputation as a top tier live act. They've since released a pair of studio albums, and are currently at work on a third, in Woodstock, NY.  In between, they've managed to perform more than 150 shows a year across the Northeast.   During our chat, we touched on musical inspiration, the power of improvisation, and music's ability to elevate both the musician and the listener.  Welcome to Why Music Matters, Drew, Eamon and Ethan - the FAR Trio.  

Send us a textOn this episode, NPR music critic and correspondent Ann Powers gets Al acquainted with The Roches' 1979 self-titled debut album. Ann explains how she got to know the album and how it became an important part of her life and the lives of her friends. She also talks about the elements that make The Roches unique, including their harmonies, clever songwriting and misfit style. Ann discusses her 2024 biography of Joni Mitchell, Traveling: On the Path of Joni Mitchell, and why she took a different approach to researching the book than other Mitchell biographers have taken.You can follow Ann on Bluesky, Instagram and X, all at @annkpowers.As Ann mentioned on the show, you can read her work for the NPR Music Newsletter by signing up for it on the NPR website. Just go to https://www.npr.org/newsletter/music and enter your e-mail address.Al is on Bluesky at @almelchior.bsky.social. This show has an account on Instagram at @youmealbum. Subscribe for free to You, Me and An Album: The Newsletter! https://youmealbum.substack.com/. You can also support the show on Buzzsprout at https://www.buzzsprout.com/1542814/episodes or at the link at the bottom of these show notes.1:32 Ann joins the show2:10 Al and Ann discuss her review of The Roches from the ‘90s4:53 Ann explains how The Roches' music was related to the New York punk scene7:59 Ann and Al talk about Robert Fripp's contributions as the album's producer9:37 Ann discusses The Roches' unique harmonies and musical styles11:48 Ann talks about The Roches' identity as misfits18:55 Ann sees the album as both accessible and mysterious20:41 Ann discusses the background behind “Hammond Song” and its enduring popularity29:40 Ann recalls where she learned about The Roches and discusses her early fandom37:56 Ann—and the critics she admired—found The Roches' lyrics relatable44:30 Ann explains what makes the “The Married Men” a special song48:18 Al talks about his one memory of The Roches from his teen years50:09 Ann expands on her approach to writing her Joni Mitchell biography56:15 Ann discusses her current and upcoming workSupport the show

This time on the Plutopia podcast, we turn on our time machine and take you back to 1979. King Crimson guitarist and founder Robert Fripp was touring with his Frippertronics…

It's a glorious fusion of nostalgia, tinsel and song this week in a show recorded with an audience at the BBC Radio Theatre. Clive talks to punk princess Toyah Willcox about her Xmas Party tour with King Crimson guitarist Robert Fripp and a blistering year that's seen her perform at Glastonbury, take part in Strictly Come Dancing and join the cast of Now That's What I Call a Musical. To celebrate 30 years since boyband East 17 scaled the charts with Stay Another Day - songwriter Tony Mortimer performs the song with Edele Lynch of B*Witched for a boy and girl band treat. Find out the true origin of the song and why it almost wasn't released. There's bromance, baubles and banter with a pair of Edinburgh Comedy Award winners - Adam Riches and John Kearns - who this year are collaborating on a "once in a lifetime, yuletide extravaganza" show at the Soho Theatre.And the columnist, broadcaster and newly-announced MasterChef host Grace Dent - who knows a thing or two about comfort eating having written a book about it - on creating Christmas food memories, including loading up on yellow-stickered trophies at the supermarket late on Christmas Eve. Plus in this 40th anniversary year since the release of Wham's Last Christmas we have a gorgeous soulful version from singer and former UK Jazz Act Of The Year - Georgia Cecile. Presented by Clive Anderson Produced by Olive Clancy

