Podcast appearances and mentions of Robin Campbell

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

Robin is a founding member and the guitarist for UB40. UB40 is one of the most successful and influential British groups of all time, with more than 100 million albums sold, and more than 50 charting singles in the UK, including their trademark global #1 hits “Red Red Wine” and “(I Can't Help) Falling in Love With You”; and U.S. Top 10s “Here I Am (Come and Take Me)” and “The Way You Do The Things You Do.” They have recorded over 20 studio albums and play to packed houses around the world.

Robin Campbell & Matt Doyle join Frank Mackay on this episode of The Frank Mackay Show!

Are plants more aware than we think? Do they have feelings? Neil deGrasse Tyson, Gary O'Reilly, and Harrison Greenbaum explore the intelligence of plants with astrobotanist Simon Gilroy. From venus flytraps to space farming, we dig deep into the secret world of plants.NOTE: StarTalk+ Patrons can listen to this entire episode commercial-free here: https://startalkmedia.com/show/astrobotany-plant-intelligence-with-simon-gilroy/Thanks to our Patrons Charlie Delavida, Muhammad Sarfraz, Nirmal, Joseph Longoz, TerrasMom, Skyman's Follies, Que Raetid, Dustin A Brinkman, Kevan P, Adam Randell, Deo, Roman Marakhoskyi, Ron, Raveneffect32, Robin Campbell, Corey Burke, Johnny G, Carl, Julia Linde, malik_m, Jim Mauck, Helen Johnson, Dawn Keebals, Nathan Campbell, Raunak Sethiya, Adam Holland, AT, Mary Zoellner, Jason Sykes, Dan The Man, Christopher Thompson, Brett Gillingham, Neil Moore, Jim Myhrberg, Jordan Blackler, strigiformes, John Rondo, shane eagles, Berbnote, B231, Easly_Bash, $H!Ft3Y, shannon hintze, Tre Ski, Andrew Nisker, Shree Sharma, Adam Z, Joseph Cutler, Charles Jarboe, and Dmitriy Sinyakin for supporting us this week. Subscribe to SiriusXM Podcasts+ to listen to new episodes of StarTalk Radio ad-free and a whole week early.Start a free trial now on Apple Podcasts or by visiting siriusxm.com/podcastsplus.

Ranchers, land owners, conservationists, and everyday Albertans are joining forces to protest the Alberta government re-opening the Eastern Slopes to coal mining. With more than 80% of Albertans opposed to these projects, how can the UCP justify lifting its ban on coal exploration?  5:00 | We talk to the Alberta Wilderness Association's Kennedy Halvorson about the history and ecological impacts of coal mining in Alberta, and the lobby against new mining in the Eastern Slopes.  AWA: https://albertawilderness.ca/ 33:00 | Dr. Sarah Elmeligi, MLA for Banff-Kananaskis and Opposition Critic for Environment, Parks and Climate, talks about the politics around Alberta lifting its coal mining moratorium.  Real Talk's January 2021 interview with Robin Campbell: https://rtrj.info/011421Coal 1:10:00 | Real Talker Mario, a P.Eng. working for an oil company, explains why doubling Alberta's oil production is a "pipe dream".  1:04:20 | Real Talker Nancy explains how our January 22 episode led to a "significant moment in (her) life". Amazing.  SEND US AN EMAIL: talk@ryanjespersen.com  FOLLOW US ON TIKTOK, X, & INSTAGRAM: @realtalkrj & @ryanjespersen  JOIN US ON FACEBOOK & LINKEDIN: @ryanjespersen  REAL TALK MERCH: https://ryanjespersen.com/merch RECEIVE EXCLUSIVE PERKS - BECOME A REAL TALK PATRON: patreon.com/ryanjespersen THANK YOU FOR SUPPORTING OUR SPONSORS! https://ryanjespersen.com/sponsors The views and opinions expressed in this show are those of the host and guests and do not necessarily reflect the position of Relay Communications Group Inc. or any affiliates.

Jemma and Marina were thrilled when two of the original members of UB40 agreed to come on The Trawl Meets. After all, the group are one of the most commercially successful bands of all time, having sold more records than Oasis, over 100 million to be precise. Of course they are almost as known for their political leanings as they are for their wonderful music so it's a match made in Trawl heaven.Even the band's name is famously a reference to the unemployment benefit form, each had signed having left school without a job, so it was fascinating to chat politics, music and everything in between with drummer, Jimmy Brown and guitarist Robin Campbell. They talked about how they began, what it was like to be discovered by Chrissie Hynde and why history comes full circle. They and other members of the band have always spoken out against racism and indeed, protested against the National Front decades ago. Yet here we are and Farage and Robinson et al are on the rise. Have we gone backwards? The band supported Corbyn when he was Labour leader so how do they feel now and what do they make of Starmer? Are we all preaching to the converted or can art change minds? And what really happened when Robin's brother, Ali, left the band? Get the real lowdown, their no holds barred version and, it being The Trawl expect some giggles as well. Jemma's been making Max make UB40 inspired jingles. Pudding is served by another reggae legend - the one and only Bob Marley. Thank you for sharing and do tweet us @MarinaPurkiss @jemmaforte @TheTrawlPodcastPatreonhttps://patreon.com/TheTrawlPodcastYoutubehttps://www.youtube.com/@TheTrawlTwitterhttps://twitter.com/TheTrawlPodcastBlueSkyhttps://bsky.app/profile/thetrawl.bsky.socialCreated and Produced by Jemma Forte & Marina PurkissEdited by Max Carrey

Ahead of UB40's NZ tour in October we revisit an interview with Robin Campbell who speaks honestly about the departure of the former frontman - his brother Ali. 

Co-founder, vocalist, and guitarist Robin Campbell and lead singer Matt Doyle stopped by to tell us all about it

Co-founder, vocalist, and guitarist Robin Campbell and lead singer Matt Doyle stopped by to tell us all about it

This week on the podcast, Ryan and Patrick chat with members of the legendary reggae band, UB40.

Karson interviews Robin Campbell of UB40!

Karson interviews Robin Campbell of UB40!

Hoodoo Gurus classic debut album Stoneage Romeos turns 40 this year and the band is touring and performing the whole album later this year, Clairsy & Lisa spoke to lead singer Dave Faulkner about some of the random influences on some of the tracks. In 1984, Young Talent Time was still on our screens and as Clairsy & Lisa celebrated the year, they spoke to YTT host Johnny Young and reminisced about the show and the cast members. UB40 are on the way back to Perth in October so Clairsy & Lisa spoke to Robin Campbell from the band about how game changing their 1983 album Labour of Love really was.See omnystudio.com/listener for privacy information.

Fans of the reggae and pop scenes will be very familiar with the works of UB40.  The English band was formed in the late 1970's, going through a few iterations as their music finds international success.  Robin Campbell is a founding member of the band, having stuck with it for 45 years, throughout the drama, court cases, and a revolt.  They're popping over to New Zealand with the release of their 21st album ‘UB45' stopping by Auckland and Christchurch in October on their ‘Red Red Wine Tour'.  Campell told Newstalk ZB's Mike Hosking that they have a few extra members in the band and a couple of new guys.  “We're firing on all cylinders, having a ball.”  45 years is quite a significant amount of time for a band to be running, and Campbell said it's always kind of a ‘pinch me' moment.  “You know, how the, how the heck are we still doing this after 45 years? Why are we so popular? How did we get so lucky?”  The secret for them is doing what they love and hoping their fans and friends come along with them.  “It's just the way it's always been for us, it's always worked.”  “It's a wonderful position to be in.”  UB45 releases Friday, 19th of April. The Red Red Wine Tour will be coming to Christchurch on October 8th and Auckland on October 10th. LISTEN ABOVE See omnystudio.com/listener for privacy information.

On the Mike Hosking Breakfast Full Show Podcast for Thursday 18th of April, we spoke to former Finance Minister Steven Joyce about the good and bad news from the latest inflation number. Police Minister Mark Mitchell gave his thoughts on what's next after the Police turned down their third and final pay offer. There's a lot of angst about the public sector job cuts, particularly from Opposition Leader Chis Hipkins. Does he defend the decisions he made while in Parliament that led up to these cuts? Robin Campbell of the original UB40 fame joined the show to talk about their new album and upcoming NZ shows. Get the Mike Hosking Breakfast Full Show Podcast every weekday morning on iHeartRadio, or wherever you get your podcasts. LISTEN ABOVESee omnystudio.com/listener for privacy information.

UB40 are on their way back to Perth so Clairsy & Lisa spoke to lead singer Robin Campbell about how the band has survived of 45 years and what the Birmingham music scene was like in the early 80s when they started out.See omnystudio.com/listener for privacy information.

Russell Clarke & Lisa opened the phones about when you got sick on holidays. In The Shaw Report, Keanu Reeves is signed up for a Sonic The Hedgehog movie plus Pamela Anderson signs up for a surprise new role. It's Derby weekend and midfielder Hayden Young spoke to Russell Clarke and Lisa about how the team is getting ready to take on The Eagles who are coming off a win last weekend. UB40 are on their way back to Perth so Clairsy & Lisa caught up with Robin Campbell from the band to find out what we can expect when they get here later in the year. Aussie actor John Jarratt has a new movie called What About Sal, he called Russell Clarke and Lisa to tell them all about it plus he revealed that there's more Wolf Creek movies on the way.See omnystudio.com/listener for privacy information.

Reggae band UB40 have released their first single in over three years to celebrate their upcoming anniversary. The band has a new album, UB45, out this April to commemorate 45 years of music- featuring new songs and re-records of fan favourites. Following the release of the single 'Gimme Some Kinda Sign' founding member Robin Campbell says celebrating decades of music is 'surreal'. "We took it very seriously, we intended for it to have some kind of longevity. I think we thought 10 years would be a good innings, but to get to 45 and still be doing something that we dreamt of doing and something that we loved doing- it's all a bit surreal." LISTEN ABOVESee omnystudio.com/listener for privacy information.

S14 BONUS | In this bonus holiday episode, Jaimie sits down with Robin and Anna, the creators of the short film "Pivot." They discuss the inspiration behind the film and its powerful message. The film tells the story of a young girl who rebels against societal expectations and fights against wearing a dress. The film explores themes of self-acceptance, identity, and the importance of allowing children to be true to themselves. "Pivot" has been well-received in film festivals and is currently being considered for an Oscar nomination. The creators encourage everyone to watch and share the film to promote inclusivity and understanding.

