Podcasts about Rock and roll

The 3WHH bartenders take time away from the news headlines and court cases to take up some aspects of patriotism (but also with a tutorial for John about the mellotron!).  We start with an origin story of sorts for John himself, as he is an immigrant to the U.S., and as such provides a good reminder of how immigration ought to be understood and practiced. From there, Lucretia meditates on the curious recent survey results showing that love of country among Democrats has precipitously declined over the last decade or so. We agree that our dessicated education system has a lot to do with this—did we really think the Howard-Zinnification of our history would be without consequences?—but we need to wonder why Republicans seem to be immune to these calumnies against our great country. Lucretia fingers the Progressives, and that leads to the final gonzo segment for the holiday, where Steve settles scores from slanders against him when he missed an episode three weeks ago, and makes the evidently futile attempt to school John about the mellotron and the inherent greatness of the brief shining moment of progressive rock—"rock and roll that went to college," as Jody Bottum calls it—in the early 1970s, which, come to think of it, is when the Clean Air Act was first enacted.So come for the patriotism (and a sharp and unexpected argument about Daniel Bell), and stay for the awesome music!

On this episode: Nate flies solo and goes to conferences. Aaron visits guys.This week, Nate interviews Troy Haas. Troy is CEO of a less expensive and longer term onsite recovery program from sex, drugs, and rock and roll. Troy talks about hiding his sexual acting out for seven years while on the mission field in Africa. He shares how he was removed from the mission field and sent for recovery and healing in California, where he learned grace and love. He and others started a residential treatment center in Woodstock, GA called Hope Quest.Links: Hope QuestSept. 12-14, 2025 Austrian Retreat Nov 7-9, 2025 Santa Fe, NM Samson Summit Nov 7-9, 2025 The Wild & Sacred Journey, Womens RetreatSponsor: Life Works CounselingIf you have thoughts or questions and you'd like the guys to address in upcoming episodes or suggestions for future guests, please drop a note to piratemonkpodcast@gmail.com.The music on this podcast is contributed by members of the Samson Society.For more information on this ministry, please visit samsonsociety.com. Support for the women in our lives who have been impacted by our choices is available at sarahsociety.com.The Pirate Monk Podcast is provided by Samson Society, a ministry of Samson House, a 501(c)3 nonprofit. To enjoy future Pirate Monk podcasts, please consider a contribution to Samson House.   HopeQuest Group Christian Treatment Center | HopeQuest | Sex Addiction Woodstock GA Our Christian treatment center guides individuals and families impacted by addiction on a path to freedom, hope, and life.     Samson House Store Samson European Retreat: RAV 47 — Samson House Store 38 hours + 5 meals + 3 Samson meetings + 1 mountain ascent = 47 lives changed forever.     Samson House Store 2025 Samson Summit — Samson House Store Join us for an unforgettable weekend to explore your story, deepen your relationships, and live out your story as fully as God intended. When: November 7-9, 2025 Where: Camp Glorieta , a 2,400-acre campus located about 15 miles southeast of Santa Fe, New Mexico. Lodging options are available.     Samson House Store Wild & Sacred Journey — Samson House Store Join us during the Samson Summit on November 7-9, 2025, for The Wild and Sacred Journey , a transformative weekend retreat designed exclusively for women to reconnect with the wild, playful, and sacred aspects of themselves. This experience weaves together moments of creative expression and deep reflelection.     Lifeworks Counseling Lifeworks Counseling | Discover the Healing You Deserve! Lifeworks Counseling has four locations in Mississippi to serve you and your family! Book an appointment today! (70 kB)  