On Episode 150 of the RETROZEST podcast, Curtis kicks off a celebration of the 45th Anniversary of the premiere of STAR TREK: THE MOTION PICTURE! This film is a 1979 American science fiction drama directed by Robert Wise. It is based on and stars the cast of the 1966–1969 television series Star Trek created by Gene Roddenberry, who serves as producer. In the film, set in the 2270s, a mysterious and powerful alien cloud known as V'Ger approaches Earth, destroying everything in its path. Admiral James T. Kirk (William Shatner) assumes command of the recently refitted Starship Enterprise to lead it on a mission to determine V'Ger's origins and save the planet. Assisting Curtis in this endeavor in an exclusive interview is DAVID GAUTREAUX, the actor perhaps best known for work he never did – the role of Vulcan science officer Xon in the proposed Star Trek: Phase II television series. When the series was aborted, he was given the role of Commander Branch in Star Trek: The Motion Picture. David has also guest-starred in numerous television series including Man From Atlantis, Search for Tomorrow, One Life to Live, T. J. Hooker, L.A. Law, ER, Rules of Engagement, Boston Legal, and The Beast. He played recurring roles on Franklin & Bash, Damages, and the latest incarnation of S.W.A.T. In this interview, David discusses with Curtis about his career in and out of Star Trek, complete with several nuggets of minutia and obscurity which you'll only hear right here on RetroZest! Incidentally, you may help the RetroZest podcast by purchasing a unique T-Shirt or two (many different designs and colors!) from our store at store.retrozest.com/home. You may also help the RetroZest Podcast by purchasing a Celebrity Video Message gift for a friend/family member from CelebVM! Choose from celebrities like Barry Williams, Gary Busey, Ernie Hudson, Robert Fripp, Right Said Fred, etc.! Simply enter their website through our portal store.retrozest.com/celebvm, and shop as you normally would; it's no extra cost to you at all! Contact Curtis at podcast@retrozest.com, or via Facebook, Twitter or Instagram. Also, check us out on TikTok!

Mark,Lou and Perry listen to and discuss Robert Fripp and Alice's Restaurant plus Freddie King performs "Hideaway" also random relish topics and Elizibeth Cotten plays "Freight Train"plus a talk of some Dutch bands and a clip of Fawlty Towers with John Cleese and a look at the video that hurt Billy Squire's career and much more fun stuff

In this episode of "Concerts That Made Us," Brian engages in an in-depth conversation with Eric Weissinger and Victoria Real, the talented musical duo known as Aerolinea. They delve into the intricacies of their new single "Nervous" and their eagerly anticipated album "All We Need," set to release on November 28th. The discussion covers their songwriting process, which is a blend of introspective lyrics and innovative melodies, and explores the emotional themes that permeate their music, such as vulnerability, connection, and resilience. Eric and Victoria open up about the challenges and rewards of collaborating from different locations, highlighting how technology bridges the gap and enhances their creative synergy. They each share their unique musical backgrounds—Eric's history with Atlanta dream-gaze duo I Am a Rocketship and Victoria honing her musical skills under the tutelage of King Crimson guitar legend Robert Fripp, first as a Guitar Craft student and later performing with the League of Crafty Guitarists. They also recount memorable concert experiences that have shaped their artistic journey. These stories underscore the transformative power of live performances and their ability to create lasting connections with audiences.The duo also outlines their future plans, including a series of upcoming shows across South America, where they aim to captivate new audiences with their dynamic performances. They reflect on the significance of concerts in their lives, not just as performers but as fans, emphasizing how live music fosters a sense of community and shared emotion.Throughout the episode, Aerolinea's distinctive sound and heartfelt artistry are highlighted, showcasing their ability to blend diverse influences into a cohesive and compelling musical narrative.Find Aerolinea here: https://aerolinea.band/homeFind CTMU here:https://www.concertsthatmadeus.com/Join Concerts That Made Us Patreon here: https://www.patreon.com/concertsthatmadeusSave 10% on Band Builder Academy membership by following this link https://bandbuilderacademy.com/Brian_Concerts/join and using promo code "concerts" at signup Become a member at https://plus.acast.com/s/concerts-that-made-us. Hosted on Acast. See acast.com/privacy for more information.

The Fourth Hour Usually, when you listen to 108.9 The Hawk, you're listening to the first hour of The Geoff and Whisp Show, the number one morning show in Val Verde. Today, we mix it up and you get THE FINAL HOUR. THE FOURTH HOUR. And oooh baby, it ain't nothing like the first hour.  The Rage of Ed Begley Jr.: Ed was a guest in the first hour and he's still in the green room for the 9am hour, and everything will be fine as long as Scotty doesn't give him any liquids! Fripp VS. Beat: Art Spart gives you the traffic rundown and how legendary prog rocker, Robert Fripp's battle with the members of Beat is causing serious gridlock in Val Verde! Community Calendar: All of the great upcoming events in Val Verde! Do you want to purchase Neil Young's favorite train set? Or maybe you're a fan of some of the weirdest sized batteries at Battery Fest! Catch up with all of the TikTok's you've missed at the “Nobody Watched It TikTok-A-Thon” at the Val Verde Vertical Movie Theatre! The Train Train: What is it and why does Whisp fear it?! Sponsored by: Bad Company Fudge Company Fabulous Thunderbirds Shipping Company And… The Hawk Trees are back?! Love 108.9 The Hawk? Well, you KNOW you gotta get some more! Subscribe to the podcast on Spotify, Apple, or whatever you listen on! Get official merch: http://tee.pub/lic/goodrockshirts Early access & bonus shows: https://patreon.com/1089thehawk Follow us on social media: YouTube, Instagram, TikTok, Bluesky, Threads Learn more & sign up for our mailing list: https://1089thehawk.com