Music Featured in Chapter 3: It Damned Sure Aint' From Cheating At Craps'Twas summer, and softly the breezes were blowing,And sweetly the nightingale sang from the tree.At the foot of a hill, where the river was flowing,I took in the sights that all lay before meFlow on, waters blue, flow on thou sweet river,Thy banks, purest stream, shall be dear to me ever,For there I first gain'd the affection and favorOf the man that had stolen my hearts only key,But love cannot flourish in times of upheaval the hearts of the innocent are casualtiesThe soul of a land is beyond our retrieval if that country was founded on stark miseries.And now a grim blight on it has descended,Its grand, lofty aims have now all but ended,The only hope now is for wounds to be mended,And save all the souls that are lost in debris. But bonded are we in both symbol and shackleWithout any hope or a dream to be freeStill there is a chance that one day we will tackleThose forces that keep my true love from me.And while the red embers of war keep on glowingThe strain and the stain of the darkness is showing But there in the night a new day is growingA bright sun is dawning a new destiny.Music and Original Arrangements by Jackie Presti with vocals by Robin Campbell and lyrics by Ryan Knowles.Support the showCAST & CREWAloysius, Jupiter Nameless - Eric AustinAllela, Fiona Pratt, Gertrude Redd - Kate PiattiLillian Method, Carmela Kaine, Veronica Delmonaco - Hannah SchoonerThomas Jefferson, Benjamin Franklin, Arch Porter - Ryan KnowlesOther roles played by the cast.Original Music Arrangements - Jackie PrestiLyrics and Lead Vocals - Ryan KnowlesGuitar and Mandolin - Bob RoseChorus Singers - Robin Campbell, Jackie Presti, Lindsay RoseAudio Production and Sound Design - Alex SterlingAssistant Audio Engineer - Colin BrysonExecutive Producer - Nadine WelchWriter - Kevin LikelyProducer and Director - Justin HeymanSpecial thanks to Prof. Elizabeth Ellis-MarinoWrite us:contact@palecolumbia.com

We first discussed this back in episode 157, but now with a published report, Will and Ben are joined by dairy farmer Robin Campbell and Kite's Head of Genetics; Rose Jackson, to discuss how some farms are consistently achieving 1000kg of fat and protein per cow, per year. Rose starts by giving us some context to the ‘Efficiently Achieving 1000kg report' including the key focus areas, findings and take homes including the impact the first 50 days of a heifers life can have on lifetime performance. Robin introduces his business and shares his inspiration for making changes on farm to improve cow environment and how a focus on genetics has impacted cow performance. Robin & Rose also discuss opportunities for the future, what other farms can learn from this report and how this information will help the wider dairy industry. Not forgetting our usual milk market report from Chris Walkland.

UB40 lead singer/guitarist Robin Campbell guests on this brand new Fake Show podcast with host Jim Tofte...enjoy!!!

Part 2 of an interview with Robin Campbell, Green Party Chief of Staff

This episodes special guest is UB40 legend Robin CampbellI met with Robin remotely and we had a wonderful chat, talking about growing up, school, creativity, acting, clubbing and so much moreHope you enjoy this chat and if you do please feel free to support the podcast herehttps://www.buymeacoffee.com/stuwhiffenorhttps://supporter.acast.com/offthebeatandtrack orwww.patreon.com/offthebeatandtrackOTBAT is proudly sponsored by www.hotelchocolat.com Please also subscribe and follow the podcast on the social media links belowOff The Beat & Trackwww.offthebeatandtrackpodcast.comhttps://twitter.com/beatandtrackpodhttps://www.facebook.com/offthebeatandtrackpodcast/Support this show http://supporter.acast.com/offthebeatandtrack. Become a member at https://plus.acast.com/s/offthebeatandtrack. Hosted on Acast. See acast.com/privacy for more information.

Sam Murphy a Robin Campbell sy'n trafod YesCymru Abertawe gyda Siôn Jobbins, wrth edrych ymlaen i Rali annibyniaeth fawr YesCymru ac AUOB Cymru yn y ddinas ar 20 Mai 2023.

Interview with Chief of Staff for the Green Party Aotearoa, Robin Campbell.

How do you know when your baby or young child is experiencing ongoing stress? In what ways does the way you manage your own stress affect how your child learns to handle stress and build resilience? And, how does the parent-infant relationship buffer stress?   This episode of Mom Enough® is the second of a 3-part series on Stress and Resilience, brought to you by St. David's Center for Child and Family Development. Therapist and Senior Program Director Paula Frisk highlights the importance of the early parent-infant relationship as both a buffer against toxic stress and a powerful means by which young children learn to regulate emotions and reflect on their own feelings and actions. In her conversation with Marti & Erin, Paula addresses causes of infant stress, ways babies and young children show their stress, and how parents' own reflective capacity and mindfulness help children develop the same. Of course, to provide reflective, mindful care, parents need support for themselves -- from family, community and society as a whole, including acknowledgement of how important the often-challenging job of parenting is, not only for our children but for the health and wellbeing of society.   HOW CAN YOU NURTURE HEALTHY EMOTIONAL RESPONSES AND BUFFER STRESS FOR YOUR CHILD AND YOURSELF ? In this episode of Mom Enough®, therapist Paula Frisk encourages us to “get curious about the meaning of” our child's behavior and our own. Reflect for a moment on a recent difficult interaction with your baby or young child. Describe your child's behavior and your own in this situation and note what you think each of your behavior meant. If you encountered a similarly challenging situation tomorrow, what could you do differently that would be more helpful to your child and yourself?   WANT TO LEARN MORE ABOUT STRESS & RESILIENCE? ❉ STRESS & RESILIENCE: NURTURING HEALTHY EMOTIONAL RESPONSES IN CHILDREN AND PARENTS, PART 1 OF 2. Melissa Williams, therapist and program director at St. David's Center for Child and Family Development, joins Marti & Erin for this first podcast of a three-part series that will help you learn how stress affects your child and you. Melissa discusses the stress response in children, toxic stress and its effect on children's development, and how we can respond to the effects of toxic stress.   ❉ FROM CO-REGULATION TO SELF-REGULATION: PARENT-CHILD INTERACTIONS THAT PREPARE OUR CHILDREN FOR LIFE. Tune into the first episode of our previous series on self-regulation with Melissa Williams from St. David's Center. This engaging and practical discussion highlights what is involved in co-regulation, with an emphasis on how to show, tell and practice together with our children. Melissa also highlights the importance of “rupture and repair,” describing how we can admit our mistakes at those times when we get it wrong with our kids (as we all do!), say we are sorry and tell our child what we will try to do differently the next time.   ❉ DISCOVERING WHAT WILL HELP YOUR CHILD DEVELOP SELF-REGULATION SKILLS: DIFFERENT STROKES FOR DIFFERENT FOLKS. One of the major developmental tasks in early childhood is self-regulation, which includes establishing healthy patterns of eating, sleeping and other routines. Even as older children and adults, we struggle with regulation at times, which can disrupt learning, relationships and other aspects of our lives. Robin Campbell and Cheryl Lundsgaard from St. David's Center for Child & Family Development, shed light on what self-regulation means, how we can help our children become self-regulated, and how important it is to discover what works best for each unique member of our family.

It is inevitable that we experience stress at every stage of our life. In fact, we need a certain level of stress or challenge to drive action. But when stress is too intense, frequent or sustained, it becomes toxic. Especially for children, when there is not a caring, comforting adult available to buffer the effects of stress, it inhibits learning and development. Stress without a supportive, responsive adult makes it hard for a child to form positive relationships, gain new skills and enjoy everyday life free of fear.   Melissa Williams, therapist and program director at St. David's Center for Child and Family Development, joins Marti & Erin for this first podcast of a three-part series that will help you learn how stress affects your child and you. Melissa discusses the stress response in children, toxic stress and its effect on children's development, and how we can respond to the effects of toxic stress. This three-part series will help you support your child's self-regulation and coping strategies at times of stress and expand your own healthy coping strategies at the same time. Don't miss this important discussion and those to follow in coming weeks.   WHAT STEPS WILL YOU TAKE TO MANAGE STRESS AND BUILD RESILIENCE? What are the three levels of stress Mel Williams described? What new insights did you gain about the effects of stress on babies or very young children? And what simple things can you do to buffer a child's stress when it can't be avoided?   WANT TO LEARN MORE ABOUT STRESS & RESILIENCE? ❉ FROM CO-REGULATION TO SELF-REGULATION: PARENT-CHILD INTERACTIONS THAT PREPARE OUR CHILDREN FOR LIFE. Tune into the first episode of our previous series on self-regulation with Melissa Williams from St. David's Center. This engaging and practical discussion highlights what is involved in co-regulation, with an emphasis on how to show, tell and practice together with our children. Melissa also highlights the importance of “rupture and repair,” describing how we can admit our mistakes at those times when we get it wrong with our kids (as we all do!), say we are sorry and tell our child what we will try to do differently the next time.   ❉ DISCOVERING WHAT WILL HELP YOUR CHILD DEVELOP SELF-REGULATION SKILLS: DIFFERENT STROKES FOR DIFFERENT FOLKS. One of the major developmental tasks in early childhood is self-regulation, which includes establishing healthy patterns of eating, sleeping and other routines. Even as older children and adults, we struggle with regulation at times, which can disrupt learning, relationships and other aspects of our lives. Robin Campbell and Cheryl Lundsgaard from St. David's Center for Child & Family Development, shed light on what self-regulation means, how we can help our children become self-regulated, and how important it is to discover what works best for each unique member of our family.

Brian and Simon are joined by Robin Campbell of e-Tool and dive deep into how e-Tool use Life Cycle Assessment to understand and work to decrease the carbon in our built environment.e-Tool was founded in Perth, Western Australia in 2010 and is one of the global leaders in Life Cycle Assessment and are supporters of the Sustainable Builders Yak podcast.

Robin Campbell is a brilliant entrepreneur, teacher, YouTube content creator and citizen of the world. He's the founder of the Dance Dojo an online school that specialized in Salsa and Bachata. He operates his business in Medellin Columbia.     During the conversation, one thing that stood out for me is his amazing ability to reverse engineer the learning process.He is the definition of putting yourself in the shoes of your students to understand their real needs. 

How do you know when your baby or young child is experiencing ongoing stress? And how does the way you manage your own stress affect how your child learns to handle stress and build resilience?   This episode of Mom Enough® is the second of a 3-part series on Stress and Resilience, brought to you by St. David's Center for Child and Family Development. Therapist and Senior Program Director Paula Frisk highlights the importance of the early parent-infant relationship as both a buffer against toxic stress and a powerful means by which young children learn to regulate emotions and reflect on their own feelings and actions. In her conversation with Marti & Erin, Paula addresses causes of infant stress, ways babies and young children show their stress, and how parents' own reflective capacity and mindfulness help children develop the same. Of course, to provide reflective, mindful care, parents need support for themselves -- from family, community and society as a whole, including acknowledgement of how important the often-challenging job of parenting is, not only for our children but for the health and wellbeing of society.   HOW CAN YOU NURTURE HEALTHY EMOTIONAL RESPONSES IN YOUR CHILD AND YOURSELF ? In this episode of Mom Enough®, therapist Paula Frisk encourages us to “get curious about the meaning of” our child's behavior and our own. Reflect for a moment on a recent difficult interaction with your baby or young child. Describe your child's behavior and your own in this situation and note what you think each of your behavior meant. If you encountered a similarly challenging situation tomorrow, what could you do differently that would be more helpful to your child and yourself?   WANT TO LEARN MORE ABOUT STRESS & RESILIENCE? ❉ STRESS & RESILIENCE: NURTURING HEALTHY EMOTIONAL RESPONSES IN CHILDREN AND PARENTS, PART 1 OF 2. Melissa Williams, therapist and program director at St. David's Center for Child and Family Development, joins Marti & Erin for this first podcast of a three-part series that will help you learn how stress affects your child and you. Melissa discusses the stress response in children, toxic stress and its effect on children's development, and how we can respond to the effects of toxic stress.   ❉ FROM CO-REGULATION TO SELF-REGULATION: PARENT-CHILD INTERACTIONS THAT PREPARE OUR CHILDREN FOR LIFE. Tune into the first episode of our previous series on self-regulation with Melissa Williams from St. David's Center. This engaging and practical discussion highlights what is involved in co-regulation, with an emphasis on how to show, tell and practice together with our children. Melissa also highlights the importance of “rupture and repair,” describing how we can admit our mistakes at those times when we get it wrong with our kids (as we all do!), say we are sorry and tell our child what we will try to do differently the next time.   ❉ DISCOVERING WHAT WILL HELP YOUR CHILD DEVELOP SELF-REGULATION SKILLS: DIFFERENT STROKES FOR DIFFERENT FOLKS. One of the major developmental tasks in early childhood is self-regulation, which includes establishing healthy patterns of eating, sleeping and other routines. Even as older children and adults, we struggle with regulation at times, which can disrupt learning, relationships and other aspects of our lives. Robin Campbell and Cheryl Lundsgaard from St. David's Center for Child & Family Development, shed light on what self-regulation means, how we can help our children become self-regulated, and how important it is to discover what works best for each unique member of our family.