This week on the Hemp Show we're talking about flax, a fiber plant with remarkable similarities to industrial hemp when grown for textiles. There's a fair amount of flax growing this year in southeastern Pennsylvania. The last time this much flax grew here, tractors hadn't even been invented yet. By the late 1800s flax production was in rapid decline in the Keystone State, pushed out by cheap cotton and forgotten by a country racing toward synthetic fiber — which makes 2025 a special year in Pennsylvania. Thanks to the PA Flax Project, spearheaded by Heidi Barr and Emma de Long, there are 30 acres of flax for fiber production in Chester, Montgomery and Lancaster counties this year. Thirty acres sounds small, but it's a far cry from the eighth of an acre the organization started with in 2022, or the zero acres for generations before that. When they harvest their 30 acres of flax next week, de Long said, this will be the first flax for fiber ever mechanically harvested in Pennsylvania. “When flax became no more in the United States, thanks to cotton and free labor and synthetics, the linen industry was destroyed. And since then, it has mechanized in other parts of the world. So now that we are having a resurgence of growing fiber flax and bringing this industry back, we have imported equipment from Belgium and we're ready to rock and roll,” she said. Barr said the Pennsylvanian Department of Agriculture has been instrumental in helping further the nascent flax industry in the state. “We advocated for and they added fiber flax to Pennsylvania's specialty crop list, which made us eligible for a specialty crop block grant, which we received,” Barr said. The organization also received an Organic Market Development Grant through USDA's Agricultural Marketing Service, which they are using to implement their business plan and scale acreage, educate and support farmers, and to develop a plan for a scutching mill, Barr said. She said the mill will be a worker- and farmer-owned cooperative, based on flax-producing co-ops in Europe. The podcast this week shares a handful of voices from the PA Flax Project's Flax Flower Picnic, held June 14 at Lundale Farm in South Coventry Township, Chester County. In order of appearance on the show, we hear from Emma de Long and Heidi Barr from the PA Flax Project; Natalie Horvath, design director at F. Schumacher and Company, a family-owned textile and interior design powerhouse in New York; Bill Schick, director of agriculture for the PA Flax Project; Mike Roth from the Pennsylvania Department of Agriculture; Paul Turner, chair of the Department of Theater and Dance at Rowan University; Leslie Davidson from the Pennsylvania Fibershed; and PA Flax Project member Rachel Laramee. After flax, we check in with Dr. David Suchoff from NC State University in North Carolina about the Global Fiber Hemp Summit in Raleigh later this month. Learn More: PA Flax Project paflaxproject.com F. Schumacher & Co. schumacher.com Pennsylvania Department of Agriculture www.pa.gov/agencies/pda.html Pennsylvania Fibershed pafibershed.org North American Linen Association (NALA) northamericanlinen.org Thanks to our sponsors! IND HEMP Indhemp.com Forever Green, distributors of the KP4 Hemp Cutter hempcutter.com

Scot and Jeff discuss Bob Seger with Tim Constantine.Introducing the Band:Your hosts Scot Bertram (@ScotBertram) and Jeff Blehar (@EsotericCD) with guest Tim Constantine. Today you see him interviewing presidents and prime ministers on The Capitol Hill Show out of Washington, D.C., but Tim got his broadcasting start in rock radio when he was just 13 years old. Watch Tim Constantine's Capitol Hill Show and find him on X at @timconstantine1.Tim's Music Pick: Bob SegerBursting out of the Detroit rock scene in the late '60s, Bob Seger paid his dues in smoky bars and VFW halls before finally breaking through with Live Bullet and Night Moves. It wasn't overnight success. Seger's story begins in the early 1960s and includes a string of quality albums in the early 1970s that the artist refuses to allow to be streamed or rereleased in any way. Seger's raspy voice and working-class storytelling made him the unofficial bard of the Midwest — writing songs that felt like they were ripped straight from America's small town backroads and main streets. Seger had a gift for writing anthems that balanced nostalgia with grit, “Night Moves” and “Mainstreet” chief among them. He followed his smash hit album with a fish-out-of-water follow-up that spoke to some of his uncomfortableness with the spotlight. In the '80s, Seger leaned into his role as rock's reliable everyman. With songs like “Against the Wind” and “Like a Rock,” he became the (literal) soundtrack for Forrest Gump and the voice that sold millions of Chevy pick-up trucks. Whether it was a prom slow dance or a late-night drive, Seger's songs were always there.His later albums didn't necessarily chase relevance — they just kept the flame alive. And when he finally hung it up after one last tour in 2019, he didn't exit with bombast and he hasn't teased the world with any number of comebacks. He seems content to have left listeners with a jukebox full of songs to enjoy. And it's likely you know far more of them than you might think.If you're a fan of old time rock and roll, well, this might be the episode for you. 