One of our rays of sunshine in the dark days of Lockdown was Toyah and Robert's Sunday Lunch, fizzing clips of the two of them in their Dorset kitchen, him playing off-brand rock and roll, her singing in extravagant finery, occasionally on an exercise bike. Their version of Metallica's Enter Sandman got 8.6m views alone. One time they were dressed as bees, another re-staging Swan Lake wearing tutus. This has now flowered into an all-the-trimmings Christmas show with a full rock band touring in December. They look back here at how it started and where it's ended up, which includes … … the teenage Fripp doing the twist at the Cellar Club, Poole. … Strictly judge Craig Revel Horwood's reaction when Robert booed him on set. … when the “elite newspapers” declared their kitchen shows were “genius”. … where their two different audiences meet. … plans for an upcoming Fripp memoir and his 1981 King Crimson diary.  … things you find in old boxes in the attic. … how the grumpier end of King Crimson's supporters regard the “other Robert Fripp”. … what Tony Iommi and Robert Plant thought of their lockdown clips. … and what you can expect from their Christmas Party show – which involves Bowie, Blondie, Neil Young, Slade, Metallica and an inflatable penguin. Toyah and Robert's Christmas Party tickets here:https://toyahwillcox.com/gigs/ Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

One of our rays of sunshine in the dark days of Lockdown was Toyah and Robert's Sunday Lunch, fizzing clips of the two of them in their Dorset kitchen, him playing off-brand rock and roll, her singing in extravagant finery, occasionally on an exercise bike. Their version of Metallica's Enter Sandman got 8.6m views alone. One time they were dressed as bees, another re-staging Swan Lake wearing tutus. This has now flowered into an all-the-trimmings Christmas show with a full rock band touring in December. They look back here at how it started and where it's ended up, which includes … … the teenage Fripp doing the twist at the Cellar Club, Poole. … Strictly judge Craig Revel Horwood's reaction when Robert booed him on set. … when the “elite newspapers” declared their kitchen shows were “genius”. … where their two different audiences meet. … plans for an upcoming Fripp memoir and his 1981 King Crimson diary.  … things you find in old boxes in the attic. … how the grumpier end of King Crimson's supporters regard the “other Robert Fripp”. … what Tony Iommi and Robert Plant thought of their lockdown clips. … and what you can expect from their Christmas Party show – which involves Bowie, Blondie, Neil Young, Slade, Metallica and an inflatable penguin. Toyah and Robert's Christmas Party tickets here:https://toyahwillcox.com/gigs/ Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

One of our rays of sunshine in the dark days of Lockdown was Toyah and Robert's Sunday Lunch, fizzing clips of the two of them in their Dorset kitchen, him playing off-brand rock and roll, her singing in extravagant finery, occasionally on an exercise bike. Their version of Metallica's Enter Sandman got 8.6m views alone. One time they were dressed as bees, another re-staging Swan Lake wearing tutus. This has now flowered into an all-the-trimmings Christmas show with a full rock band touring in December. They look back here at how it started and where it's ended up, which includes … … the teenage Fripp doing the twist at the Cellar Club, Poole. … Strictly judge Craig Revel Horwood's reaction when Robert booed him on set. … when the “elite newspapers” declared their kitchen shows were “genius”. … where their two different audiences meet. … plans for an upcoming Fripp memoir and his 1981 King Crimson diary.  … things you find in old boxes in the attic. … how the grumpier end of King Crimson's supporters regard the “other Robert Fripp”. … what Tony Iommi and Robert Plant thought of their lockdown clips. … and what you can expect from their Christmas Party show – which involves Bowie, Blondie, Neil Young, Slade, Metallica and an inflatable penguin. Toyah and Robert's Christmas Party tickets here:https://toyahwillcox.com/gigs/ Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