UB40 vocalist Robin Campbell guests on this brand new Fake Show podcast with host Jim Tofte...enjoy!!!

It is inevitable that we experience stress at every stage of our life. In fact, we need a certain level of stress or challenge to drive action. But when stress is too intense, frequent or sustained, it becomes toxic. Especially for children, when there is not a caring, comforting adult available to buffer the effects of stress, it inhibits learning and development. Stress without a supportive, responsive adult makes it hard for a child to form positive relationships, gain new skills and enjoy everyday life free of fear.   Melissa Williams, therapist and program director at St. David's Center for Child and Family Development, joins Marti & Erin for this first podcast of a three-part series that will help you learn how stress affects your child and you. Melissa discusses the stress response in children, toxic stress and its effect on children's development, and how we can respond to the effects of toxic stress. This three-part series will help you support your child's self-regulation and coping strategies at times of stress and expand your own healthy coping strategies at the same time. Don't miss this important discussion and those to follow in coming weeks.   WHAT STEPS WILL YOU TAKE TO MANAGE STRESS AND BUILD RESILIENCE? What are the three levels of stress Mel Williams described? What new insights did you gain about the effects of stress on babies or very young children? And what simple things can you do to buffer a child's stress when it can't be avoided?   WANT TO LEARN MORE ABOUT STRESS & RESILIENCE? ❉ FROM CO-REGULATION TO SELF-REGULATION: PARENT-CHILD INTERACTIONS THAT PREPARE OUR CHILDREN FOR LIFE. Tune into the first episode of our previous series on self-regulation with Melissa Williams from St. David's Center. This engaging and practical discussion highlights what is involved in co-regulation, with an emphasis on how to show, tell and practice together with our children. Melissa also highlights the importance of “rupture and repair,” describing how we can admit our mistakes at those times when we get it wrong with our kids (as we all do!), say we are sorry and tell our child what we will try to do differently the next time.   ❉ DISCOVERING WHAT WILL HELP YOUR CHILD DEVELOP SELF-REGULATION SKILLS: DIFFERENT STROKES FOR DIFFERENT FOLKS. One of the major developmental tasks in early childhood is self-regulation, which includes establishing healthy patterns of eating, sleeping and other routines. Even as older children and adults, we struggle with regulation at times, which can disrupt learning, relationships and other aspects of our lives. Robin Campbell and Cheryl Lundsgaard from St. David's Center for Child & Family Development, shed light on what self-regulation means, how we can help our children become self-regulated, and how important it is to discover what works best for each unique member of our family.

Dylan McWilliams - Survival expert Dylan McWilliams has been attacked by a bear, bitten by a rattler & attacked by a shark & lives to tell us about it. Brian Volk Weiss- Director & pop culture maven Brian Volk Weiss joins us to talk “Star Wars” & his current directorial project.  Robin Campbell & Matt Doyle -  As a founding member of UB40 Robin Campbell talks about the band's forty year history while new frontman & lead singer Matt Doyle discusses joining the band he loved for so long.  Jon Cryer -  Emmy Winning actor Jon Cryer best known for working opposite of Charlie Sheen in “Two & a Half Men” plays supervillain Lex Luther on the small screen.  Learn more about your ad choices. Visit megaphone.fm/adchoices

UB40 has been rocking for 44 years and it doesn't stop. Today Matt Doyle & Robin Campbell take a Beyond the Mic Short Cut to discuss UB45 and more. Beyond the Mic with Sean Dillon is the conversation series where actors, artists, authors, and more go deeper than a traditional interview. They go “Beyond the Mic”.

There can be no doubt that UB40 has a special place in music history. Since their formation back in the late 1970s, the band has sold more than 70 million records worldwide and has had more than 50 singles in the UK charts. And of course we know the hits, Red Red Wine, I Got You Babe, and Can't Help Falling in Love. Now the band is celebrating their 45th anniversary with a new album, the official Commonwealth Games anthem, and a global tour that includes some New Zealand stops. One of the founding members, guitarist and vocalist Robin Campbell and band's new frontman Matt Doyle joined Mike Hosking. LISTEN ABOVESee omnystudio.com/listener for privacy information.

This "Paltrocast" features Darren's recent interviews with members of UB40 (Jimmy Brown, Robin Campbell) and cast members from Epix's "Bridge And Tunnel" (Sam Vartholomeos, Caitlin Stasey, Brian Muller, Gigi Zumbado, Erica Hernandez) and Disney+ film "Zombies 3” (Milo Manheim, Meg Donnelly). Theme song by Steve Schiltz. Thanks for listening!

As part of their continuing effort to reduce the size of their viewing audience, the Mass Casualty Commission today featured a roundtable discussion on “Rurality and Community Well-Being”. The information on the MCC website suggested that the goal of the discussion was to address culture and attitudes of rural life in Nova Scotia, limited and differential service delivery in rural areas, and health and safety of those working in rural communities and how the rural context affects their working lives. The roundtable as facilitated by Dr. Emma Cunliffe, Research and Policy Director for the MCC, and featured Robin Campbell, PhD Candidate at Dalhousie University, Madonna Doucette, Director, Youth Project, Dr. Karen Foster, Associate Professor of Sociology in the Department of Sociology and Social Anthropology, Dalhousie University, Dr. Lesley Frank, Professor at Acadia University, and Dr. Marilyn MacDonald, Professor at Dalhousie University's School of Nursing. It is difficult to understand what the MCC Commissioners think they are getting from these discussions, particularly considering the time and resources being expended in having ‘expert' reports prepared and then scheduling days and days of hearing time to listen to them. Dr. Cunliffe and the research team seem to be fascinated by these academic discussions, but they are only marginally connected to the events of the mass casualty.

Between 1972 and 1976, Robin Campbell Bennett competed in events across the United States, winning and medaling at many of them. In 1974, she set the American Record in both the 600 meter and 1000 meter events. She also competed at the USA vs China Friendship Competition in Shanghai, China in 1975. Then, in 1976 Robin participated as an Olympic Trials Qualifier in the 400-, 800-, and 1500-meter events in Eugene, Oregon. She was also a sponsored athlete of the Puma Track Club, perhaps paving the way for female athletes of today to garner such paid sponsorships.  

On this episode we speak to a man called Robin Campbell who's convinced that the Earth is actually FLAT...and we're being lied to that about it being ball shaped!!! This is mad stuff!

This episode is also available as a blog post: https://thebooktoldmethat.wordpress.com/2020/04/15/letters-from-a-stoic-by-seneca-translated-by-robin-campbell/

From the earliest months of a baby's life to the academic pressures and social dynamics of the teen years, children are learning and practicing how to understand and manage feelings, communicate their needs effectively and face challenges with strength and resilience. They are building “self-regulation,” the ability to calm down when they are upset and control the impulse to lash out in risky ways. And they are learning to try again when they fail or to use their best thinking to resolve a conflict or solve a difficult problem. But all of those skills that are part of self-regulation begin with “co-regulation,” in the context of a caring, responsive parent-infant relationship.   Joining our child in co-regulation is one of the most important responsibilities we have as parents, not only in the early years, but at every stage of our child's development. In this Mom Enough episode, Melissa Williams from St. David's Center for Child & Family Development (a longtime supporting partner of Mom Enough), joins Marti & Erin for an engaging and practical discussion about what is involved in co-regulation, with an emphasis on how to show, tell and practice together with our children. Melissa also highlights the importance of “rupture and repair,” describing how we can admit our mistakes at those times when we get it wrong with our kids (as we all do!), say we are sorry and tell our child what we will try to do differently the next time. And since kids learn best from the example we set, we need to be mindful at all times of our own self-regulation in those challenging moments of our lives. Don't miss this important conversation about a developmental issue that touches every aspect of human behavior and relationships.   HOW MIGHT YOU JOIN YOUR CHILD IN CO-REGULATION? Whatever the ages of your children, think of two or three recent opportunities you have had to join your child in co-regulation of difficult feelings or situations. Consider how you responded to your child in each of those instances and reflect on how you were co-regulating your child's feelings; how your way of responding is likely to help your child move toward healthy self-regulation. If the same situation happened again, what would you do the same and what would you do differently? Why?   WANT TO LEARN MORE ABOUT CO-REGULATION AND SELF-REGULATION? ❉ HELPING CHILDREN WITH ASD IMPROVE REGULATION AND FOCUS AT HOME AND SCHOOL: A CONVERSATION WITH KATE BIEDERMAN FROM ST. DAVID'S CENTER FOR CHILD & FAMILY DEVELOPMENT. As occupational therapist Kate Biederman describes in this Mom Enough episode, some children respond well to deep touch, while others find that aversive. Many children feel calm after they engage in what Kate calls “heavy work,” which includes climbing on a jungle gym or jumping on a mini-trampoline. While noise can be dysregulating, music with certain rhythms can be regulating and organizing. An uncluttered home environment and an unhurried schedule can help almost any child be calmer and more focused. As adults and children discover together what works, children ideally can build the self-awareness and independence to do what's necessary when they begin to feel dysregulated. As Marti & Erin attest, it's not only people with ASD who need to develop self-awareness and effective regulation. In our busy, noisy, fast-paced lives, these skills matter to all of us!   ❉ DISCOVERING WHAT WILL HELP YOUR CHILD DEVELOP SELF-REGULATION SKILLS: DIFFERENT STROKES FOR DIFFERENT FOLKS. One of the major developmental tasks in early childhood is self-regulation, which includes settling into reasonably predictable and healthy patterns of eating, sleeping and other routines. Even as older children and adults, we are dysregulated at times, which can disrupt learning, good relationships and other aspects of our lives. Robin Campbell and Cheryl Lundsgaard from St. David's Center for Child & Family Development, shed light on what self-regulation means,

Saturday 10 July 2021: Reggae superstars UB40 keep it fresh after four decades, an emerging songwriter on how music can heal Country, and 50 years since the world lost Louis "Satchmo" Armstrong.