What's up, dudes? I've got Ken Kessler from Sounds of Christmas and Scott Leopold from Holly Jolly X'masu here to talk the wonky version of “A Christmas Carol!” Yes, it's “Scrooge's Rock 'N' Roll Christmas” starring Jack Elam and ‘60s/‘70s musical acts!Airing in 1984, the special shows Ebenezer Scrooge in his counting house. Enigmatically, a young girl goes through an unseen time slip à la the Real Ghostbusters and winds up in his place. Subsequently, she attempts to enliven his Christmas spirit with a magical snowglobe that grants wishes. Her wish: teach Scrooge about Three Dog Night.The rest of the show is the duo arguing about Christmas and rock and roll, and watching various bands and singers. Everyone from Merrilee Rush to Paul Revere & the Raiders show up and sing Christmas songs and carols. Mary MacGregor and Mike Love sing “Do You Hear What I Hear?” while the Association sings “Sleigh Ride.” The acts change Scrooge's tune, and all's well that ends well.Bobby Goldsboro? Got him. Mike Love? Much maligned, but he's there too. Bridget? …Bridget?!?! So hop on your sleigh. Shake your magic snowglobe and sing along to this episode on “Scrooge's Rock ‘N' Roll Christmas!”Sounds of ChristmasFB: @SOCMusicTwitter: @SOCMusicIG: @socmusicHolly Jolly X'masuFB: @HollyJollyXmasuTwitter: @HollyJollyXmasuIG: @hollyjollyxmasuGive us a buzz! Send a text, dudes!Check us out on Facebook, Twitter, Instagram, Totally Rad Christmas Mall & Arcade, Teepublic.com, or TotallyRadChristmas.com! Later, dudes!

Ian Anderson is touring again in 2026 and talks to us here about tweed stage-wear, an audience of four, his teenage heroes and the first shows he ever saw and played. There's all sorts within, including …   … playing his first gig to Catholic schoolgirls at the Holy Family Youth Club in Blackpool – “we emptied the room”. … queues round the block at the Marquee in 1968 – “the moment I knew we'd arrived.” … how Joe Cocker nicked his breakfast. … seeing Cliff at the ABC in Blackpool – “he was our Elvis.” … guitarists who played “nicely”– Hank Marvin, Eric Clapton, Peter Green, Ritchie Blackmore. “Precise, accurate, they sang melodies.”  … the ceremonial christening of Jeffrey Hammond-Hammond. … exotic clothes, stage names and parallels with Beefheart's Magic Band.  … recording Feel Like Makin' Love with the 90-year-old Engelbert Humperdinck. … learning Guitar Tango by the Shadows - “not blues or rock and roll - progressive pop!” … the fine art of dressing up: Jethro Tull in America – tweeds and deerstalkers v check shirts and denim.   … fund-raising shows for imperilled cathedrals.   … the allure of touring by train – “I'm Michael Portillo with a flute”. … the three songs Jethro Tull always play. Tickets for the Curiosity Tour 2026 here: jethrotull.com Ian Anderson presents Christmas With Jethro Tull:Thursday 18 December 2025 - Bath AbbeyFriday 19 December 2025 - Peterborough CathedralSaturday 20 December 2025 - Southwark Cathedral Hosted on Acast. See acast.com/privacy for more information.

Zakk Wylde takes some time to dive into Back to the Beginning, celebrating his love of Ozzy Osbourne and Black Sabbath ahead of the historic concert.