The writer, Jon Kremer, has lived in Bournemouth, a town on the south-coast of England, since he was a teenager, coinciding with the start of the 1960s.  That famous decade of cultural change allowed him to experience many aspects of the UK music industry via both the ownership of his town's original vintage vinyl shop, Bus Stop Records, which opened during 1967's Summer of Love, and a long-standing friendship with ‘Year of the Cat' singer-songwriter, Al Stewart.  A 60's music highlight was meeting the Beatles at the height of Britain's Beatlemania.  The story of Jon and Al finding themselves in the backstage company of John Lennon moments after the Fabs had first performed “She Loves You” live for an audience, days before the record's release, became known as ‘The Men from Rickenbacker'. The tale of two teenagers pretending to be representatives of Rickenbacker guitars and needing to talk with the Beatles, eventually was retold many times in books, magazines, newspapers, tour programs, and on TV and radio.  Jon's first book, Bournemouth A Go! Go! – A Sixties Memoir, visited the story in-depth, as it takes a look back at the Bournemouth music scene in the early 60's, featuring future members of The Police, King Crimson and Emerson, Lake, and Palmer - Andy Summers, Robert Fripp, and Greg Lake.   A long-time fascination with the often obscure or overlooked key history-making moments that created and energized the story of pop and rock led to Jon writing the book, Chain Reaction, Rock ‘n Pop's Magic Moments.  I've read Chain Reaction and can tell you it's a fascinating exploration of how artists influence one another as they build out their careers, especially so in the music industry.

Master of the bass and pioneering Stick man, Tony Levin regales us with tales from the court of King Crimson's Discipline era and more in this conversation recorded from the Beat tour (in which Levin and Adrian Belew play material from Crimson's early 1980's era in collaboration with qualified accomplices Danny Carey (Tool) on drums, and Steve Vai on guitar. But our main focus is Levin's new solo album, Bringing It Down To The Bass (Flatiron Recordings) in a far-reaching chat that gets into his entire illustrious career as a road dog and first-call session musician for the likes of Peter Gabriel, John Lennon, Paul Simon, Lou Reed, and more.  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 to Liam Payne of One Direction, and rapper/firefighter Ka. 

This is an extraordinary story on many levels – about the power and sanctuary of music, about what it took for bands to get noticed in the ‘70s, about how a teenager obsessed with King Crimson eventually joined the band and about the struggles of “a rabid Henry Cow fan trying to get on Top of the Pops”. Jakko Jakszyk is a fabulous storyteller, both in his memoir ‘Who's the Boy With The Lovely Hair?' and on this podcast with the two of us. Among the highlights … … two things musicians need to know.   … why the divisive appeal of music and comedy is so similar. … life in a band where “Stravinsky meets the Barron Knights”. … “Who'll be the singing Jack Russell?” Doing voice-overs as a piece of toast and a baked potato with a Yorkshire accent. ... the quaint Englishness of Soft Machine, Caravan and King Crimson and why they were like “a holiday resort no-one knew about”. … why there are even more idiots in advertising than the music business. … the rigours of the Melody Maker Folk Rock Contest, aged 17, judged by Tommy Vance, Bob Harris and Brian May of Queen. … the militant wing of the Adrian Belew Fan Club. … Dave Robinson's sage advice after telling him he was “unfashionably heterosexual”. ... why Robert Fripp is more Miles Davis than Frank Zappa and the longest audition in history. …the complications of the King Crimson reunion caused by one person who shall remain nameless – “though let's call him Greg Lake”. … “two screaming lead guitars and a trumpet, what could possibly go wrong?” … and working with Pete Sinfield, Peter Hawkins, Sam Brown and Nigel Planer.   Order Jakko's book here:https://www.amazon.co.uk/Lovely-Unlikely-Memoir-Jakko-Jakszyk/dp/1838491864Find 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.

This is an extraordinary story on many levels – about the power and sanctuary of music, about what it took for bands to get noticed in the ‘70s, about how a teenager obsessed with King Crimson eventually joined the band and about the struggles of “a rabid Henry Cow fan trying to get on Top of the Pops”. Jakko Jakszyk is a fabulous storyteller, both in his memoir ‘Who's the Boy With The Lovely Hair?' and on this podcast with the two of us. Among the highlights … … two things musicians need to know.   … why the divisive appeal of music and comedy is so similar. … life in a band where “Stravinsky meets the Barron Knights”. … “Who'll be the singing Jack Russell?” Doing voice-overs as a piece of toast and a baked potato with a Yorkshire accent. ... the quaint Englishness of Soft Machine, Caravan and King Crimson and why they were like “a holiday resort no-one knew about”. … why there are even more idiots in advertising than the music business. … the rigours of the Melody Maker Folk Rock Contest, aged 17, judged by Tommy Vance, Bob Harris and Brian May of Queen. … the militant wing of the Adrian Belew Fan Club. … Dave Robinson's sage advice after telling him he was “unfashionably heterosexual”. ... why Robert Fripp is more Miles Davis than Frank Zappa and the longest audition in history. …the complications of the King Crimson reunion caused by one person who shall remain nameless – “though let's call him Greg Lake”. … “two screaming lead guitars and a trumpet, what could possibly go wrong?” … and working with Pete Sinfield, Peter Hawkins, Sam Brown and Nigel Planer.   Order Jakko's book here:https://www.amazon.co.uk/Lovely-Unlikely-Memoir-Jakko-Jakszyk/dp/1838491864Find 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.

