Podcasts about roches

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

Martha Wainwright is a key member of the Wainwright/McGarrigle clan, all of them big favourites of ours. She's currently on her 20th anniversary tour and looks back here at the first shows she ever saw and played which involves … … growing up in a folk dynasty in Montreal.   … the sight of Perla Batalla and Julie Christensen, backing singers on Leonard Cohen's I'm Your Man tour, “who made me want to be onstage too”. … the story of ‘Matapedia', the song Kate McGarrigle wrote when an old boyfriend thought she was her teenage daughter.   … her first shows playing Elvis, Dylan and Woody Guthrie songs on the coffeehouse circuit. … singing with her brother Rufus and her cousins with Kate & Anna McGarrigle at folk festivals. … onstage at the Roches' Christmas shows in New York. … the time her brother stole the show over Emmylou Harris: “I thought I want that kind of attention!” … seeing Pink Floyd's The Wall in a Montreal hockey stadium, aged 9 – “a very marking experience”. … the songs of her mother's she always plays: “I'm obsessed with her legacy”. Martha Wainwright 20th Anniversary tour tickets here: https://marthawainwright.com/showsFind out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Martha Wainwright is a key member of the Wainwright/McGarrigle clan, all of them big favourites of ours. She's currently on her 20th anniversary tour and looks back here at the first shows she ever saw and played which involves … … growing up in a folk dynasty in Montreal.   … the sight of Perla Batalla and Julie Christensen, backing singers on Leonard Cohen's I'm Your Man tour, “who made me want to be onstage too”. … the story of ‘Matapedia', the song Kate McGarrigle wrote when an old boyfriend thought she was her teenage daughter.   … her first shows playing Elvis, Dylan and Woody Guthrie songs on the coffeehouse circuit. … singing with her brother Rufus and her cousins with Kate & Anna McGarrigle at folk festivals. … onstage at the Roches' Christmas shows in New York. … the time her brother stole the show over Emmylou Harris: “I thought I want that kind of attention!” … seeing Pink Floyd's The Wall in a Montreal hockey stadium, aged 9 – “a very marking experience”. … the songs of her mother's she always plays: “I'm obsessed with her legacy”. Martha Wainwright 20th Anniversary tour tickets here: https://marthawainwright.com/showsFind out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

Martha Wainwright is a key member of the Wainwright/McGarrigle clan, all of them big favourites of ours. She's currently on her 20th anniversary tour and looks back here at the first shows she ever saw and played which involves … … growing up in a folk dynasty in Montreal.   … the sight of Perla Batalla and Julie Christensen, backing singers on Leonard Cohen's I'm Your Man tour, “who made me want to be onstage too”. … the story of ‘Matapedia', the song Kate McGarrigle wrote when an old boyfriend thought she was her teenage daughter.   … her first shows playing Elvis, Dylan and Woody Guthrie songs on the coffeehouse circuit. … singing with her brother Rufus and her cousins with Kate & Anna McGarrigle at folk festivals. … onstage at the Roches' Christmas shows in New York. … the time her brother stole the show over Emmylou Harris: “I thought I want that kind of attention!” … seeing Pink Floyd's The Wall in a Montreal hockey stadium, aged 9 – “a very marking experience”. … the songs of her mother's she always plays: “I'm obsessed with her legacy”. Martha Wainwright 20th Anniversary tour tickets here: https://marthawainwright.com/showsFind out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

Le projet de Roches-Noires Smart City de PR Capital rejeté par le ministère de l'Environnement by TOPFM MAURITIUS

Façons de Voir : la collection architecture du mois de mai Pascal Goffaux nous invite à découvrir l'expo Vivre ensemble avec Luna Pittau et Camille Bleker, au Musée des Beaux-Arts de Mons. Elle est organisée par l' Institut Culturel d'Architecture Wallonie-Bruxelles qui revisite les utopies dans l'habitat. Les Editions Fourre-Tout ont été fondées en 2004 par l'Atelier d'Architecture Pierre Hebbelinck. Elles tentent, à leur échelle, de mener une réflexion sur le livre, de sa conception à sa diffusion. Parmi les dernières parutions, on retrouve deux ouvrages sur l'architecte belge Louis Bosny (1924-1983), "Anderlecht — Molenbeek" de Pierre Blondel et "Anarchitecte", une collection de pamphlets de la plume d'Olivier Verdique. Rencontre avec Pierre Hebbelinck. Signée Fabrice kada/ Cap sur le cœur de la ville de Rochefort avec Fanny Lacrosse: Le Square de l'Amicale et son parc le parc des Roches, font peau neuve. Un chantier mené en partenariat par le bureau LRArchitectes et l'Atelier paysage. Merci pour votre écoute Par Ouïe-Dire c'est également en direct tous les jours de la semaine de 22h à 23h sur www.rtbf.be/lapremiere Retrouvez tous les épisodes de Par Ouïe-Dire sur notre plateforme Auvio.be : https://auvio.rtbf.be/emission/272 Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement. Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