Ian Anderson is touring again in 2026 and talks to us here about tweed stage-wear, an audience of four, his teenage heroes and the first shows he ever saw and played. There's all sorts within, including …   … playing his first gig to Catholic schoolgirls at the Holy Family Youth Club in Blackpool – “we emptied the room”. … queues round the block at the Marquee in 1968 – “the moment I knew we'd arrived.” … how Joe Cocker nicked his breakfast. … seeing Cliff at the ABC in Blackpool – “he was our Elvis.” … guitarists who played “nicely”– Hank Marvin, Eric Clapton, Peter Green, Ritchie Blackmore. “Precise, accurate, they sang melodies.”  … the ceremonial christening of Jeffrey Hammond-Hammond. … exotic clothes, stage names and parallels with Beefheart's Magic Band.  … recording Feel Like Makin' Love with the 90-year-old Engelbert Humperdinck. … learning Guitar Tango by the Shadows - “not blues or rock and roll - progressive pop!” … the fine art of dressing up: Jethro Tull in America – tweeds and deerstalkers v check shirts and denim.   … fund-raising shows for imperilled cathedrals.   … the allure of touring by train – “I'm Michael Portillo with a flute”. … the three songs Jethro Tull always play. Tickets for the Curiosity Tour 2026 here: jethrotull.com Ian Anderson presents Christmas With Jethro Tull:Thursday 18 December 2025 - Bath AbbeyFriday 19 December 2025 - Peterborough CathedralSaturday 20 December 2025 - Southwark Cathedral Hosted on Acast. See acast.com/privacy for more information.

"Getting the systems and the processes in place actually creates space for the creativity because there's certain things in business that just need to happen."In this episode of Above the Business, Bradley Hamner is sharing a fan favorite episode with David Jenyns, author of "Systemology." This episode serves as a perfect introduction to systems thinking, as Bradley prepares listeners for an upcoming episode featuring David's new book "Systems Champion." Listen for an in-depth discussion about building business systems that create freedom rather than constraint.David shares his entrepreneurial journey from running various businesses including a rock and roll clothing franchise, video production company, and digital agency, to his breakthrough moment that led him to systemize his way out of day-to-day operations. The conversation addresses the common entrepreneurial paradox: starting a business for freedom but ending up trapped by it.Key Topics DiscussedOvercoming the Systems Mindset BarrierWhy entrepreneurs often resist systemization despite wanting freedom.The counterintuitive truth that systems create space for creativity, not stifle it.How David's video production business breakthrough showed him that processes. handle routine tasks, freeing up mental space for high-value creative work.What Business Systems Actually Look LikeMoving beyond the overwhelming "McDonald's manual" perception of systems.Starting simple with screen recordings, checklists, and basic documentation.Systems as iterative, living documents that evolve over time.The importance of seeing actual system examples to understand what's possible.The Master Skill for Business OwnersEvery business problem is fundamentally a systems problem.Lead generation issues = need better lead generation systems.Sales problems = need better sales systems.Cash flow issues = need better finance management systems.Staff problems = need better recruitment and onboarding systems.Getting Started: From Blank Cursor to DocumentationPractical first steps for solo entrepreneurs vs. teams with 5+ people.The power of Loom recordings stored in organized Google Drive folders.Capturing current processes before optimizing (not aspirational systems).Applying the 80/20 rule to focus on essential systems first.The Systems Champion RoleWhy successful businesses identify a dedicated systems champion.The systems champion as the "department head" for processes.How this person celebrates wins, supports team members, and keeps systems front-and-center.The business owner's role in leading and supporting (not abdicating responsibility).Building Business Assets vs. Trading Time for DollarsUnderstanding systems as business assets that generate value without owner presence.The transition from working in the business to working on the business.Why business owners must invest time and resources upfront to build systematic foundations.Guest InformationDavid Jenyns is based in Melbourne, Australia, and is the author of "Systemology." He helps business owners systematize their operations to create freedom and scalability. David has experience across multiple industries and is currently working on his upcoming book "Systems Champion," which focuses on the person who actually implements and drives systematic business documentation.Connect with the ShowBradley Hamner hosts Above The Business, empowering business owners to rise above daily operations and embrace strategic ownership. The show