UB40 steps Behind the Rope. Robin Campbell and Jimmy Brown, two of the members of the iconic band, are here to chat about their rise from humble beginnings and first show in a local pub over five decades ago to national superstardom and global musical domination. Best know for their songs “Red Red Wine” and “(I Can't Help) Falling In Love With You”, UB40 chats about their musical inspirations, the ups and downs of the music business, the secret to success and longevity in this business, and intense appreciation they have to still be selling out arenas on their global worldwide tour which will commence later this year in support of their just released album. Of course, we chat about what the music scene was like when they were “up and coming” with colleagues / contemporaries such as Madonna, Prince, Michael Jackson, Whitney Houston, Tina Turner and so on. Robin and Jimmy chat about that one time they “shunned” Sharon Stone from performing with them, their cameo in the underrated “Speed Two” with Sandra Bullock, what they think of Cher whose “I Got You Babe” they covered, the current state of music show competitions such as American Idol and America's Got Talent, and the current state of the music industry today. One word, auto-tune. The boys now have a new album, “Bigga Baggariddim”, and are about to embark on a sold out stadium tour oversees. We look back, chat about the present and look ahead to what is next for this classic super group that just won't slow down!@ub40official@behindvelvetrope@davidyontefBONUS EPISODES Available at - https://www.patreon.com/behindthevelvetropeBrought to you by APPLE LEISURE GROUP - https://www.applevacations.com/BTVR ($75 Off Your Stay at Live Aqua in Cancun or Punta Cana - Enter Promo Code “SAND75”)Brought to you by CREDIT KARMA - https://www.creditkarma.com/podcast (Or the Credit Karma App) - “Apply With Confidence” TodayMERCH AVAILABLE at - https://www.teepublic.com/stores/behind-the-velvet-rope?ref_id=13198 See acast.com/privacy for privacy and opt-out information.

UB40 is an award winning reggae band from Birmingham, England. They have sold over 70 million records worldwide , including two UK number one albums in Labour of Love (1983) and Promises and Lies (1993), and had international smash hits in Red Red Wine, Food For Thought, and covers of I Got You Babe and (I Can't Help) Falling in Love With You. We spoke with founding member Robin Campbell about their latest album Bigga Baggariddim, the state of reggae these days, the success years, music reflecting the times, his brother Ali quitting the band and no longer speaking to him, and a lot more! Interview by: Martin KuiperSupport the show (https://www.patreon.com/FaceCulture)

Today on the show - Guests like Swiss & Tree, Robin Campbell from UB40 Jordan has a finger problem, Nickson has a new business venture and Fame sings a memorable campfire ditty! See omnystudio.com/listener for privacy information.

Today on the show - Guests like Swiss & Tree, Robin Campbell from UB40 Jordan has a finger problem, Nickson has a new business venture and Fame sings a memorable campfire ditty! See omnystudio.com/listener for privacy information.

UB40 has released their new single ‘Message of Love' which is a co-lab with NZ's House of Shem, and also the last song Carl Perkins wrote and worked on before he passed away 3 years ago....   Here is Robin Campbell of UB40 with the Mai Morning Crew. See omnystudio.com/listener for privacy information.

UB40 has released their new single ‘Message of Love’ which is a co-lab with NZ’s House of Shem, and also the last song Carl Perkins wrote and worked on before he passed away 3 years ago....   Here is Robin Campbell of UB40 with the Mai Morning Crew. See omnystudio.com/listener for privacy information.

Why did Seneca consider the learning and pursuit of 'philosophy' as the most important thing that a person could do? 'Letters From A Stoic' by Seneca are a collection of 124 letters (although this version only contains 40) he sent to his friend Lucilius in the last years of his life. He provides guidance on how to think about mental pitfalls, illness, death and vices but also on nobler topics of pleasure, friendship and serenity. I summarised the book as follows. "The Penguin Classic version by Robin Campbell is an easy to read translation in modern language. It contains gems of wisdom but for me was not as genuine as other Stoic works, such as 'Meditations' by Marcus Aurelius. He simultaneously shows the knowledge gained from age, as well as the grumpiness! Plenty of helpful advice though on how to contemplate illness and death, particularly in Letters 77 & 78."I hope you have a fantastic day wherever you are in the world. Kyrin out!Timeline:(0:00) - Synopsis(2:58) - Philosophy: The most vital pursuit(6:16) - Living A Good Life: The outcome of philosophy(7:51) - Personal Observations(13:08) - Summary(14:32) - Pragmatic Takeaway: Use others quotes but expand upon themConnect with Mere Mortals:Website: https://www.meremortalspodcast.com/Instagram: https://www.instagram.com/meremortalspodcast/Support the show

Why did Seneca consider the learning and pursuit of 'philosophy' as the most important thing that a person could do? 'Letters From A Stoic' by Seneca are a collection of 124 letters (although this version only contains 40) he sent to his friend Lucilius in the last years of his life. He provides guidance on how to think about mental pitfalls, illness, death and vices but also on nobler topics of pleasure, friendship and serenity. .I summarised the book as follows. "The Penguin Classic version by Robin Campbell is an easy to read translation in modern language. It contains gems of wisdom but for me was not as genuine as other Stoic works, such as 'Meditations' by Marcus Aurelius. He simultaneously shows the knowledge gained from age, as well as the grumpiness! Plenty of helpful advice though on how to contemplate illness and death, particularly in Letters 77 & 78.".As always, we hope you enjoy, Mere Mortals out!.Timeline:(0:00) - Synopsis(2:58) - Philosophy: The most vital pursuit(6:16) - Living A Good Life: The outcome of philosophy(7:51) - Personal Observations(13:08) - Summary(14:32) - Pragmatic Takeaway: Use others quotes but expand upon them..Connect with Mere Mortals:Instagram: https://www.instagram.com/meremortalspodcast/

Formed in 1978 and naming themselves after the unemployment benefit form, UB40 released their debut album 'Signing Off' in August 1980 - which is considered by many to be one of the greatest reggae albums ever released by a British band. They've seen forty UK Top 40 hit singles, have sold over 100M records, and are one of the most successful British groups of ALL TIME. Franti discusses with guitarist Robin Campbell and drummer Jimmy Brown their diverse and influential upbringing in the cultural melting pot of Birmingham, how the band was formed and what inspired their success, and how they've created even more engagement with fans during this challenging time.  www.UB40.globalIG: @ub40official Michael's album ‘Work Hard And Be Nice' is out now: https://orcd.co/work-hard-and-be-niceKeep in touch with Michael online: www.michaelfranti.comThe Stay Human podcast is available wherever you listen to podcasts: www.stayhumanpodcast.com PODCAST EPISODE CREDITS:Executive Producers: Michael Franti and Activist Artists ManagementProducer: Angie Griffith for Activist Artists ManagementArtist Manager: Caitlin Stone for Activist Artists ManagementManagement Coordinator: Ashley Dill for Activist Artists ManagementSocial Media Manager: Emily Marquis for Coffeehouse CollectiveIn Partnership with: American Songwriter Podcast Network (Dan Wise, COO)  Instrumental from: “Crazy For You” by Michael Franti Audio Editing by: Max Branstetter for MaxPodcasting

Formed in 1978 and naming themselves after the unemployment benefit form, UB40 released their debut album 'Signing Off' in August 1980 - which is considered by many to be one of the greatest reggae albums ever released by a British band. They’ve seen forty UK Top 40 hit singles, have sold over 100M records, and are one of the most successful British groups of ALL TIME. Franti discusses with guitarist Robin Campbell and drummer Jimmy Brown their diverse and influential upbringing in the cultural melting pot of Birmingham, how the band was formed and what inspired their success, and how they’ve created even more engagement with fans during this challenging time.  www.UB40.globalIG: @ub40official Michael’s album ‘Work Hard And Be Nice’ is out now: https://orcd.co/work-hard-and-be-nice Keep in touch with Michael online: https://michaelfranti.com/ The ‘Stay Human’ podcast is available wherever you listen to podcasts: https://linktr.ee/stayhumanpodcast PODCAST EPISODE CREDITS:Executive Producers: Michael Franti and Activist Artists ManagementProducer: Angie GriffithArtist Manager: Caitlin StoneManagement Coordinator: Ashley Dill Social Media Manager: Emily Marquis for Coffeehouse CollectiveIn Partnership with: American Songwriter Podcast Network (Dan Wise, COO)  Instrumental from: “Crazy For You” by Michael Franti Audio Editing by: Max Branstetter for MaxPodcasting

With more and more Canadians paying attention to open-pit coal mining in the Rocky Mountains, Coal Association of Canada president (and former Alberta Environment Minister) Robin Campbell argues the industry side. Jason Doucette, president of Alberta Fly Fishing and Conservation, explains why he's opposed to Alberta's coal expansion. With 9-1-1 services being consolidated across the province, Alberta fire chiefs from Red Deer, Lethbridge, and Fort McMurray lay out why they think it's a bad idea (hint: it's a matter of life and death). Former chair of the Alberta Teachers Retirement Fund Greg Meeker tells us why he's "incensed" at the United Conservative Party transferring the $18B teachers' pension to AIMCo. Sportsnet radio host Andrew Walker shares his thoughts on an "all Canadian" NHL season, and has a little fun with his vintage "Jespo Mug".

We're on a wee holiday break this week, but Cringe Benefits will be back with an all new episode next Monday! In the meantime, we wanted to wish you the very best of all possible things in the New Year.Support Sally's Surgery with Robin Campbell! Facebook: @CringeBenefitsTwitter: @CringeBenefitsInstagram: @cringebenefits Guest: Robin CampbellTwitter:  @robinathefirstInstagram: @robinathefirst Host/Producer: Abby WildeTwitter: @AbbyWildeInstagram: @AbbyWilde

How do you measure a show's worth of cringe? We do our best to find out in the thrilling conclusion to our two-part series on the musical that defined a generation of theater punks, "RENT." Last episode was all about what we loved then, but this week is all about what we know now: the moral weight of being a sellout, the deadly dogma of  struggling for your art, the offstage drama of Allison "Muffy" Coffin, and what a girl wants (certainly not Roger, who is the absolute worst). Not to worry, though: we measure this show with love. SUPPLEMENTAL LINKS:Instagram: Sally Campbell, the Best DogNewsweek: Love Among the RuinsBookshop.org: RENT by Jonathan LarsonMarfan.org: What is Marfan SyndromeLady Geek Girl: Sexualized Saturdays - Queer Stories are Tragic StoriesThem.us: Sarah Schulman Explains How Rent Straightwashed Queer Lives and AIDS ActivismOut.com: Angel’s Gender Identity Is RENT's Most Enduring MysteryVox.com: How do you measure 20 years of Rent backlash?  SPONSORS:Click here for your free 30-day trial with Audible!We are live on the Internet - come be our friend! Facebook: @CringeBenefitsTwitter: @CringeBenefitsInstagram: @cringebenefits Guest: Robin CampbellTwitter:  @robinathefirstInstagram: @robinathefirst Host/Producer: Abby WildeTwitter: @AbbyWildeInstagram: @AbbyWilde 

This week we're joined by theater geek and musical theater expert Robin Campbell for long look at the catalyst of every theater kid's grunge phase, 90s musical RENT. You'll hear Part One of our thrilling conversation this week, in which we talk about the origins of the musical and its impact on us as people and artists, before turning our focus on the  common pitfalls of portraying HIV/AIDS in popular culture, the intersection of drag and gender, and the real villain of the musical (hint: not Benny.) SUPPLEMENTAL LINKS:Instagram: Sally Campbell, the Best DogBookshop.org: RENT by Jonathan LarsonMarfan.org: What is Marfan SyndromeLady Geek Girl: Sexualized Saturdays - Queer Stories are Tragic StoriesThem.us: Sarah Schulman Explains How Rent Straightwashed Queer Lives and AIDS ActivismOut.com: Angel’s Gender Identity Is RENT's Most Enduring MysteryVox.com: How do you measure 20 years of Rent backlash?  SPONSORS:Click here for your free 30-day trial with Audible!We are live on the Internet - come be our friend! Facebook: @CringeBenefitsTwitter: @CringeBenefitsInstagram: @cringebenefits Guest: Robin CampbellTwitter:  @robinathefirstInstagram: @robinathefirst Host/Producer: Abby WildeTwitter: @AbbyWildeInstagram: @AbbyWilde

A catch-up chat regarding current events with Robin Campbell and Simone Marshall on the Event 202 podcast.