This is an extraordinary story on many levels – about the power and sanctuary of music, about what it took for bands to get noticed in the ‘70s, about how a teenager obsessed with King Crimson eventually joined the band and about the struggles of “a rabid Henry Cow fan trying to get on Top of the Pops”. Jakko Jakszyk is a fabulous storyteller, both in his memoir ‘Who's the Boy With The Lovely Hair?' and on this podcast with the two of us. Among the highlights … … two things musicians need to know.   … why the divisive appeal of music and comedy is so similar. … life in a band where “Stravinsky meets the Barron Knights”. … “Who'll be the singing Jack Russell?” Doing voice-overs as a piece of toast and a baked potato with a Yorkshire accent. ... the quaint Englishness of Soft Machine, Caravan and King Crimson and why they were like “a holiday resort no-one knew about”. … why there are even more idiots in advertising than the music business. … the rigours of the Melody Maker Folk Rock Contest, aged 17, judged by Tommy Vance, Bob Harris and Brian May of Queen. … the militant wing of the Adrian Belew Fan Club. … Dave Robinson's sage advice after telling him he was “unfashionably heterosexual”. ... why Robert Fripp is more Miles Davis than Frank Zappa and the longest audition in history. …the complications of the King Crimson reunion caused by one person who shall remain nameless – “though let's call him Greg Lake”. … “two screaming lead guitars and a trumpet, what could possibly go wrong?” … and working with Pete Sinfield, Peter Hawkins, Sam Brown and Nigel Planer.   Order Jakko's book here:https://www.amazon.co.uk/Lovely-Unlikely-Memoir-Jakko-Jakszyk/dp/1838491864Find 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.

Send us a textDavid Bowie's “Scary Monsters (and Super Creeps)” is, for many fans, his last great album. Mick regards it as one of Bowie's best, with the singles "Ashes to Ashes" and "Fashion".  Mick and Jeff talk through what makes this album great, and look at the music environment as Bowie, along with many other 70's greats, faced the changes and challenges of the 80's.“Knockin' on Heaven's Door” offers a long line of new entrants to Rock'n'Roll Heaven including Herbie Flowers, Tito Jackson, Kris Kristofferson and Liam Payne from One Direction. Our Album You Must Listen to Before you Die, fresh from Robert Dimery's book, is Dexy's Midnight Runners' “Don't Stand Me Down”, a massive failure on release in 1985 but receiving a fresh critical re-evaluation in modern times.  We didn't like it!  Not least because of their complete rip-off of “Werewolves of London” by Warren Zevon.   Episode PlaylistScary Monsters (and Super Creeps) - just the album__________________________________More Trump! One of those things – Dexy's  Bowie interview - “My Phil Collins Years”  Bowie – Ashes to Ashes live on Jools Holland  Pete Townshend   Glass Spider LiveOther References Alt Rock Chick – fabulous insightful reviews across the rock spectrum  References:  Angie Bowie, Eno, Lodger, Outside, Joy Division, Kate Bush, Gary Numan, New Romantic, “Are “Friends Electric?”, The Pleasure Principle, “Cars”, “It's No Game”, Pete Townshend, “Because You're Young”, Robert Fripp, “Heroes”, Carlos Alomar, George Murray, Dennis Davis, Tony Visconti, Kellogg's Corn Flakes, Edward Bell, Pierrot, "Ashes to Ashes", Brian Duffy, Natasha Korniloff, Lindsay Kemp, Pierrot in Turquoise, Berlin Trilogy, Phil Collins, Let's Dance, Nile Rodgers, “In the air tonight”, Alt Rock Chick, Major Tom, Fripp's skronky guitar work, “Scary Monsters (and Super Creeps)”, “Fashion”, “Scream Like a Baby”, “Kingdom Come”, Tom Verlaine, Neil Young, “Hey Hey My My” 