FINAL EPISODE ON THE INTERVIEWS FEED Please look up the Whiskey Lore Podcast and subscribe for future interviews. I am consolidating feeds. All older interviews have been moved to that main Whiskey Lore Podcast feed. In this conversation, Drew Hannush interviews Dr. Pat Heist, co-founder of Wilderness Trail Distillery, exploring the journey from a small farmhouse distillery to a significant player in the whiskey industry. They discuss the scientific approach to distilling, the impact of the Renewable Fuels Act, the evolution of fermentation practices, and the importance of data collection in whiskey production. Dr. Heist shares insights on the sweet mash process, the challenges of scaling operations, and the future of whiskey innovation. TAKEAWAYS Wilderness Trail Distillery started as a small farmhouse distillery. Dr. Pat Heist and Shane Baker's partnership began in rock and roll. Firm Solutions was established during the 2006 economic crisis. The Renewable Fuels Act significantly impacted the distilling industry. Fuel ethanol production shares similarities with whiskey production. The distillery focuses on scientific methods in fermentation. Wilderness Trail has expanded its operations significantly since inception. Data collection is crucial for understanding whiskey production variations. Sweet mash production is a key focus for Wilderness Trail. The distillery aims to innovate and improve whiskey quality. Hear an extended version at whiskey-lore.com/patreon

Famed Rock & Roll Manager Alan Niven chats about his first memoir, "Sound N' Fury: Rock N' Roll Stories," in which he shares stories of managing Rock and Roll royalty acts such as Guns N' Roses and Great White. Learn more about your ad choices. Visit megaphone.fm/adchoices

K.K. Downing celebrates his new version of Judas Priest's "Never Satisfied" and looks back on Priest's early days with Black Sabbath.

Send us a textStop by the rock room for an array of rock and roll sustenance. A spectacular selection of deep cuts, live tracks, and rare goods from the rock room vaults featuring the Kinks, Pretty Things, the Man in Black and much more.Support the show

YoutubeFacebookXInstagramBioNORTHERN KENTUCKY – Orchid in the Ivy, the hard-hitting alternative rock triofronted by Brett Scharf, is turning heads with the re-release of their fiery, pop-punkrendition of “Beds Are Burning.” Originally recorded some time ago, the band recentlyremixed and relaunched the track to pave the way for their upcoming five-songEP—proving that rock is far from dead and Scharf's creative fire is still blazing.“We did a new mix,” says Scharf of the Midnight Oil classic. “We kinda did it a whileago, and we basically did a whole remix... people will maybe recognize it a little bit andthen kinda get your feet wet again with it—and then go with the five song EP after that.”The result? A faster, sharper, and more aggressive version of the politically chargedanthem—reborn through Orchid in the Ivy's melodic punk-rock lens. “I always thought ithad a great groove to it,” Scharf explains. “I was messing around with it one day andjust thought, ‘God, if we sped this up, this would be more like almost a punk rock tune.' Idon't think they realized how kind of heavy and punk rock that song could actually be.”For Scharf, who once toured alongside now-household names like Fall Out Boy andMotion City Soundtrack in his early band Spindle, Orchid in the Ivy represents a rebirth.After years of navigating the ups and downs of multiple projects, including RosemaryDevice, Scharf stepped into the role of lead singer “more out of necessity than anythingelse.” That unplanned shift uncovered a sound—and voice—that finally felt right.“I put some vocals down on a couple songs and asked my drummer what he thought.He liked it, and we just kept going forward that way,” says Scharf.Since forming in 2013, Orchid in the Ivy has remained fiercely self-sufficient. The bandrecords everything at Scharf's own studio, allowing them the space to experiment andevolve. “We were trying to really find out our sound,” Scharf says. “I think in the last fiveor six years, we really found our voice.”That voice blends the emotional punch of Brand New's The Devil and God Are RagingInside Me with the melodic grit of Alkaline Trio's Crimson and the urgency of RiseAgainst. The upcoming EP, while not including “Beds Are Burning,” follows hot on itsheels, with singles set to roll out every six to eight weeks.“There's a little more emotion involved in this one,” Scharf notes of the new material.“The stuff I've been writing for this EP—and even the next one—is just a little morepersonal. With everything going on in the world, it just seems like a chaotic time.”Though Scharf's journey has spanned decades and many stages, his passion hasnever faded. “The older I got, the better the writing got,” he says. “There's always beenthat inspiration of finding new music, being creative. That's always been a passion ofmine.”And for fans of raw, heartfelt rock music, the message is clear. “Rock's not dead,”Scharf insists. “I hope we can burst through the scene and break some barriers again.There's still a huge audience out there—and just because major labels aren't signing it,doesn't mean they're not there. That's what rock has always been about: breaking downbarriers.”Become a supporter of this podcast: https://www.spreaker.com/podcast/creator-to-creators-with-meosha-bean--4460322/support.