A catch-up chat regarding current events with Robin Campbell and Simone Marshall on the Event 202 podcast.

We are honored to bring back UB40 founding member Robin Campbell to talk about the band's latest album For The Many from 2019. This highly political piece of work is a perfect look at our current time in history and expresses the frustrations of many of us living in this turbulent period. UB40 have always had a knack for expressing the feelings of the politically oppressed and For The Many continues that tradition. It's their best album in decades and we need it now more than ever.  www.patreon.com/thehustlepod

I guested alongside Simone and Robin on the Event 202 live video stream on 24th June 2020, where I gave some thoughts and reflections on current events.

I guested alongside Simone and Robin on the Event 202 live video stream on 24th June 2020, where I gave some thoughts and reflections on current events.

On this episode of Touched by a Horse, we welcome Robin Campbell to talk about how, when you still feel stuck after years of therapy and counseling, Equine Gestalt Coaching can offer a powerful way to create healing, lasting change. www.thenimetahorse.com

On this episode of Touched by a Horse, we welcome Robin Campbell to talk about how, when you still feel stuck after years of therapy and counseling, Equine Gestalt Coaching can offer a powerful way to create healing, lasting change. www.thenimetahorse.com

Meet Robin Campbell. She is a 10-year Veteran of the Volunteer Fire Service. She is currently a PHD candidate, working in the field of Volunteer Firefighter Mental Health. Awesome chat about such an important topic!This episode is dedicated to Leading Seaman Matt Pinczak, who died on July 10, 2019.UpTalk is supported by Mental Health News Radio Network​, and DT Social Solutions​. The podcast is sponsored by The Tema Foundation​, BOS Helps Inc., and Legacy Place Society​. Find the podcast on the network, or wherever you get your podcasts. Subscribe, Listen, and Share! #UpTalkSeason4 #OwnYourGrowth #MoreLoveLessJudgement

Is modern Stoicism just self help rebranded for tech bros or something more interesting? Rebecca went to Stoicon Athens to meet the Stoics and imbibe some wisdom only a few miles away from the very porch where Stoic philosophy first kicked off. While Cat put the ancient philosophy to the test and tried living like a Stoic for a week. We talk about our experiences compare Stoicism to other philosophies and engage in an impromptu (much needed) Stoic inspired therapy session. Exploring esoteric, paranormal and spiritual topics from two completely different perspectives we're The Seeker and The Skeptic. If you enjoy the show, we'd love your support to help us keep exploring these topics and bringing our research, experiences and discussion to you. Anything you can give is greatly appreciated, and we look forward to sharing more adventures with your support! Support the show on Patreon >> Connect with us Twitter @SeekerSkeptic Instagram @SeekerSkeptic Or visit www.seekerandskeptic.com   LINKS MENTIONED Extract from: Marcus Aurelius Best Lecture on Stoicism EVER! Professor Michael Sugrue (our opening clip) https://www.youtube.com/watch?v=5897dMWJiSM Meditations, Marcus Aurelius translated by Gregory Hays https://www.amazon.com/Meditations-New-Translation-Marcus-Aurelius/dp/0812968255 Letters From a Stoic, Seneca translated by Robin Campbell https://www.amazon.com/dp/B002RI99KK/ How to Be a Stoic: Using Ancient Philosophy to Live a Modern Life, Massimo Pigliucci https://www.amazon.com/How-Be-Stoic-Massimo-Pigliucci/dp/0465097952 A Guide to the Good Life: The Ancient Art of Stoic Joy, William B. Irvine https://www.amazon.com/Guide-Good-Life-Ancient-Stoic-ebook/dp/B0040JHNQG Modern Stoicism YouTube Channel (watch this space for the recordings of Stoicon Athens 2019 talks) https://www.youtube.com/channel/UC34paKsEjtrlapZyRczztYw Information about Stoic Week https://modernstoicism.com/about-stoic-week/ Report on the Efficacy of Stoic Week https://modernstoicism.com/stoic-week-2018-report-part-4-feedback-on-stoic-week-and-overall-conclusions-tim-lebon/ Kathryn Koromilas (Stoic journalling) https://thestoicwriter.com/mom-1 Stoicon 2018: Antonia Macaro on "How Buddhist is Stoicism?" https://www.youtube.com/watch?v=GAuIDe5d-Cs More Than Happiness: Buddhist and Stoic Wisdom for a Sceptical Age, Antonia Macaro https://www.amazon.com/dp/1785781332 Why Modern Stoicism Misses the Point, Mark Vernon https://www.idler.co.uk/article/who-modern-stoicism-misses-the-point/ SHAM How the Self Help and Actualisation Movement Made America Helpless, Steve Salerno https://www.amazon.com/Sham-Self-Help-Movement-America-Helpless/dp/1400054109  

It feels like UB40 have always been in our lives. Maybe that's because they practically have. Last year the guys celebrated their 40th anniversary with a tour that was so well received, it's carried over to the 41st year. And to mark the occasion, in 2019 they released their best album in decades, For The Many, which hearkens back to their early days like nothing else they've released in a while. Guitarist and founding member Robin Campbell and I discuss this victory lap, as well as some of their definitive albums and classic songs. Unfortunately, there is also some drama in there, as there often is. Former lead singer Ali Campbell, Robin's brother, left the band about 12 years ago and is also touring with the UB40 name. Robin's version of UB40 recruited a third Campbell brother, Duncan, to take over lead vocal duties. It can be confusing, but what isn't confusing is that UB40 have over 40 years of great music to enjoy and For The Many continues that tradition.    https://ub40.global/

I recently guested on Robin Campbell and Roxanne’s Globe Lie podcast, getting into a few interesting discussion points - some I’ve covered in previous interviews, some I haven’t.

I recently guested on Robin Campbell and Roxanne’s Globe Lie podcast, getting into a few interesting discussion points - some I’ve covered in previous interviews, some I haven’t.

It's Musical Monday (patent pending), and to start it off we've got the descendant of a railroad tycoon on to talk about the blind and the deaf. He's also a music producer and writer. Burying the lede is considered a good thing, right? Anyway, after that comes UB40's 40th anniversary tour, bringing to close a pun 40 years in the making.See omnystudio.com/listener for privacy information.See omnystudio.com/listener for privacy information.