La troisième édition du projet Archipel reprend ses quartiers à Contretype. Cette exposition collective présente six univers photographiques, chacun mettant en lumière le travail de jeunes auteurs et autrices de moins de 40 ans, actifs sur la scène belge. Olivier Grasser, directeur à Contretype, nous guide au travers de ces 6 séries qui dévoilent une photographie s'adressant au monde, à travers un éventail d'esthétiques et de démarches innovantes. Au micro aussi, Justine Menghini et Hugo Istace nous présentent leur série L28 qui tend à déconstruire le discours politique de façade qui accompagne la rénovation du parc de la ligne 28 sur le quartier de Tour et Taxi. Au travers de leur série « l'empreinte toxique du phosphate » Pierre Vanneste et Laurence Grun nous racontent, quant à eux, l'histoire d'une enquête de terrain menée du Sénégal à la Belgique, en passant par la Tunisie, et l'Espagne, sur les traces de l'industrie du phosphate, la pollution qu'elle engendre et qui imprègne notre quotidien. Côté architecture, cap sur le cœur de la ville de Rochefort : le Square de l'Amicale et son parc adjacent, le parc des Roches, font peau neuve. Un chantier mené en partenariat par le bureau LRArchitectes et l'Atelier paysage. Etienne Cellier, architecte paysagiste, fondateur de l'Atelier Paysage, revient sur les enjeux de ce projet qui redonne à la ville une fenêtre sur la nature environnante au travers d'une nouvelle place publique et de nouveaux espaces de convivialité dans le parc. Réalisation : Fanny Lacrosse Façons de Voir est soutenu par la Cellule Architecture et la Direction des Arts Plastiques Contemporains de la FWB. Merci pour votre écoute Par Ouïe-Dire c'est également en direct tous les jours de la semaine de 22h à 23h sur www.rtbf.be/lapremiere Retrouvez tous les épisodes de Par Ouïe-Dire sur notre plateforme Auvio.be : https://auvio.rtbf.be/emission/272 Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement. Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Hello Lovelies, You can find an AI-generated transcript here via Descript.  To connect with Elizabeth, find her Substack here. https://creatrixexperience.substack.com/ The Creatrix Experience Podcast is here via Substack. You can also find it on Spotify here.  *** We would love to hear your thoughts or questions on this episode via SpeakPipe: https://www.speakpipe.com/SomaticWisdomLoveNotes To show your gratitude for this show, you can make a one-time gift to support Somatic Wisdom with this link. To become a Sustaining Honor Roll contributor to help us keep bringing you conversations and content that support Your Somatic Wisdom please use this link. Thank you! Your generosity is greatly appreciated! *** Podcast editing and production by: Laura Pritchard Music credit: https://www.melodyloops.com/composers/dpmusic/ Cover art credit: https://www.natalyakolosowsky.com/ Cover template creation by Briana Knight Sagucio    

A un an des municipales, l'épuisement des maires de France. Patricia Roches, maire sans étiquette de Coren-Les-Eaux, dans le Cantal, est l'invitée de Céline Landreau. Ecoutez L'invité de Céline Landreau du 18 avril 2025.Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

A un an des municipales, l'épuisement des maires de France. Patricia Roches, maire sans étiquette de Coren-Les-Eaux, dans le Cantal, est l'invitée de Céline Landreau. Ecoutez L'invité de Céline Landreau du 18 avril 2025.Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Unser heutiger Gast hat an der Freien Universität Berlin Lateinamerikanistik, Politik und Publizistik studiert. Während ihres Studiums verbrachte sie Auslandsjahre an der Universidad de Granada und der Universidad Nacional de Córdoba, um ihre Kenntnisse in Politikwissenschaft und Lateinamerikanistik zu vertiefen. Zudem besuchte sie das Ecole des Roches in Frankreich, um ihre Sprachkenntnisse in Französisch auszubauen. Nach ihrer akademischen Laufbahn absolvierte sie eine klassische Journalistenausbildung und arbeitete unter anderem für den NDR und RTL. Anschließend engagierte sie sich bei Campact mit Schwerpunkt auf Kampagnen gegen Rechtspopulismus und Rassismus. Dort entstand auch ihre Initiative „Hate Speech stoppen“, die maßgeblich dazu beitrug, dass das Bundesland Hessen erstmals ein Maßnahmenpaket gegen Hass im Netz in seinen Koalitionsvertrag aufnahm. 2018 gründete sie gemeinsam mit Campact und dem Verein Fearless Democracy die gemeinnützige Organisation HateAid, die sie seither als Geschäftsführerin leitet. Ihr Ziel: Menschenrechtsverletzungen im Internet bekämpfen, Betroffene unterstützen und dafür sorgen, dass digitale Räume sicher und frei zugänglich bleiben. Für ihr Engagement wurde sie bereits mehrfach ausgezeichnet, unter anderem mit dem „Digital Female Leader Award“ und als Ashoka-Fellow. Seit fast 8 Jahren beschäftigen wir uns in diesem Podcast mit der Frage, wie Arbeit den Menschen stärkt – statt ihn zu schwächen. In über 470 Gesprächen haben wir mit fast 600 Persönlichkeiten darüber gesprochen, was sich für sie geändert hat und was sich weiter ändern muss. Wie begegnen wir digitaler Gewalt, ohne die Meinungsfreiheit im Netz einzuschränken? Welche Rolle spielen Unternehmen, Politik und Gesellschaft, um eine sichere und respektvolle digitale Kultur zu fördern? Und welchen Beitrag kann eine gemeinnützige Organisation wie HateAid leisten, damit die digitale Transformation zu einer menschlicheren und gerechteren Arbeitswelt führt? Fest steht: Für die Lösung der aktuellen Herausforderungen brauchen wir neue Ideen und Herangehensweisen. Deshalb suchen wir weiter nach Methoden, Vorbildern, Erfahrungen, Tools und Ideen, die uns dem Kern von New Work näher bringen. Darüber hinaus beschäftigt uns von Anfang an die Frage, ob wirklich alle Menschen das finden und leben können, was sie im Innersten wirklich, wirklich wollen. Ihr seid bei „On the Way to New Work“ – heute mit Anna-Lena von Hodenberg. [Hier](https://linktr.ee/onthewaytonewwork) findet ihr alle Links zum Podcast und unseren aktuellen Werbepartnern