In this episode of Fishing Without Bait, host Jim Ellermeyer sits down with musicians Tim Vitullo and Mike Dawson to discuss their first collaboration album, LUNR ECCOS, ahead of their release party at Club Cafe on November 10. The duo shares their journey of creating the album, which centers around experimental and space-inspired instrumental music. They explore themes of internal validation, the struggles of balancing creativity with day jobs, and the importance of commitment in their art. Tim and Mike reflect on their creative process, from improvisation to looping techniques, and how collaboration helped them push boundaries. The episode dives into their inspirations, including Brian Eno and Robert Fripp, and how they applied these influences in crafting their unique sound. If you're a fan of music innovation, this episode offers an intimate look into the mindset of these artists as they prepare to launch their groundbreaking album. Don't miss this deep dive into the creative minds behind LUNR ECCOS. Stay tuned to the end of the episode for the full live performance of “Prayers & Ghosts” from Sorgatron Media Studio! Are you finding benefit from this show?  We appreciate any support with our Patreon page!  Pledge as little as $1 a month for extra clips, behind the scenes and more at www.patreon.com/fishingwithoutbait ! Subscribe to our Podcast on Apple Podcasts, TuneIn, Youtube or look for it on your favorite Podcatcher!

We've developed our On First Listen series to give us a chance to explore albums that we didn't know but had heard about for years. Maybe a friend recommended it, perhaps it was popular at a time in our lives when it slipped past us or maybe we'd seen in on all-time lists. King Crimson's debut fit into the third category as many progressive rock fans hold In The Court Of The Crimson King in very high regard. And with many talented line-ups over the years including Greg Lake on bass & vocals, Ian McDonald on keys and many other things, and Robert Fripp on guitar on this album (with future versions featuring John Wetton, Boz Burrell, Bill Bruford, Tony Levin, Adrian Belew, Mel Collins and many, many more) we figured we'd give it a go. However, while the musicianship is off the charts and they experiment with many keys, times and toys (the new mellotron was driving much of their experimental sound), sometimes it's not terribly listenable. 21st Century Schitzoid Man is abrupt and in your face as a protest to the Vietnam War but isn't a toe tapper. The wistful I Listen To The Wind is 180 degree turn as a lovely ballad but is more than 6 minutes long. And Epitaph, Moonchild (nothing like the Iron Maiden song) and The Court Of The Crimson King though they have moments of beauty and style fail to land in the fun zone. While many will appreciate the music for it's complexity and degree of difficulty, it's not an album you put on in the background of a party. Perhaps our blues based rock brains aren't mature enough to understand but we find 70s era Yes and Genesis far easier to digest and enjoy. Note: We recorded this a year before releasing it as we planned for it to be our first On First Listen but scheduling necessities caused us to leave it on the shelf. We mention that it's 54th anniversary is coming up but as we release this it's the 55th anniversary of original release. And it was before we interviewed director Toby Amies about his fabulous documentary King Crimson: In The Court Of The Crimson King for episode 158. Ugly American Werewolf in London Website Visit our sponsor RareVinyl.com and use the code UGLY to save 10%! Twitter Threads Instagram YouTube LInkTree www.pantheonpodcasts.com Learn more about your ad choices. Visit megaphone.fm/adchoices