En este mundillo de la música popular, todo aquello que no era americano o inglés, se le ha llamado World Music, Música del mundo, Música étnica, etc. Pero,… en los años setenta este término no existía y el primer sonido ajeno a estas dos potencias del rock que se hizo internacional fue el REGGAE, que, como ya sabeis, venía de Jamaica. Jamaica había sido inglesa hasta 1962 y era parte de la Commonwealth. De hecho, Londres estaba llena de Jamaicanos, lo mismo que de indios o de cualquiera de las antiguas colonias. Desmond Dekker fue, en 1968, el primer músico que llegó a las listas con temas de reggae, la música heredera del ska, el mento y el Calipso. Desmond Dekker nació el 16 de julio de 1941 y fue un reconocido cantante, compositor y precursor de la música ska y reggae. Junto a su grupo The Aces (formado por Wilson James y Easton Barrington Howard), obtuvo uno de los primeros éxitos internacionales de la música jamaicana con "Israelites". Antes del éxito de Bob Marley, Dekker fue uno de los músicos jamaicanos más reconocidos, tanto en su país de origen como en el extranjero. En 1961, Dekker inició una peregrinación por los estudios de grabación pero su talento no consiguió impresionar a ninguno de ellos, así que el hombre quemó su último cartucho en la compañía Beverley de Leslie Kong, donde realizó una prueba para Derrick Morgan, por aquel entonces la mayor estrella de la compañía. Dekker consiguió firmar un contrato con el apoyo de Morgan, pero no grabó su primer disco hasta 1963, y no fue hasta su cuarto sencillo cuando se convirtió en la estrella más grande de la isla. Se trataba de “King of Ska” (el rey del ska), una canción animada y llena de júbilo para la cual Dekker contó con la colaboración de The Cherrypies. La canción sigue siendo una de las más conocidas entre los seguidores del ska de todo el mundo. Gracias a su éxito, Desmond Dekker fue el responsable de la llegada del ska a Europa en los años sesenta. Otra figura importante es James Chambers, más conocido por su alias Jimmy Cliff. Nacido el 1 de abril de 1948 en St. James, Jamaica, es un músico de reggae con una gran trayectoria internacional. El lanzamiento de sus dos primeros sencillos pasó prácticamente desapercibido pero con la publicación de su disco Hurricane Hattie, Jimmy Cliff alcanzó por fin el éxito; fue producido por el incombustible Leslie Kong, el que, por cierto, también fue, hasta su muerte, productor de iron maiden. Otros éxitos posteriores incluían a «King of Kings» y «Pride and Passion», aunque estos nunca se vendieron bien fuera de Jamaica. En 1964, Cliff se trasladó a Reino Unido y debutó internacionalmente con el álbum Hard Road to Travel que recibió excelentes críticas e incluía el tema «Waterfall», que fue todo un éxito aunque, en realidad, bien poco tenía de reggae. «Waterfall» fue seguido de «Wonderful World, Beautiful People» y «Vietnam», todas muy populares en buena parte del mundo. El cantautor Bob Dylan se refirió a «Vietnam» como la mejor canción de protesta que había oído. Pero fueron Dave and Ansin Collins los primeros que llegaron al número uno en Inglaterra con su tema Double Barrel, justo antes de que apareciera en escena la estrella de Bob Marley Pero…¿Qué había sucedido en Jamaica?, ¿Qué eran el reggae, las rastas?, ¿Quién era Jah?, ¿Por qué la ganja, o lo que es lo mismo, la marihuana, estaba legalizada? Bueno pues, todo empezó cuando un evangelista llamado Marcus Garvey inició una especie de campaña en la que preconizaba la vuelta a los orígenes, esto es, a Africa, hablando del advenimiento de un nuevo rey de reyes que se coronaria emperador y cuya reencarnación de Dios, o sea, Jah, provocaría que Babilonia (el mundo occidental) se abocara al abismo, doblegada por sus muchos pecados. Una profecía que, a principios del siglo XX causó una gran conmoción en la isla caribeña. Pero aun causó más conmoción cuando esta profecía se cumplió. En 1930 el señor Lij Ras Tafari Makonnen adoptó el nombre de Haile Selassie I y se proclamó Negus (emperador) de Etiopía. Ser Negus equivalía también a ser el Elegido de Dios, Señor de Señores, Rey de Reyes, Heredero del Trono de Salomón y Poder supremo de la Santísima Trinidad, todo en una tacada. No me quiero imaginar su tarjeta de visita. Pero ojo, que no había que tomarlo a broma. A fin de cuentas era el emperador número 225 de un imperio con tres mil años de antigüedad. Selassie había sido derrotado y derrocado por los italianos en 1936 pero los ingleses lo llevaron nuevamente al trono en 1941. Para los jamaicanos él cumplía a la perfección la profecía de Garvey y, así, nacieron los rastas, seguidores del Negus y elegidos de Jah. Los rastas nunca pierden la esperanza del regreso a su África soñada. Mientras tanto se sienten exiliados en los confines de Babilonia, que es nuestro mundo occidental. Los rastas profesan una conducta estrictamente nazarena: no beben alcohol, no comen carne, viven comunalmente y nunca mendigan ni roban. Se fuman cerca de tres cuartos de kilo de droga a la semana. No dejan pasar un minuto sin liar de nuevo un porro o 'kaya', como hierba sacramental. Asi que, ahí están, esperando la caída de Babilonia que parece que se retrasa un poco. Una feliz espera mecida por su inimitable música y, por supuesto, por la ganja. Bob Marley era uno de ellos. Robert Nesta Marley, más conocido como Bob Marley es hoy en día, y casi 40 años después de su fallecimiento, el más grande, conocido y respetado intérprete de la música reggae, y valorado también internacionalmente por ayudar a difundir tanto la música de Jamaica como el movimiento rastafari, del que era un miembro comprometido. Bob Marley nació el 6 de febrero de 1945 en una pequeña localidad al norte de la isla de Jamaica. Era hijo de Cedella Booker, una afro-jamaicana que tenía 18 años (cuando nació Bob) y de Norval Marley, un jamaicano blanco de ascendencia y nacionalidad inglesa, capitán de la infantería de marina británica. El padre de Bob murió cuando este tenía 9 años, en 1954. Bob Marley alternó el trabajo en una empresa de fundición (donde se quemó un ojo), con la música, que era en realidad su pasión. Así que, en 1962 participó en una audición con nuestro viejo conocido, el productor Leslie Kong que, impresionado, le invitó a grabar algunas canciones. Al año siguiente Marley, fundó los Wailing Wailers con la formación original compuesta por Marley, Bunny Wailer, Peter Tosh, Junior Braithwaite y dos coristas, Beverly Kelso y Cherry Smith. En 1966, Bob Marley refunde su banda y crea los míticos The Wailers. Las creencias rastafari de los Wailers dotaron al grupo de una impronta peculiar que no todos entendieron en ese momento pero… entonces conocieron a un hombre que revolucionaría su trabajo: Lee Perry. La asociación entre Perry y los Wailers trajo consigo algunos de los éxitos más notables de la banda. En la primavera de 1972 los Wailers aterrizaron en Inglaterra para promocionar el single Reggae on Broadway, pero no cosecharon demasiados éxitos. A la desesperada, Marley visitó los estudios de grabación de Island Records, que había sido la primera discográfica en interesarse por la música jamaicana, y pidió hablar con su fundador, Chris Blackwell. Este conocía a los Wailers y les ofreció cuatro mil libras para grabar un álbum con los últimos avances tecnológicos de la industria musical, los mismos que gozaban las bandas de rock de la época. Ese primer álbum fue Catch a Fire, fuertemente promovido por Island. El disco no fue un éxito inmediato, y es que la música y las letras comprometidas socialmente de Marley contrastaban bastante con lo que se estaba haciendo hasta entonces en Europa. Los Wailers tocaron en Londres en abril de 1973 y, posteriormente, en los Estados Unidos, participando en algunos conciertos de Bruce Springsteen y Sly & The Family Stone, la principal banda de música negra estadounidense del momento. En 1973 el grupo lanzó su segundo álbum, Burnin', con la compañía discográfica Island Records, un disco que incluía nuevas versiones de algunas de sus canciones más importantes, como "I Shot The Sheriff". Fue justamente este tema el que consagró internacionalmente a Bob Marley de la mano de la voz de Eric Clapton, alcanzando el primer lugar en la lista de los sencillos más vendidos en los Estados Unidos. El 26 de junio del 78, como era habitual en cada ciudad europea que visitaba, Bor Larley montó un partido de fútbol entre periodistas y todo su grupo, incluidos 'pipas'. Durante el lance, un crítico de la revista 'Rock and Folk' parece que le pisó el pie derecho. Marley cayó lesionado. Sentía unos dolores terribles en el dedo gordo, donde también había perdido la uña. En una clínica le detectaron un tipo de melanoma maligno. Le aconsejaron amputar el dedo. Se negó en redondo. Los rastas no pueden quitarse ni una mínima parte de su cuerpo. Fue entonces cuando Marley comenzó a huir hacia adelante. Tres años después, el 5 de octubre de 1980, visitaba Nueva York por primera vez en su vida. Dos actuaciones en el Madison Square Garden. Vivía el lujo de un hotel al sur del Central Park, pero la mañana del 8 de octubre salió a hacer 'joggin' y se cayó al suelo desplomado. Cuando le atendieron echaba espuma por la boca. En el hospital donde fue ingresado, quedaron horrorizados. El cáncer había alcanzado en su metástasis al cerebro, pulmones, hígado y estómago. Le dieron un mes de vida, pero ni eso le detuvo en su carrera hasta Jah, el dios rasta. Tres días después actuaba en el teatro Stanley de Pittsburgh. Sería su última actuación. Con la muerte de Bob Marley, el reagge no murió, no fue una moda más. Han sido muchos los grupos que han seguido, dentro y fuera de Jamaica, la estela de su música. En la Inglaterra colonialista, germinó la semilla de esta música. Y Madness fue uno de sus cultivadores. Madness es uno de los principales grupos británicos de ska, formado en 1976. Estuvieron en medio del revival del ska del sello 2 Tone a finales de los 70 juntamente con The Specials y Bad Manners. Madness alcanzó la mayoría de sus éxitos a finales de los años 1970 y en la primera mitad de la década de los años 1980, estando más semanas en las listas inglesas que cualquier otro grupo. Hemos escuchado uno de sus primeros éxitos, One Step Beyond. El álbum, The Liberty of Norton Folgate, alcanzó en 2008 el número cinco en las listas de Reino Unido. Forever Young es una de las canciones incluidas en el álbum. UB40 es otro grupo inglés de música reggae formado en Birmingham, Inglaterra, en 1978. UB 40 es un grupo multirracial que destacó por su compromiso social y político en sus primeros tiempos. La formación, que como sabéis tomó su nombre de un formulario oficial para el subsidio de desempleo tuvo su origen en la ciudad de Birmingham, donde residían los hermanos Alastair Campbell (1952) y Robin Campbell (1954). Ambos procedían de una familia con tradición musical (sus padres eran cantantes de folk). El grupo se formó hacia 1977, con Jim Brown (1957) Earl Falconer (1959) y Brian Travers (1959). Sus integrantes son amigos desde la infancia, de varias razas y procedentes, en todos los casos, de la clase obrera. Compraron sus primeros instrumentos con el dinero que Ali, otro de los componentes del grupo, recibió como compensación por una pelea que tuvieron en un pub, aunque algunos de ellos todavía no sabían tocarlos. Grabaron una maqueta que fue emitida por una emisora de radio y comenzaron a tocar en algunos pubs y clubes nocturnos, hasta que Chrissie Hynde, la vocalista del grupo The Pretenders los vio tocar y les ofreció acompañarla como teloneros de su grupo durante la gira que realizó en 1979. En 1980, publicaron su primer álbum Signing off y crearon su propia compañía discográfica DEP International con la que publicaron Present Arms in Dub. En 1983 y con el lanzamiento de su propia versión del famoso tema Red Red Wine de Neil Diamond, (que acabamos de escuchar) obtuvieron su primer éxito y posterior salto a la fama. Han vendido más de 70 000 000 de discos alrededor del mundo. Volvieron al número uno en 1987, con la edición de una recopilación llamada The best of UB40 Vol. I, que coincidió con el fallecimiento en un desgraciado accidente de coche de Ray Pablo Falconer (ingeniero de sonido de la banda desde sus inicios); el automóvil lo conducía su hermano Earl Falconer, el bajista de la banda. Como le encontraron el doble de la cantidad permitida de alcohol, fue juzgado y condenado a seis meses de cárcel. Ello obligó al grupo a ralentizar su actividad y a incluir un sustituto en su siguiente gira mundial. Tras un paréntesis, en 1993 vio la luz Promises and lies, con otro tema superventas: Can´t help falling in love. UB40 se ha convertido en el grupo de reggae de más éxito a escala planetaria. Sus ocho integrantes han vendido setenta millones de discos en casi cuatro décadas de trayectoria y ha colocado una cincuentena de canciones en las listas de éxitos del Reino Unido. Sin duda, una gran banda. Y nada más. Como diría nuestro recordado Tierno Galvan… "el que no esté colocado que se coloque y al loro…” Nos despedimos hasta el próximo programa. Hasta entonces, y como siempre… buenas vibraciones!!!