On this episode of Songs of Our Lives, it's James Toth! I've known James for almost 20 years now (which is hard to get my head around), and in that time he's made a ton of music that's near and dear to me, written a lot of things that have inspired, and generally been a fellow lifer that does work that resonates with me. So, getting him on the show was a no brainer! We talk about his excellent Dunza project before bonding over Crystal Gale and Madonna, Bobby Charles's incredible voice, Pat Methany, Black Flag, The Roches, Randy Newman, Celtic Frost, Rainy Day, and more!Listen to all of James's picks HEREDUNZAJames Toth on PatreonJames on InstagramJames & The GiantsWooden Wand “Harem of the Sundrum & The Witness Figg”Songs of Our Lives is a podcast series hosted by Brad Rose of Foxy Digitalis that explores the music that's made us and left a certain mark. Whether it's a song we associate with our most important moments, something that makes us cry, the things we love that nobody else does, or our favorite lyrics, we all have our own personal soundtrack. Join Foxy Digitalis on Patreon for extra questions and conversation in each episode (+ a whole lot more!)Follow Foxy Digitalis:WebsitePatreonInstagramTwitterBlueskyThe Jewel GardenSong ListCrystal Gale “Don't It Make My Brown Eyes Blue”David Ackles “I've Been Loved”Pat Metheny Group “[Cross the] Heartland”The Roches “Hammond Song”Black Flag “TV Party”Celtic Frost “Cherry Orchards”Chris Squire “You By My Side”Madonna “Live to Tell”Randy Newman “Feels Like Home”Rainy Day “Flying On the Ground is Wrong”Bobby Charles “I Must Be in a Good Place Now”Tony Rice “Last Thing On My Mind”

durée : 01:58:47 - Les Nuits de France Culture - par : Albane Penaranda - Yann Paranthoën a partagé durant une semaine le quotidien des gardiens du phare des Roches Douvres, le plus éloigné en mer d'Europe. Il en rapporte une création sonore mêlant les éléments, les bruits du phare et la vie quotidienne de ses gardiens, leurs occupations, leurs familles restées à terre. - réalisation : Emily Vallat

Face au magazine "Envoyé spécial" sur France 2, au téléfilm "Roches noires" sur France 3 et à l'émission "Pékin Express" sur M6, c'est TF1 qui se hisse en tête des audiences de ce jeudi soir grâce à la série "Mademoiselle Holmes".

Face au magazine "Envoyé spécial" sur France 2, au téléfilm "Roches noires" sur France 3 et à l'émission "Pékin Express" sur M6, c'est TF1 qui se hisse en tête des audiences de ce jeudi soir grâce à la série "Mademoiselle Holmes".

Face au magazine "Envoyé spécial" sur France 2, au téléfilm "Roches noires" sur France 3 et à l'émission "Pékin Express" sur M6, c'est TF1 qui se hisse en tête des audiences de ce jeudi soir grâce à la série "Mademoiselle Holmes".

Send us a textWelcome to Guess the Year! This is an interactive, competitive podcast series where you will be able to play along and compete against your fellow listeners. Here is how the scoring works:10 points: Get the year dead on!7 points: 1-2 years off4 points: 3-5 years off1 point: 6-10 years offGuesses can be emailed to drandrewmay@gmail.com or texted using the link at the top of the show notes (please leave your name).I will read your scores out before the next episode, along with the scores of your fellow listeners! Please email your guesses to Andrew no later than 12pm EST on the day the next episode posts if you want them read out on the episode (e.g., if an episode releases on Monday, then I need your guesses by 12pm EST on Wednesday; if an episode releases on Friday, then I need your guesses by 12 pm EST on Monday). Note: If you don't get your scores in on time, they will still be added to the overall scores I am keeping. So they will count for the final scores - in other words, you can catch up if you get behind, you just won't have your scores read out on the released episode. All I need is your guesses (e.g., Song 1 - 19xx, Song 2 - 20xx, Song 3 - 19xx, etc.). Please be honest with your guesses! Best of luck!!The answers to today's ten songs can be found below. If you are playing along, don't scroll down until you have made your guesses. .....Have you made your guesses yet? If so, you can scroll down and look at the answers......Okay, answers coming. Don't peek if you haven't made your guesses yet!.....Intro song: Boom Boom Pow by Black Eyed Peas (2009)Song 1: Pink Friday Girls by Nicki Minaj (2023)Song 2: Alien Blues by Vundabar (2015)Song 3: Hammond Song by The Roches (1979)Song 4: Am I Wrong by Keb' Mo' (1994)Song 5: See a Little Light by Bob Mould (1989)Song 6: I See You by The Pretty Things (1968)Song 7: It's Only Love by Bryan Adams (feat. Tina Turner) (1984)Song 8: Scumbag Blues by Them Crooked Vultures (2009)Song 9: Light in Your Eyes by The Subdudes (1989)Song 10: I Know You by Craig David (feat. Bastille) (2017)