We've developed our On First Listen series to give us a chance to explore albums that we didn't know but had heard about for years. Maybe a friend recommended it, perhaps it was popular at a time in our lives when it slipped past us or maybe we'd seen in on all-time lists. King Crimson's debut fit into the third category as many progressive rock fans hold In The Court Of The Crimson King in very high regard. And with many talented line-ups over the years including Greg Lake on bass & vocals, Ian McDonald on keys and many other things, and Robert Fripp on guitar on this album (with future versions featuring John Wetton, Boz Burrell, Bill Bruford, Tony Levin, Adrian Belew, Mel Collins and many, many more) we figured we'd give it a go. However, while the musicianship is off the charts and they experiment with many keys, times and toys (the new mellotron was driving much of their experimental sound), sometimes it's not terribly listenable. 21st Century Schitzoid Man is abrupt and in your face as a protest to the Vietnam War but isn't a toe tapper. The wistful I Listen To The Wind is 180 degree turn as a lovely ballad but is more than 6 minutes long. And Epitaph, Moonchild (nothing like the Iron Maiden song) and The Court Of The Crimson King though they have moments of beauty and style fail to land in the fun zone. While many will appreciate the music for it's complexity and degree of difficulty, it's not an album you put on in the background of a party. Perhaps our blues based rock brains aren't mature enough to understand but we find 70s era Yes and Genesis far easier to digest and enjoy. Note: We recorded this a year before releasing it as we planned for it to be our first On First Listen but scheduling necessities caused us to leave it on the shelf. We mention that it's 54th anniversary is coming up but as we release this it's the 55th anniversary of original release. And it was before we interviewed director Toby Amies about his fabulous documentary King Crimson: In The Court Of The Crimson King for episode 158. Ugly American Werewolf in London Website Visit our sponsor RareVinyl.com and use the code UGLY to save 10%! Twitter Threads Instagram YouTube LInkTree www.pantheonpodcasts.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Full Rig Info: https://www.premierguitar.com/videos/rig-rundown/adrian-belew-2024Visit Eastside Music Supply: https://eastsidemusicsupply.com/Adrian Belew is one of the most inventive guitarists of the past half-century—an incandescent player and songwriter who has a vast menagerie of tones and sounds at his command. You've heard him with King Crimson, Talking Heads, David Bowie, and Frank Zappa, among others, and with his pop band the Bears and on his solo recordings and tours.This fall, Adrian is following dates with the Talking Heads-fueled Remain in Light tour, which he co-led with Heads keyboardist and guitarist Jerry Harrison, with the BEAT Tour—a run drawing on his recordings with King Crimson in the '80s: the albums Discipline, Beat, and Three of a Perfect Pair. Of course, this is just a small—but extremely potent and influential—portion of his 30-year collaboration with Crimson founder Robert Fripp, who has given BEAT his blessing. But putting this repertoire in the hands of Belew, fellow Crimson alum and super-bassist Tony Levin, the incendiary Steve Vai (playing the guitar role of Fripp), and the Earth-shaking drummer Danny Carey from Tool promises magical performances. It's also one of the year's most-anticipated tours.As I write this, Belew, Levin, Vai, and Carey are rehearsing on the West Coast, and by the time this video posts, they will have played their first BEAT dates. So, word is likely to have spread that Belew has brought some crucial pieces of gear he played with '80s Crimson back into play. But here, you'll get a close up look and listen as Premier Guitar joins Adrian—with tech Blair White of Nashville's Eastside Music Supply—at his mid-Tennessee home for a pre-tour Rig Rundown. Dig in!Full Rig Info: https://www.premierguitar.com/videos/rig-rundown/adrian-belew-2024Visit Eastside Music Supply: https://eastsidemusicsupply.com/Subscribe to PG's Channel: http://bit.ly/SubscribePGYouTubeWin Guitar Gear: https://bit.ly/GiveawaysPG Don't Miss a Rundown: http://bit.ly/RIgRundownENLMerch & Magazines: https://shop.premierguitar.comPG's Facebook: https://facebook.com/premierguitarPG's Instagram: https://www.instagram.com/premierguitar/PG's Twitter: https://twitter.com/premierguitarPG's Threads: https://threads.net/@premierguitarPG's TikTok: https://www.tiktok.com/@premierguitar[Brought to you by D'Addario Strings - https://ddar.io/wykyk-rr & XPND Pedalboard -

Tony Levin joins us to discuss "Bringing it back to the Bass" his latest release and we talk about the Beat tour!!!

Hosted by Sal CataldiGuest: Sid Smith, Author of In the Court of King Crimson: An Observation over 50 Years Sid Smith is a British journalist best known for In the Court of King Crimson: An Observation over Fifty Year, the definitive history of Robert Fripp and his band, King Crimson, the primary architects of progressive rock. Smith has penned hundreds of features and reviews on rock and jazz for publications including Prog Magazine, Record Collector, Mojo, Uncut, and Q, and has also written liner notes for albums by numerous notable artists and record labels. His award-winning King Crimson book was originally issued in 1999, with an expanded edition released for the band's 50th anniversary."Reading is Funktamental" is a monthly one-hour show about great books written about music and music-makers. In each episode, host Sal Cataldi speaks to the authors of some of the best reads about rock, jazz, punk, world, experimental music, and much more. From time to time, the host and authors will be joined by notable musicians, writers, and artists who are die-hard fans of the subject matter covered. Expect lively conversation and a playlist of great music to go with it. "Reading Is Funktamental" can be heard the second Wednesday of every month from 10 – 11 AM on Wave Farm: WGXC 90.7 FM and online at wavefarm.org.Sal Cataldi is a musician and writer based in Saugerties. He is best known for his work with his genre-leaping solo project, Spaghetti Eastern Music, and is also a member of the ambient guitar duo Guitars A Go Go, the poetry and music duo Vapor Vespers, and the quartet Spaceheater. His writing on music, books and film has been featured in The New York Times, Rolling Stone, PopMatters, Seattle Times, Huffington Post, Inside+Out Upstate NY, and NYSMusic.com, where he is the book reviewer.