En este mundillo de la música popular, todo aquello que no era americano o inglés, se le ha llamado World Music, Música del mundo, Música étnica, etc. Pero,… en los años setenta este término no existía y el primer sonido ajeno a estas dos potencias del rock que se hizo internacional fue el REGGAE, que, como ya sabeis, venía de Jamaica. Jamaica había sido inglesa hasta 1962 y era parte de la Commonwealth. De hecho, Londres estaba llena de Jamaicanos, lo mismo que de indios o de cualquiera de las antiguas colonias. Desmond Dekker fue, en 1968, el primer músico que llegó a las listas con temas de reggae, la música heredera del ska, el mento y el Calipso. Desmond Dekker nació el 16 de julio de 1941 y fue un reconocido cantante, compositor y precursor de la música ska y reggae. Junto a su grupo The Aces (formado por Wilson James y Easton Barrington Howard), obtuvo uno de los primeros éxitos internacionales de la música jamaicana con "Israelites". Antes del éxito de Bob Marley, Dekker fue uno de los músicos jamaicanos más reconocidos, tanto en su país de origen como en el extranjero. En 1961, Dekker inició una peregrinación por los estudios de grabación pero su talento no consiguió impresionar a ninguno de ellos, así que el hombre quemó su último cartucho en la compañía Beverley de Leslie Kong, donde realizó una prueba para Derrick Morgan, por aquel entonces la mayor estrella de la compañía. Dekker consiguió firmar un contrato con el apoyo de Morgan, pero no grabó su primer disco hasta 1963, y no fue hasta su cuarto sencillo cuando se convirtió en la estrella más grande de la isla. Se trataba de “King of Ska” (el rey del ska), una canción animada y llena de júbilo para la cual Dekker contó con la colaboración de The Cherrypies. La canción sigue siendo una de las más conocidas entre los seguidores del ska de todo el mundo. Gracias a su éxito, Desmond Dekker fue el responsable de la llegada del ska a Europa en los años sesenta. Otra figura importante es James Chambers, más conocido por su alias Jimmy Cliff. Nacido el 1 de abril de 1948 en St. James, Jamaica, es un músico de reggae con una gran trayectoria internacional. El lanzamiento de sus dos primeros sencillos pasó prácticamente desapercibido pero con la publicación de su disco Hurricane Hattie, Jimmy Cliff alcanzó por fin el éxito; fue producido por el incombustible Leslie Kong, el que, por cierto, también fue, hasta su muerte, productor de iron maiden. Otros éxitos posteriores incluían a «King of Kings» y «Pride and Passion», aunque estos nunca se vendieron bien fuera de Jamaica. En 1964, Cliff se trasladó a Reino Unido y debutó internacionalmente con el álbum Hard Road to Travel que recibió excelentes críticas e incluía el tema «Waterfall», que fue todo un éxito aunque, en realidad, bien poco tenía de reggae. «Waterfall» fue seguido de «Wonderful World, Beautiful People» y «Vietnam», todas muy populares en buena parte del mundo. El cantautor Bob Dylan se refirió a «Vietnam» como la mejor canción de protesta que había oído. Pero fueron Dave and Ansin Collins los primeros que llegaron al número uno en Inglaterra con su tema Double Barrel, justo antes de que apareciera en escena la estrella de Bob Marley Pero…¿Qué había sucedido en Jamaica?, ¿Qué eran el reggae, las rastas?, ¿Quién era Jah?, ¿Por qué la ganja, o lo que es lo mismo, la marihuana, estaba legalizada? Bueno pues, todo empezó cuando un evangelista llamado Marcus Garvey inició una especie de campaña en la que preconizaba la vuelta a los orígenes, esto es, a Africa, hablando del advenimiento de un nuevo rey de reyes que se coronaria emperador y cuya reencarnación de Dios, o sea, Jah, provocaría que Babilonia (el mundo occidental) se abocara al abismo, doblegada por sus muchos pecados. Una profecía que, a principios del siglo XX causó una gran conmoción en la isla caribeña. Pero aun causó más conmoción cuando esta profecía se cumplió. En 1930 el señor Lij Ras Tafari Makonnen adoptó el nombre de Haile Selassie I y se proclamó Negus (emperador) de Etiopía. Ser Negus equivalía también a ser el Elegido de Dios, Señor de Señores, Rey de Reyes, Heredero del Trono de Salomón y Poder supremo de la Santísima Trinidad, todo en una tacada. No me quiero imaginar su tarjeta de visita. Pero ojo, que no había que tomarlo a broma. A fin de cuentas era el emperador número 225 de un imperio con tres mil años de antigüedad. Selassie había sido derrotado y derrocado por los italianos en 1936 pero los ingleses lo llevaron nuevamente al trono en 1941. Para los jamaicanos él cumplía a la perfección la profecía de Garvey y, así, nacieron los rastas, seguidores del Negus y elegidos de Jah. Los rastas nunca pierden la esperanza del regreso a su África soñada. Mientras tanto se sienten exiliados en los confines de Babilonia, que es nuestro mundo occidental. Los rastas profesan una conducta estrictamente nazarena: no beben alcohol, no comen carne, viven comunalmente y nunca mendigan ni roban. Se fuman cerca de tres cuartos de kilo de droga a la semana. No dejan pasar un minuto sin liar de nuevo un porro o 'kaya', como hierba sacramental. Asi que, ahí están, esperando la caída de Babilonia que parece que se retrasa un poco. Una feliz espera mecida por su inimitable música y, por supuesto, por la ganja. Bob Marley era uno de ellos. Robert Nesta Marley, más conocido como Bob Marley es hoy en día, y casi 40 años después de su fallecimiento, el más grande, conocido y respetado intérprete de la música reggae, y valorado también internacionalmente por ayudar a difundir tanto la música de Jamaica como el movimiento rastafari, del que era un miembro comprometido. Bob Marley nació el 6 de febrero de 1945 en una pequeña localidad al norte de la isla de Jamaica. Era hijo de Cedella Booker, una afro-jamaicana que tenía 18 años (cuando nació Bob) y de Norval Marley, un jamaicano blanco de ascendencia y nacionalidad inglesa, capitán de la infantería de marina británica. El padre de Bob murió cuando este tenía 9 años, en 1954. Bob Marley alternó el trabajo en una empresa de fundición (donde se quemó un ojo), con la música, que era en realidad su pasión. Así que, en 1962 participó en una audición con nuestro viejo conocido, el productor Leslie Kong que, impresionado, le invitó a grabar algunas canciones. Al año siguiente Marley, fundó los Wailing Wailers con la formación original compuesta por Marley, Bunny Wailer, Peter Tosh, Junior Braithwaite y dos coristas, Beverly Kelso y Cherry Smith. En 1966, Bob Marley refunde su banda y crea los míticos The Wailers. Las creencias rastafari de los Wailers dotaron al grupo de una impronta peculiar que no todos entendieron en ese momento pero… entonces conocieron a un hombre que revolucionaría su trabajo: Lee Perry. La asociación entre Perry y los Wailers trajo consigo algunos de los éxitos más notables de la banda. En la primavera de 1972 los Wailers aterrizaron en Inglaterra para promocionar el single Reggae on Broadway, pero no cosecharon demasiados éxitos. A la desesperada, Marley visitó los estudios de grabación de Island Records, que había sido la primera discográfica en interesarse por la música jamaicana, y pidió hablar con su fundador, Chris Blackwell. Este conocía a los Wailers y les ofreció cuatro mil libras para grabar un álbum con los últimos avances tecnológicos de la industria musical, los mismos que gozaban las bandas de rock de la época. Ese primer álbum fue Catch a Fire, fuertemente promovido por Island. El disco no fue un éxito inmediato, y es que la música y las letras comprometidas socialmente de Marley contrastaban bastante con lo que se estaba haciendo hasta entonces en Europa. Los Wailers tocaron en Londres en abril de 1973 y, posteriormente, en los Estados Unidos, participando en algunos conciertos de Bruce Springsteen y Sly & The Family Stone, la principal banda de música negra estadounidense del momento. En 1973 el grupo lanzó su segundo álbum, Burnin', con la compañía discográfica Island Records, un disco que incluía nuevas versiones de algunas de sus canciones más importantes, como "I Shot The Sheriff". Fue justamente este tema el que consagró internacionalmente a Bob Marley de la mano de la voz de Eric Clapton, alcanzando el primer lugar en la lista de los sencillos más vendidos en los Estados Unidos. El 26 de junio del 78, como era habitual en cada ciudad europea que visitaba, Bor Larley montó un partido de fútbol entre periodistas y todo su grupo, incluidos 'pipas'. Durante el lance, un crítico de la revista 'Rock and Folk' parece que le pisó el pie derecho. Marley cayó lesionado. Sentía unos dolores terribles en el dedo gordo, donde también había perdido la uña. En una clínica le detectaron un tipo de melanoma maligno. Le aconsejaron amputar el dedo. Se negó en redondo. Los rastas no pueden quitarse ni una mínima parte de su cuerpo. Fue entonces cuando Marley comenzó a huir hacia adelante. Tres años después, el 5 de octubre de 1980, visitaba Nueva York por primera vez en su vida. Dos actuaciones en el Madison Square Garden. Vivía el lujo de un hotel al sur del Central Park, pero la mañana del 8 de octubre salió a hacer 'joggin' y se cayó al suelo desplomado. Cuando le atendieron echaba espuma por la boca. En el hospital donde fue ingresado, quedaron horrorizados. El cáncer había alcanzado en su metástasis al cerebro, pulmones, hígado y estómago. Le dieron un mes de vida, pero ni eso le detuvo en su carrera hasta Jah, el dios rasta. Tres días después actuaba en el teatro Stanley de Pittsburgh. Sería su última actuación. Con la muerte de Bob Marley, el reagge no murió, no fue una moda más. Han sido muchos los grupos que han seguido, dentro y fuera de Jamaica, la estela de su música. En la Inglaterra colonialista, germinó la semilla de esta música. Y Madness fue uno de sus cultivadores. Madness es uno de los principales grupos británicos de ska, formado en 1976. Estuvieron en medio del revival del ska del sello 2 Tone a finales de los 70 juntamente con The Specials y Bad Manners. Madness alcanzó la mayoría de sus éxitos a finales de los años 1970 y en la primera mitad de la década de los años 1980, estando más semanas en las listas inglesas que cualquier otro grupo. Hemos escuchado uno de sus primeros éxitos, One Step Beyond. El álbum, The Liberty of Norton Folgate, alcanzó en 2008 el número cinco en las listas de Reino Unido. Forever Young es una de las canciones incluidas en el álbum. UB40 es otro grupo inglés de música reggae formado en Birmingham, Inglaterra, en 1978. UB 40 es un grupo multirracial que destacó por su compromiso social y político en sus primeros tiempos. La formación, que como sabéis tomó su nombre de un formulario oficial para el subsidio de desempleo tuvo su origen en la ciudad de Birmingham, donde residían los hermanos Alastair Campbell (1952) y Robin Campbell (1954). Ambos procedían de una familia con tradición musical (sus padres eran cantantes de folk). El grupo se formó hacia 1977, con Jim Brown (1957) Earl Falconer (1959) y Brian Travers (1959). Sus integrantes son amigos desde la infancia, de varias razas y procedentes, en todos los casos, de la clase obrera. Compraron sus primeros instrumentos con el dinero que Ali, otro de los componentes del grupo, recibió como compensación por una pelea que tuvieron en un pub, aunque algunos de ellos todavía no sabían tocarlos. Grabaron una maqueta que fue emitida por una emisora de radio y comenzaron a tocar en algunos pubs y clubes nocturnos, hasta que Chrissie Hynde, la vocalista del grupo The Pretenders los vio tocar y les ofreció acompañarla como teloneros de su grupo durante la gira que realizó en 1979. En 1980, publicaron su primer álbum Signing off y crearon su propia compañía discográfica DEP International con la que publicaron Present Arms in Dub. En 1983 y con el lanzamiento de su propia versión del famoso tema Red Red Wine de Neil Diamond, (que acabamos de escuchar) obtuvieron su primer éxito y posterior salto a la fama. Han vendido más de 70 000 000 de discos alrededor del mundo. Volvieron al número uno en 1987, con la edición de una recopilación llamada The best of UB40 Vol. I, que coincidió con el fallecimiento en un desgraciado accidente de coche de Ray Pablo Falconer (ingeniero de sonido de la banda desde sus inicios); el automóvil lo conducía su hermano Earl Falconer, el bajista de la banda. Como le encontraron el doble de la cantidad permitida de alcohol, fue juzgado y condenado a seis meses de cárcel. Ello obligó al grupo a ralentizar su actividad y a incluir un sustituto en su siguiente gira mundial. Tras un paréntesis, en 1993 vio la luz Promises and lies, con otro tema superventas: Can´t help falling in love. UB40 se ha convertido en el grupo de reggae de más éxito a escala planetaria. Sus ocho integrantes han vendido setenta millones de discos en casi cuatro décadas de trayectoria y ha colocado una cincuentena de canciones en las listas de éxitos del Reino Unido. Sin duda, una gran banda. Y nada más. Como diría nuestro recordado Tierno Galvan… "el que no esté colocado que se coloque y al loro…” Nos despedimos hasta el próximo programa. Hasta entonces, y como siempre… buenas vibraciones!!!