My guest this week is Elizabeth Des Roches she mentors creative, spiritual women as they explore their REAL powers, discover what they truly want to experience in this life and share their brilliant work with the world. She also shares her writings & podcast on Substack at The Creatrix Experience. During our conversations Elizabeth shares how changing countries changed her work and life, and  also why this is the time for highly-conscious women to expand beyond the lives they have been leading. www.ElizabethdesRoches.com --- DOWNLOAD MY FREE MIDLIFE MEDITATION https://bit.ly/3V4yCDh   HER Inspirations Podcast https://pod.link/165610196 HER Inspirations Mailing List https://bit.ly/45jQ7lH Work with me Bloom Into Midlife Coaching: https://www.carolmaewhittick.com/her-coaching   Connect with me Website: https://www.carolmaewhittick.com/ Instagram: https://www.instagram.com/cazmick/ LinedIn https://www.linkedin.com/in/carolmaewhittick/ Facebook  https://www.facebook.com/Cazmick YouTube https://www.youtube.com/@CarolMaeWhittick HER Conversations  https://pod.link/1304558894 HER Inspirations https://pod.link/1656101961 Show your support: https://www.buymeacoffee.com/CMWhittick

Con Steve Earle, Sharon Shannon ft. Mundy, Smiley Lewis, Elvis Presley, Nicolas Cage, Angelo Badalamenti - Isabella Rossellini, Roy Orbison, Chris Isaak, The Cactus Blossoms, Angelo Badalamenti, The Roches, Shigeru Umebayashi, Bryan Ferry, Manolo y Ricao, Olga Ramos, Tina De Jarque, Nieves Castizo y Carlos Saldaña "Alady", Juanita Reina y Sara Montiel.

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

Singer-songwriter Wallis Bird takes Dearbhail through her life in five songs, from the frenetic energy of The Prodigy to the blood harmonies of The Roches.

Hi, everybody. Welcome to our fifth annual on-air gift exchange! Join us as four grown adults act like the children they used to be. Curious about Greg Murray's work? Check him out @salsdad2018 on the site formerly known as Twitter, https://instagram.com/gregs_comicart, and Comic Book Art By Greg on Facebook. Looking for some fun Christmas music you won't hear on the radio or a corporately curated playlist? Check out the music of The Roches. We would like to also remind you of the banger of a song that is "Christmas All Over Again" by Tom Petty and the Heartbreakers. Merry Christmas! Happy Hanukkah! Heri za Kwanzaa! Thank you for listening. Connect with Meanwhile At The Podcast on social media. Don't forget to #livetweet (we're still calling it that)! Share the show, subscribe so you don't miss an episode, and rate us on your podcast apps. Those much coveted five stars make great Christmas gifts. Stay safe out there. https://x.com/meanwhileatp https://instagram.com/meanwhileatp/ https://www.meanwhileatthepodcast.libsyn.com https://www.facebook.com/meanwhileatthepodcast NOW ON BLUESKY SOCIAL AND SPOUTIBLE @MeanwhileATP Rodney (AKA Art Nerrd): https://x.com/artnerrd https://www.instagram.com/theartnerrd/ https://facebook.com/artnerrd https://shop.spreadshirt.com/artnerrd Kristin: https://www.facebook.com/kristingollhofer https://www.instagram.com/kristingollhofer Rich: https://x.com/doctorstaypuft NOW ON SPOUTIBLE @doctorstaypuft

'I don't bend the rules'Terri Gross, David Bowie, Joy Crookes, Daniel Kitson, Mark Beer, Aaron Sorkin, The High Llamas, Sean O'Hagan, James, Robert Wyatt, Mercury Rev, Prefab Sprout, Scritti Politti, Werner Herzog, The Monkees, Roddy Frame, The Roches

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

David Saint-Jacques raconte ses trucs pour gérer les tensions et les relations humaines alors qu'il était dans l'espace; Alexandre Touchette fait le point sur des microbes vivants retrouvés dans des roches âgées de plus de 2 milliards d'années; et Gino Harel explique comment des astronautes ont utilisé une imprimante 3D en orbite.