This week Stratis from The Metropolitan stopped by the studio and had a great chat with us about his journey in music, his classical background, how he fell in love with Rock and Roll and more! The Metropolitan can be found at the following links: Facebook: https://www.facebook.com/themetropolitansound/ Instagram: https://www.instagram.com/themetropolitansound Bandcamp: https://www.themetropolitan.bandcamp.com Enjoy their music on Spotify, or you can find them on the new 561 Music Playlist we created of various local artists that we will be continually updating. The Metropolitan on Spotify: https://open.spotify.com/album/0no373PlIk5HCwIy8j5VHe?si=cqCY7Rl4RDmeLSDPOW-RFg 561 Music Playlist: https://open.spotify.com/playlist/7y2i0AgJTGRMtxMADgZ7AZ?si=Zp77sqBTuewWTDouxH2g 561 Music Links: Facebook: https://www.facebook.com/561musicpodcast Instagram: https://www.instagram.com/561musicpodcast Twitter: https://twitter.com/561musicpodcast YouTube: https://www.youtube.com/c/561musicpodcast A huge thank you to our sponsors this week. STEINGER, GREENE &. FEINER, INJURY ATTORNEYS Stenger, Greene and Feiner has been a part of the community for over 25 years and prides themselves in not only in getting their clients the compensation they deserve, but also in getting involved the community through volunteer programs and supporting local charities. HARMONY MANAGEMENT GROUP Does it overwhelm you to walk into your small business or home office? Sometimes all you need is just a little help and that is where Harmony Management Group can help you. Offering anywhere from just a few hours a week of office help for basic office tasks like filing and organizing to full service business offerings like bookkeeping, payroll, tax services, data entry, scheduling, invoices and much much more. She is slowly becoming the go to accountant for artists and musicians because of her understanding of the music and art business. She can service all of your business needs and tailor plans specific your business spectrum. There is no need to stress and worry about the little things in your business (or the big things for that matter!). Take a deep breath and call Mary at Harmony Management Group at (561) 420-5652. That's Mary at Harmony Management Group at (561) 420-5652 and tell her Ben and Hector from 561 Music sent you. You won't be dissappointed and in fact you will be relieved you did. Let Harmony Management Group put the ZEN Back Into Your Life! JUPITER INLET BOAT RENTALS Jupiter Inlet Boat Rentals is Palm Beach County's Premier Boat Rental Company and Boat Rental Club. As an alternative to boat ownership, our membership club ranks number #1 in boat quality, availability and customer satisfaction. OASIS ROOT COFFEE AND KAVA LOUNGE Oasis Root Coffee and Kava Lounge in Jupiter is a fun, relaxing place to come by drink kava, java, or tea, and hang out… South Pacific Style! Open daily from 8am-1am. Located at 185 E. Indiantown Rd., Suite 111, Jupiter, FL 33477. LIVE MUSIC COMMUNITY Thank you to Justin and Live Music Community for all they do to make our podcasts as professional as possible. If you are looking to do a podcast, record an album, do a live stream, or anything of that type, Live Music Community is the place to go. LMC is also a music school that takes it up a notch by not only teaching the foundations of music theory and songs on instruments and vocals but also teaches the students the full band experience. They team your child up with like-minded individuals who then go on to play shows, do live streams, and learn the dos and don'ts of being in a successful working band. You can find them online at https://www.livemusiccommunity.com and on Facebook and Instagram @LMCFlorida 561 Music Podcast was recorded by our producer Justin Hucker at Live Music Community, which offers podcasting, video production, live stream, music lessons, recording and so much more. Check them out and take a virtual studio tour here: https://www.livemusiccommunity.com Special Guest: Stratis Washburn.