Border Crossings host Larry London interviewed Robin Campbell via our London bureau about UB40's recently released reggae album "For the Many." UB40's first US No. 1 song "Red Red Wine" was released in 1988.

Dome Life with Paul On The Plane Podcast Episode 121 Title: MR. ROBIN CAMPBELL Dome Life on iTunes https://itunes.apple.com/us/podcast/dome-life-with-paul-on-the-plane Dome Life on SoundCloud https://soundcloud.com/domelife Dome Life on Stitcher https://www.stitcher.com/podcast/paul-on-the-plane/dome-life-with-paul-on-the-plane Dome Life on Spotify https://open.spotify.com/show/3qVzPhdmVIOCwJ1vjc0tDX NEW WEBSITE FORUM! https://www.Paulontheplane.com/Community Show Notes/Links Robin Campbell's YouTube Channel (Liftin the Lid) https://www.youtube.com/user/smiler3108 Level With Me - A Flat Earth Documentary https://www.youtube.com/watch?v=PFK4gjdL6DU A Flat Earther's Guide to the Galaxy - Documentary Short https://www.youtube.com/watch?v=mQB47-2IKos Opening Track - Rockmasta Productions: https://www.youtube.com/channel/UCbFCKifrVNOFAQTI39bu5NA https://www.facebook.com/RockMasta-Productions-382510948481717 Roxanne and Robin’s Podcast https://www.stitcher.com/podcast/roxanne-and-robin-podcast/roxanne-robin-podcast European Flat Earth Events! Globe Lie Tour Convention (Sept 13-15, 2019) & FE Amsterdam (Sept. 27-29, 2019) https://feconvention.com/ & https://youtu.be/2CX6Gvz6JGE Flat Earth Sun & Moon Clock App https://www.youtube.com/watch?v=5Iohmfinvpc Globe Lie Euro Tour http://www.globelie.co.uk/ GLOBE LIE EURO TOUR 2019 ANNOUNCEMENT (Jason Disbury on Roxanne and Robin’s Podcast) https://www.youtube.com/watch?v=v8Q_96h7cIg Dr. John D’s Website – Pier 2 Pier Experiment 2019 http://www.pier2pierexp.com

Remember your music 87.6 fm, it presents you the music that marked an era and a way of living, today we have a World Novelty from the hand of James colah productions, GABRIELA COMAN with his single THE SIN OF LOVE Robert Nesta Marley, better known as Bob Marley: Marley is still the most well-known and respected performer of reggae music and is credited for helping to spread both Jamaican music and the Rastafarian movement.  Among his greatest successes are the singles «I Shot the Sheriff», «No Woman, No Cry», «Jamming», «Redemption Song» and, together with The Wailers, «Three Little Birds», as well as the posthumous release « Buffalo Soldier ». The album recopilatorio Legend, released by Island Records in 1984, three years after his death, is the best-selling reggae album in history with 10 platinum records in the United States2 and more than 20 million copies worldwide. . UB40 is an English group of reggae and dub pop music formed in Birmingham, England, in 1978.1 Multiracial group that stood out for its social and political commitment in its early days. The formation (whose name was taken from an official form for unemployment benefit) originated in the city of Birmingham, where the brothers Alastair Campbell (1952) and Robin Campbell (1954) resided. Both came from a family with a musical tradition (their parents were folk singers). The group formed around 1977, with Jim Brown (1957) Earl Falconer (1959) and Brian Travers (1959). Its eight members are friends since childhood, of various races and from the working class: Alistair Campbell, Robin Campbell, James Brown, Earl Falconer, Norman Hassan, Brian Travers, Michael Virtue and Astro.

Remember your music 87.6 fm, te presenta la musica que marco una epoca y una forma de vivir, hoy contamos con una Novedad Mundial de la mano de James colah produciones, GABRIELA COMAN con su single THE SIN OF LOVE. Robert Nesta Marley, más conocido como Bob Marley: Marley sigue siendo el más conocido y respetado intérprete de la música reggae y es acreditado por ayudar a difundir tanto la música de Jamaica como el movimiento rastafari Entre sus mayores éxitos se encuentran los sencillos «I Shot the Sheriff», «No Woman, No Cry», «Jamming», «Redemption Song» y, junto a The Wailers, «Three Little Birds», así como el lanzamiento póstumo «Buffalo Soldier». El álbum recopilatorio Legend, lanzado por Island Records en 1984, tres años después de su muerte, es el álbum de reggae más vendido de la historia con 10 discos de platino en los Estados Unidos2​ y más de 20 millones de copias en todo el mundo. UB40 es un grupo inglés de música pop reggae y dub formado en Birmingham, Inglaterra, en 1978. Grupo multirracial que destacó por su compromiso social y político en sus primeros tiempos. La formación (cuyo nombre fue tomado de un formulario oficial para el subsidio de desempleo) tuvo su origen en la ciudad de Birmingham, donde residían los hermanos Alastair Campbell (1952) y Robin Campbell (1954). Ambos procedían de una familia con tradición musical (sus padres eran cantantes de folk). El grupo se formó hacia 1977, con Jim Brown (1957) Earl Falconer (1959) y Brian Travers (1959). Sus ocho integrantes son amigos desde la infancia, de varias razas y procedentes de la clase obrera: Alistair Campbell, Robin Campbell, James Brown, Earl Falconer, Norman Hassan, Brian Travers, Michael Virtue y Astro.

Remember your music 87.6 fm, te presenta la musica que marco una epoca y una forma de vivir, hoy contamos con una Novedad Mundial de la mano de James colah produciones, GABRIELA COMAN con su single THE SIN OF LOVE. Robert Nesta Marley, más conocido como Bob Marley: Marley sigue siendo el más conocido y respetado intérprete de la música reggae y es acreditado por ayudar a difundir tanto la música de Jamaica como el movimiento rastafari Entre sus mayores éxitos se encuentran los sencillos «I Shot the Sheriff», «No Woman, No Cry», «Jamming», «Redemption Song» y, junto a The Wailers, «Three Little Birds», así como el lanzamiento póstumo «Buffalo Soldier». El álbum recopilatorio Legend, lanzado por Island Records en 1984, tres años después de su muerte, es el álbum de reggae más vendido de la historia con 10 discos de platino en los Estados Unidos2​ y más de 20 millones de copias en todo el mundo. UB40 es un grupo inglés de música pop reggae y dub formado en Birmingham, Inglaterra, en 1978. Grupo multirracial que destacó por su compromiso social y político en sus primeros tiempos. La formación (cuyo nombre fue tomado de un formulario oficial para el subsidio de desempleo) tuvo su origen en la ciudad de Birmingham, donde residían los hermanos Alastair Campbell (1952) y Robin Campbell (1954). Ambos procedían de una familia con tradición musical (sus padres eran cantantes de folk). El grupo se formó hacia 1977, con Jim Brown (1957) Earl Falconer (1959) y Brian Travers (1959). Sus ocho integrantes son amigos desde la infancia, de varias razas y procedentes de la clase obrera: Alistair Campbell, Robin Campbell, James Brown, Earl Falconer, Norman Hassan, Brian Travers, Michael Virtue y Astro.

From the first hours of life, babies interact with the world through touch and sensory exploration. As babies grow, their sensory and motor skills become more complex and purposeful. We sometimes take for granted that these domains of sensori-motor development will just unfold without special attention. But, as research shows, persistent problems with motor or sensory behaviors often relate to neurological vulnerability and emotional difficulties as children get older.   So, what should we be watching for? What kinds of activities are most supportive of good sensori-motor development? And how do we know if our child needs a formal assessment or services? Robin Campbell, clinical supervisor at St. David’s Center for Child & Family Development, brings years of experience to this discussion with Marti & Erin.   For St. David’s Center’s pediatric therapies, click here. For possible sensory processing and regulatory differences, click here. For Help Me Grow’s early childhood developmental milestones, click here. If you have concerns about your child’s development, click here.

One of the major developmental tasks in early childhood is self-regulation, which includes settling into reasonably predictable and healthy patterns of eating, sleeping and other routines. Even as older children and adults, we are dysregulated at times, which can disrupt learning, good relationships and other aspects of our lives.   This week’s Mom Enough guests, Robin Campbell and Cheryl Lundsgaard from St. David's Center for Child & Family Development, shed light on what self-regulation means, how we can help our children become self-regulated, and how important it is to discover what works best for each unique member of our family.   What challenges have you encountered with your children’s self-regulation with respect to sleep? Eating? Other routines and activities? What have you learned about each child’s unique style, needs and preferences for establishing healthy, predictable patterns? In this week’s Mom Enough show what ideas did you get about how to address any regulatory issues with your children (or even yourself!)?   For Possible Sensory and Regulatory Differences, click here. For Sensory and Motor Strategies that Support Regulation, click here. For How to Keep Food Fun, click here. For Problem Feeder Warning Signs, click here. For Setting the Stage for Sleep, click here. For Suggestions for Picky Eaters, click here. For Ways to Change Food, click here. For St. David’s Mental Health Services, click here.

They were in a tree calling their dead mother. Two B.C. bear cubs whose mother was shot after she twice foraged through a freezer of meat and fish. A B.C. conservation officer was ordered to kill the two bear cubs, but Bryce Casavant refused and was suspended without pay. International support followed for Casavant, including a petition signed by many thousands. We talk to Robin Campbell - Founder of the North Island Wildlife Recover Association where the bear cubs are now. See omnystudio.com/listener for privacy information.

The ongoing saga of BC Conservation Officer Bryce Casavant and the two bear cubs he refused to kill has captured the attention of Canada – and the world. News outlets from as far away as Germany and the UK have been monitoring the story as it unfolds this week. And Defender Radio is pleased to bring you the unabridged interview with the man caring for the two cubs and speaking out on behalf of CO Casavant. Robin Campbell, who has helped wildlife recover for 30 years, took time out of his busy schedule to discuss the current state of the twin cubs, named Jordan and Athena, respond to critics in the media, and give his full version of the events that led to cubs being in the care of the North Island Wildlife Recovery Association. Petitions to reinstate CO Bryce Casavant and begin new funding, studies and education for the conservation service can be found at FurBearerDefenders.com. To help North Island Wildlife Recovery Association with their costs, visit www.niwra.org.