Disney Chorus and Orchestra [00:20] "Little April Shower" Walter Disney's Story of Bambi Disneyland ST 3903 1960 Plip plop plip. You may recall from the last episode we heard a track from Stay Awake. On that album, "Little April Shower" is performed by Natalie Merchant, Michael Stipe, and the Roches (https://youtu.be/7ObPekx0h0M?si=BWAulm8X4hnsji14). Thelonius Monk [03:35] "Between the Devil and the Deep Blue Sea" Straight No Chaser Columbia CS 2651 1967 Monk takes a fine run at this standard originally recorded by Cab Calloway. Helped out here by Charlie Rouse on tenor sax, Larry Gales on bass, and Ben Riley on drums. Kyle Dixon and Michael Stein [11:14] "The Upside Down" Stranger Things - Volume One (A Netflix Series) Lakeshore Records 2016 Ah, the first season (https://youtu.be/b9EkMc79ZSU?si=8SqvgKenleN2NEJ0) was pretty near perfect. Had to go with the iconic title track. Frank Sinatra with the Nelson Riddle Orchestra [12:21] "Call Me" Strangers in the Night Reprise Records FS 1017 1966 Oddly enough, Frank has not one but two (2!) Petula Clark covers on this album including this one. I much prefer the brassy sassy production of Petula's version (https://youtu.be/M_mkSWxN2xk?si=gya-HwLlYCWK093i). Less Art [16:22] "Diana the Huntress" Strangled Light Gilead Media RELIC88 2017 Featuring members of Kowloon Walled City and Thrice. Igor Stravinsky and the Columbia Symphony Orchestra [19:34] "Firebird Ballet Suite (1945): Introduction - Prelude and Dance of the Firebird - Variations" Stravinsky Conducts Firebird Suite/Petrushka Suite Columbia Masterworks MS 7011 1967 This is the 1945 arrangement of The Firebird Suite. Roxy Music [22:44] "Over You" Street Life - 20 Great Hits EG EGTV 1 1986 A single orignally from Roxy Music's Flesh and Blood (https://youtu.be/3TL-Bc1giO8?si=FaZvmtDfdg2K-5uF). Evidently recorded as a way to tes tout Phil Manzanera's recently constructed studio. Made it as high as number 80 on the Hot 100. Death Valley Girls [26:07] "Electric High" Street Venom Suicide Squeeze SSQ181 2021 (originally recorded and released in 2014) Closing track to Death Valley Girl's debut studio album. Psych rock excellence (https://youtu.be/AO8z3AwIIaw?si=JCyzx7zyGK17UD5K). Salem 66 [31:08] "Seven Steps Down" 1984 Great Plains [mm:ss] "When Do You Say Hello" 1983 Strum and Thrum: The American Jangle Underground 1983-1987 Captured Tracks CT-302 2020 If you love jangle, you'll love Strum and Thrum. 28 tracks of jingle jangle goodness. An exceptional compilation that includes a 80 page booklet that dives into the scene. Yo La Tengo [36:39] "My Heart's Not In It" Stuff Like That There Matador OLE-1079-1 2015 It's hard to choose just once song from this album, but the opening track does a great job getting the listener in the mood for the album. It's a lovely rendition of the Gerry Goffin/Russ Titelman single recorded by Darlene McCrea (https://youtu.be/CuetP9wAHnY?si=o9YtuELwMU3C6S0v). New Order [39:25] "Sub-Culture" Sub-Culture Factory fac 133 1985 A remix by John Robie of the band's third single from Low-life (https://youtu.be/Uetuplhan_U?si=Or8I0F30teDUWLOh). The flip side is, of course, Dub-Culture. Ahmed Ben Ali [47:53] "Subhana" Subhana Habibi Funk HABIBI022 2023 That's right... reggae by way of Libya. Evidently reggae arrived right around peak Bob Marley and the Wailers and it took off from there. Barren Harvest [52:46] "Claw and Feather" Subtle Cruelties Handmade Birds HB-071 2014 Some dark and lovely ambient folk metal from Portland featuring Jessica Way of Worm Ourobouros. Nancy Sinatra [58:33] "Sugar Town" Sugar Reprise Records RS-6239 1967 A Lee Hazlewood number (naturally) that he says is an allusion to LSD sugar cubes. Featuring Wrecking Crew members including the great Carol Kaye, Glen Campbell, and Hal Blaine. Music behind the DJ: "These Boots Were Made for Walking" by Les Brown and his Orchestra

Esta semana, en Islas de Robinson, caemos entre 1978 y 1979. Sesión de clásicos mayúsculos. Suenan: VAN MORRISON - "FULL FORCE GALE" ("INTO THE MUSIC", 1979) / DIRK HAMILTON - "HOW YOU FIGHT FIRE" ("MEET ME AT THE CRUX", 1978) / RICKIE LEE JONES - "THE LAST CHANCE TEXACO" ("RICKIE LEE JONES", 1979) / RICHARD & LINDA THOMPSON - "BORROWED TIME" ("SUNNYVISTA", 1979) / PATTI SMITH GROUP - "DANCING BAREFOOT" ("WAVE", 1979) / PETER HAMMILL - "MY FAVOURITE" ("PH7", 1979) / THE ROCHES - "PRETTY AND HIGH" ("THE ROCHES", 1979) / J.J. CALE - "DON'T CRY SISTER" ("5", 1979) / JOE EGAN - "WHY LET IT BOTHER YOU" ("OUT OF NOWHERE", 1979) / STEVE FORBERT - "WAIT" ("JACKRABBIT SLIM", 1979) / BOB DYLAN - "PRECIOUS ANGEL" ("SLOW TRAIN COMING", 1979 ) / WARREN ZEVON - "ACCIDENTALLY LIKE A MARTYR" ("EXCITABLE BOY", 1978) / Escuchar audio

Anne Roche, owner of Roches in Kimmage, told Brendam about how their team have been helping those experiencing changes to their appearance due to alopecia, cancer treatment and surgeries for nearly forty years. For more information see www.roches.ie.

Wanted to let you know that we're taking the last three weeks of August off, and we'll be back the Thursday after Labor Day, Sept. 5, all refreshed and ready with a new Caropop conversation. In the meantime, we encourage you to explore our back catalog. There are 145 episodes, after all.Have you listened to Ep. 102 with jazz-R&B pianist/singer/composer Patrice Rushen? How about Ep. 90 with Suzzy Roche of the Roches? Or Ep. 88 with Eddie “King” Roeser of Urge Overkill? Or Eps. 24 and 25 with, respectively, Colin Blunstone of the Zombies and Sam Phillips? Or Ep. 9 with legendary mastering engineer Bernie Grundman? How about one of the XTC episodes with Colin Moulding, Dave Gregory or Terry Chambers? You can find these and discover others at https://www.caropop.com/caropopcast or go to Apple Podcasts or Spotify. Producer Chris Cwiak and I wish you all a great end of summer, and we'll talk with you again soon. Thanks!