Send us a Text Message.On this weeks episode, we discuss King Crimson's 1969 debut: In the Court of the Crimson King. Not only is In the Court of the Crimson King regarded as one of the greatest and most influential progressive rock (or prog rock) albums of all time, it is considered by many to be the album that defined the genre. Like all prog rock musicians, Robert Fripp, Greg Lake, Micheal Giles, and Ian McDonald all know their way around their instruments.   But what makes King Crimson stand out from those they would influence, and what makes this album worthy of a listen, is that the band never lost the sight of what made a song a song; they weren't interested in excessive musicianship over musicality, and most of In the Court of the Crimson King is hauntingly beautiful. Based on the band's live performances, established artists such as Pete Townsend and Jimi Hendrix sung the band's praises before the album was ever released. Their performance in front of an estimated 500,00 people in Hyde Park on a bill with the Rolling Stones in July 1969 reinforced that King Crimson was a band to watch.  When In the Court of the Crimson King was release later that year, songs like title track and "21st Century Schizoid Man" laid down the foundational building blocks for progressive rock for years to come, and cemented King Crimson as one of the most influential bands to come out of the 1960s.  It's never been easier to call 512-766-8495Visit us at www.tappingvinyl.com.

VII En el programa 138 y el 140 hablé de famosos y experiencias paranormales, eran famosos en general, modelos, cantantes, actores, que han vivido fenómenos inexplicables. En esta ocasión, quería hablar solo de músicos. Y aunque a veces sus anécdotas las han vivido solos, no en pocas ocasiones, ha sido toda la banda… algo que puede dar qué pensar. Casas embrujadas, encuentros con fantasmas, avistamientos OVNIs, o mensajes de esperanza. Voy a contaros anécdotas de muchos músicos muy importantes, tal vez de la historia, como Elvis Presley, quien tuvo experiencias con su madre fallecida y con avistamientos, entre otras anécdotas. David Bowie, a quien canciones como, Space Oddity, Oh! You Pretty Things, Starman, Moonage Daydream, Station to Station, podríamos decir que han sido inspiradas en dichas experiencias. Durante la década de 1970, también se adentró en un mundo oscuro y misterioso: el del ocultismo y la magia negra. La canción “Quicksand” del álbum “Hunky Dory” menciona a Aleister Crowley, el famoso ocultista británico. Hablaré de Jimmy Hendrix y Robert Fripp de King Crimson, quienes grabaron en Château d’Hérouville, al parecer un lugar embrujado, ya que se dice que el músico Frederic Chopin, se veía con su amante George Sand. En la actualidad la compra Michel Magne y hace un estudio de grabación. También pasan por allí, Grateful Dead, Bill Wyman, el bajista de los Rolling Stones, Bee Gees, Pink Floyd, Cat Stevens, Iggy Pop, Deep Purple, Uriah Heep , Jethro Tull, Elton John, Richie Blackmore, T Rex, Sham 69 y Fleetwood Mac. También hablare de músicos de la talla de The Clash, Black Sabbath, Tony Iommi, Geezer Butler, Ozzy Osbourne, Radiohead, de su cantante, Thom Yorke, New Order, Robbie Williams o The Cure, The Police, Sting, Sammy Hagar, reconocido por su brillante carrera en Van Halen tras reemplazar a David Lee Roth, John Lennon, The Beatles, Ringo Starr, George Harrison y Paul McCartney. HAZTE MECENAS, no dejes que La Biblioteca, cierre Nunca sus Puertas… GRATITUD ESPECIAL: Siempre a los MECENAS. Sin ustedes… esto no tendría sentido. SUSCRIBETE AL CANAL DE TELEGRAM: https://t.me/LaLamadaDeLaLuna PUEDES VER ALGUNOS VIDEOS DE LLDLL: https://www.youtube.com/channel/UCEOtdbbriLqUfBtjs_wtEHw Suscríbete al Canal Youtube y a Ivoox. Sigamos sumando en LLDLL, SUSCRIBETE en IVOOX y comparte. Y si deseas escuchar todos los programas en cerrados y sin anuncios… Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

Patricia Fripp, CSP, CPAE is the first woman to be elected president of the National Speakers Association. She founded the San Francisco chapter of that organization, which now gives out an annual award named after her. She is the sister of the legendary rock musician, Robert Fripp. Her website is https://fripp.com/ In this wide-ranging interview, … Continue reading "From a Haunted House to an Extraordinary Life with Patricia Fripp"