Bobby and Justin continue their annual PPP episodes with RB Devin Singletary & DL Rakeem Nunez-Roches. The guys talk about who these players are, what their strengths and weaknesses are and what they expect their 2024 season to look like. Visit https://www.Captainmorgan.com to find Captain near you. 00:00 Devin Singletary 12:47 Rakeem Nunez-Roches Join our Patreon: https://Patreon.com/TalkinGiants Tickets to our tailgates: https://shop.jomboymedia.com/products/talkin-giants-l16-tailgate-series?variant= Check out our Merch: https://shop.jomboymedia.com/collections/talkin-giants Subscribe to JM Football for our NFL coverage: https://www.youtube.com/@JMFootball Subscribe to the JM Newsletter: http://jomboymedia.com/email #giants #nygiants Learn more about your ad choices. Visit podcastchoices.com/adchoices

Dani Des Roches is a circular apparel designer and founder of Picnicwear, an apparel and accessories brand made in the USA from vintage and deadstock materials. Dani specializes in knitwear, having spent a decade designing sweaters for large retailers like Urban Outfitters and Express. Her most recent role is as the Director of Sourcing Partnerships at Nest, a non-profit that advocates and supports artisans and makers in the global handcraft sector. In her position, she supports the organization's relationships with brands, designers, and retailers who are looking to source products from artisan and maker communities in the US and around the world. On this episode, Dani speaks with Blair Levin Stroh and shares her journey from growing up in Vancouver with a family-owned fashion business to her varied career in knitwear design. She also dives into what her role entails at Nest.

Alistair from Urbandoned tells PJ how that great atmospheric video of the old Debenhams building in Patrick Street got made which you can see here Hosted on Acast. See acast.com/privacy for more information.

‘Funny You Should Sing That' is a special episode featuring odd and unusual takes on familiar subjects. This compilation features performances by Randy Newman, Todd Snider, Julia Sweeney, Jeff Daniels, The Roches, Jill Sobule, and many more as they tackle the topics of love, sex, religion, politics, general absurdity, and possibly the most sordid of all… a career in the music business. 

http://www.copperplatemailorder.com                Copperplate Time 457           presented by Alan O'Leary                         1. Bothy Band:  Green Groves/Flowers of Red Hill.         After Hours 2. Peoples/Molloy/Brady:               Matt Peoples.  Peoples/Molloy & Brady  3. Frankie Gavin:   Christmas Eve. Rainy Sundays 4. Ralph McTell:  The Girl From the Hiring Fair.               Bridge of Sighs5. Ushers Island:               Sean Keane's. Ushers Island                                  6. Andy Irvine:  King Bore & The Sandman.               Rainy Sundays 7. Paddy Glackin: Top It Off/The Sunny Banks.                Ceol ar an bhFidil 8. John Doyle:  The Path of Stones.  The Path of Stones 9. Ailie Robertson: The Exploding Bow. First Things First10. Shane McGowan & The Pogues:             A Pair of Brown Eyes. Rum, Sodamy of the Lash 11. John J Kimmel: Bonnie Kate/The Swallows Tail/Star of Munster.      Early Recordings of Irish Trad Music 12. Kevin Burke:   Tuttle's Reel/Bunch of Green          Rushes/Maids of Mitchelstown.  The Very Best of… 13. Moloney/O'Connell/Keane:               Kilkelly.   Bringing It All Back Home               14. Michelle Mulcahy:  Caoineadh Mick Moloney.                Lady on the Island 15. Donncha O'Briaín: The Maple Leaf/The Man of Arran.  Trad on the Tin Whistle16. Paul Brennan & Carrig: The Piper's Jig/The Swan Among the Rushes/Behind the Bush in the Graden.                  Airs & Graces 17. Dezi Donnelly & Mike McGoldrick:          The Humours of Lissadell/Queen of May/Sweeney's Dream.    Dog in the Fog 18. The Roches:  Hammond Song.                 Collected Works of The Roches 19. We Banjo 3: The Bunch of Green Rushes/Salt Creek.    Live in Galway 20. Bothy Band:  Green Groves/Flowers of Red Hill. After Hour   

As we continue to watch horrors in mass play out through tiny screens, I think that it is important to maintain these conversations in the sustainable fashion space because we are all interconnected. While it is becoming more and more apparent that we need to speak truth to power and stand up for those who are silenced, the fashion industry is a part of that conversation. We cannot let late stage capitalism and greed steal our joy and hope.For this episode of Sustainably LB, I got to share space with Dani Des Roches Designer and Founder of Picnicwear. Dani has worked in the fashion industry as a designer for over a decade. She has fused her background and knowledge with ethics and intention to create unique pieces for her brand Picnicwear. Picnicwear is a slow fashion label handmade from vintage and deadstock materials that Dani started in 2020 as a response to her dissatisfaction with the industry's many shortcomings. I hope you enjoy this episode as much as I enjoyed our conversation. Show Notes:Wearing your hope and joyFuture vintage over future garbageHigh price does not equal high valuePosting for joy vs. necessity Alchemizing your darkness through creating and idealismIG: @picnicwear@daniddrLinks:Picnicwear WebsiteDeja Vu Dress PatternConscious Style Podcast InterviewClotheshorse Podcast InterviewMusic:Ian AeilloCreative:Lauren BatesLogo:Meadow Hearn

Multi- Instrumentalist/Songwriter Releases New Album "Fever Dreaming In Lo-Fi"#newmusic #multiinstrumentalist #percussion #guitarist #newalbum “Fever Dreaming In Lo-Fi” is the fifth solo release by NYC based multi-instrumentalist/songwriter, Marlon Cherry. This collection of music is an eclectic mix of styles, ranging from Rock, Dream Pop, Jazz, Experimental, World Beat, and even a splash of A Cappella R & B. Marlon handles all of the instruments and vocals on the bulk of the pieces, with some wonderful guest contributions from Terre Roche (The Roches), Susan Hwang, Paul Brantley, Christina Schneider, and poet/actress, Sophie Malleret. The project was co-produced by Marlon and Zach Phillips (Fievel Is Glauque), who also engineered the recording. Marlon has worked and continues to work with a wide range of artists including Stew & The Negro Problem (Tony Award winners for Passing Strange), Stew's current side project, Baba Bibi, Syd Straw, actress/songwriter, Eszter Balint, Chris Cochrane (Marc Ribot, Zeena Parkins), and Terre Roche (solo and as part of the trio, Afro-Jersey with Sidiki Conde), among others.Previous solo releases by Marlon are “Life After Théâtre” (1986), “Pete” (1990), “Elsewhere” (2001), and “Ancient Sound, Modern Dance” (2006).“Fever Dreaming In Lo-Fi” is available for streaming/download at Spotify, Amazon, iTunes, Bandcamp, Hear Now, and other sites and is available in cd format via CD Baby. https://marloncherry1.bandcamp.com/album/fever-dreaming-in-lo-fiInstagram: https://www.instagram.com/marlon.cherry/Facebook: https://www.facebook.com/marlonecherryThanks for tuning in, please be sure to click that subscribe button and give this a thumbs up!!Email: thevibesbroadcast@gmail.comInstagram: https://www.instagram.com/listen_to_the_vibes_/Facebook: https://www.facebook.com/thevibesbroadcastnetworkLinktree: https://linktr.ee/the_vibes_broadcastTikTok: https://vm.tiktok.com/ZMeuTVRv2/Twitter: https://twitter.com/TheVibesBrdcstTruth: https://truthsocial.com/@KoyoteFor all our social media and other links, go to: Linktree: https://linktr.ee/the_vibes_broadcastPlease subscribe, like, and share!

This month, we're thrilled to have David Mansfield on the show, a composer, multi-instrumentalist, producer, and arranger with a long and storied career. We have each worked with David for a long time, and know firsthand the talent and depth he brings to all the music he touches. Growing up in New Jersey and beginning his career in local bands, he started playing with Bob Neuwirth at The Bitter End and, at 18, joined Bob Dylan's Rolling Thunder Revue. From there, he went on to tour and record with Dylan over many albums, and in his 50-year career has worked with an endless variety of artists, including Sting, Van Morrison, Johnny Cash, Emmylou Harris, Bobby McFerrin, David Byrne, The Wainwrights, The Roches, really the list goes on and on. He's also composed an equally extensive list of music for film and television, including The movies “Heaven's Gate” and “The Apostle” and, most recently the Showtime Limited Series “George & Tammy”. In this episode, David discusses his early career and influences, touring with Dylan, his scoring and composition work, and demonstrates the Psaltery, one of the more unique of his many instruments.

Riana Pizzi -North east education counselor for Les Roches and GlionGlion Institute of Higher Education www.glion.eduLes Roches Global hospitality Education www.lesroches.eduscholarshipowl.comPrep Expert Coupon Code/Affiliate Relationship ExplainedDormify Coupon Code/Affiliate Relationship ExplainedAlphabetical List of All Episodes with LinksClick Here To Join The Podcast Email ListThe College Application Process Podcast - Social Media Links

On this ReWind, we venture back to the time honorary co-host Taylor Rowley helped us uncover the musical magic of sisters Maggie, Terre and Suzzy Roche.   If you like us, please support us at patreon.com/idbuythatpodcast to get exclusive content, or tell a friend about us. Broke and have no friends? Leave us a review, it helps more people find us. Thanks!

Bobby and Justin continue their PPP episodes and take a look at RB Saquon Barkley & DL Rakeem Nunez-Roches (Nacho). The guys talk about who these players are, what their strengths and weaknesses are and what they expect their 2023 season to look like. 00:00 Saquon Barkley 22:15 Rakeem Nunez-Roches Get 20% Off and Free Shipping with the code GIANTS at https://Manscaped.com Join our Patreon: https://Patreon.com/TalkinGiants Check out our Merch: https://shop.jomboymedia.com/collections/talkin-giants Subscribe to JM Football to see Bobby's Draft Breakdowns: @jmfootball

Rakeem Nunez-Roches addresses the media before Tuesday's first padded practice.See omnystudio.com/listener for privacy information.

What is it like to work as a designer for a fast fashion brand? And what is it like to build your own sustainability minded small fashion brand, from circular design practices to figuring out your pricing?That's what we're getting a glimpse into in this episode with Dani Des Roches, designer and founder of the upcycled brand Picnicwear, recognizable by its groovy 60s/70s aesthetic, bold and playful use of color, and most notably its use of vintage towels as its primary material. Before that, Dani attended the Fashion Institute of Technology in New York City and was behind the scenes as a sweater designer for household names like Urban Outfitters and Express.Feeling dissatisfied with the industry, Dani started her own B2B design studio, Kismet Concept Studio and of course her Direct to Consumer brand, Picnicwear, which creates high-quality pieces using 95% pre-existing materials.In this conversation, Dani is giving us a look under the hood of the operations at big fashion brands and sharing what she thinks we should all know about how these brands operate.She's also getting transparent about her own journey building a small slow fashion business.If you want to learn more from Dani, Dani is leading a Circular Fashion Design Workshop that we're hosting over at Conscious Fashion Collective.It will be an educational and interactive event for designers, industry professionals, sewists, and sustainable fashion advocates wanting to learn more about sustainability in fashion.You'll learn how brands and designers can use circularity as a foundation for design, what a holistic approach to circular apparel design looks like, and tangible strategies to integrate circularity into apparel production and post-consumer reverse supply chain.Hope to see you there!>> Get tickets for the circular design workshop led by Dani here!Or join the Conscious Fashion Collective Membership to attend for free.***SHOW NOTES:https://www.consciouslifeandstyle.com/dani-des-rochesMENTIONED IN THIS EPISODE:Event: Finding Creativity In Circularity — Circular Apparel Design WorkshopClotheshorse InstagramInterview with Selina Ho***CONNECT WITH DANI:

On this series of bonus pods, I will help one business owner identify one action that solves their biggest marketing headache. This way, marketing becomes easier and more effective (and sucks less).  This week we have Elizabeth Des Roches. She is a business coach with years of experience owning her own business and has a very unique set of tools in her toolbox When Elizabeth took the Discover Your Marketing Achille's heel assessments her biggest marketing headache was showcasing the results her clients achieve. The was impacting her ability to invite people into her sales process. Why wasn't she sharing the result? Because every time she sat down to write up her clients, results…she though “This is too good to be true. No one is going to believe this.”  When you're an expert, doing amazing work, how do you highlight results that are too good to be true? Let's dive in and figure that out!  Want your own hot seat? Start by taking the marketing assessment at drmichellemazur.com/marketing  Then look out for an email later this summer telling you how to get on the show.  

John Schmeelk is joined by the newest Giants, wide receiver Parris Campbell, wide receiver and special teamer Jeff Smith, and defensive lineman Rakeem Nunez-Roches. SUBSCRIBE NOW: Apple | Spotify| Google |Stitcher| iHeart Radio 01:02 - Parris Campbell 10:51 - Jeff Smith 15:15 - Rakeem Nuñez-RochesSee omnystudio.com/listener for privacy information.

Defensive tackle Rakeem Nunez-Roches speaks to the media Friday for the first time as a member of the Giants.See omnystudio.com/listener for privacy information.

Joe Schoen isn't playing around! We review the Giants' free agent moves thus far and discuss what may still lie ahead. And yes, we touch on the circus with the Jets. Enjoy. Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

00:00 Intro 2:00 Bobby Okereke 18:40 Rakeem Nunez-Roches 30:45 Vibes Check 33:30 Goodbye Nick Gates 39:20 Sterling Shepard is Back 44:10 Matt Breida is Back 46:07 Casey Kreiter + Jamie Gillan are Back 48:45 Odell? This episode was brought to you by SeatGeek Use code JOMBOYPRESEASON for 15% off your next purchase at SeatGeek* This episode is sponsored by BetterHelp. Give online therapy a try at https://betterhelp.com/talkingiants and get on your way to being your best self Check out the Bobby Okereke film breakdown: https://youtu.be/Jx1CUEXmt_c Check out the Rakeem Nunez-Roches film breakdown: https://youtu.be/Ji8ZpZH3wT8 Join our Patreon: https://Patreon.com/TalkinGiants Check out our Merch: https://shop.jomboymedia.com/collections/talkin-giants Subscribe to JM Football to see Bobby's Draft Breakdowns: https://www.youtube.com/@JMFootball

Dan and Nick break down the first day of the NFL's legal tampering period in free agency by first taking an overall 30,000-foot look at how the market played out at wide receiver, linebacker, safety and other positions that dictated the Giants' plan. Then, they discuss Joe Schoen's Day 1 plan and execution, their thoughts on both free agent signings from outside the organization in LB Bobby Okerke and IDL Rakeem Nunez-Roches. They also discuss the decision to re-sing RB Matt Breida, letting Nick Gates sign with the Commanders and what's going to happen with Julian Love, Darius Slayton and more. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Grab a bottle of Trader Joe's wine and tuck into this episode on your way to Hooters after not cuddling your girlfriend, after all, everyday can't be her birthday. It's just what this undeniable classic intended! Guest: Carl Tart of fellow Headgum podcast, XOXO, Gossip Kings. Walk-in music: 'The Hallelujah Chorus' by The Roches; 'Poontang' by The Undisputed Truth; 'Whiskey Drinkin' SOB' by Scroat Belly. Follow Punch Up The Jam on Twitter and Instagram Like the show? Rate Punch Up The Jam 5 stars on Spotify and Apple Podcasts and leave a review for Andrew and Evan. Advertise on Punch Up The Jam via Gumball.fm See omnystudio.com/listener for privacy information.See omnystudio.com/listener for privacy information.