Buckcherry's Josh Todd celebrates his band's latest album, 'Roar Like Thunder,' and reflects on his 30-year career.

Despite being born in Australia they've been a mainstay of the Auckland Music scene since 2012, so we're claiming them. As well as their solo work you might know them as one half of the group Pony Baby... Jazmine Mary's third album "I want to Rock and Roll" was released earlier this month via Flying Nun Records.

In this episode of the Anglotopia podcast, host Jonathan Thomas speaks with Charles Rosenay, a seasoned Beatles tour guide and cultural ambassador for Liverpool. They explore the evolution of Beatles tourism, the significance of iconic locations like the Cavern Club, and the hidden gems of Liverpool that fans should not miss. Charles shares memorable experiences from his tours, the emotional reactions of fans, and the changing relationship between Liverpool and its Beatles heritage. The conversation also touches on the impact of the internet on tourism, the joy of sharing Beatles history, and the best times to visit Liverpool for an immersive experience. Links www.LiverpoolTours.com The Book of Top 10 Beatles Lists (Amazon Link) www.BookOfTop10BeatlesLists.com Liverpool Tours on Facebook International Beatle Week Visit Liverpool Website Takeaways Charles Rosenay has been a Beatles tour guide since 1983. Liverpool has transformed into a vibrant cultural destination. The Cavern Club is a must-visit for Beatles fans. Emotional reactions from fans often include tears of joy. Beatles Week in August is the best time to visit Liverpool. Hidden gems like the Jacaranda are essential stops. The Beatles' childhood homes are significant historical sites. Balancing myth and history is crucial in storytelling. Liverpool's character is shaped by its people and culture. The internet has changed how Beatles tourism operates. Soundbites 1. The Origin Story "I fell in love with them like millions of other people of a certain age on February 9th, 1964 when they appeared on the Ed Sullivan show. Watched it, fell 100% in love with it, realized there was more to the world than just monster movies and kindergarten and baseball." 2. Liverpool as Sacred Ground "Liverpool was that holy land, the holy grail destination for me. When I was young, I would clip every article, everything that said John Paul, George Ringo. But I would also, if it said the tall ships are sailing into Liverpool, I would cut that out." 3. The Emotional Kiss "She got off the coach, set foot in Liverpool, bowed down and kissed the ground. I said, you guys planned that, huh? She goes, 'No, my gosh. That was so spontaneous. I didn't even think I was going to do that.'" 4. The Fifth Beatle Revelation "There was that debate, if you're a Beatles fan, the debate was who was the fifth Beatle? Was it Brian Epstein? Was it Billy Preston? Was it George Martin? The fifth Beatle was Liverpool. Liverpool is a personality, it's a lifestyle, it's humor." 5. Liverpool's Transformation "Back then it was just a dingy, scaffolded, gray like slum backyard area. I remember putting my ears against the walls and just trying to dream what it would be like hearing the Beatles play through these walls. Now it's completely embraced the entire tourism industry." 6. The Cavern Club Legacy "The Beatles played there over 300 times. It was literally their residency. Life was music and you wanted to be the band that played there. If you do one place that you want to capture the rock and roll and that era and the sweat and the music, it's the Cavern Club for sure." 7. 100% Satisfaction Guarantee "I am so proud, blessed, lucky, I don't know what the word is, 100% satisfaction from the people who go on the tour. Even the best five-star posh restaurant will have its off day. I forgot what your question was, but I think I went on a little tangent there." 8. The Magic of Spontaneity "Julian Lennon is doing a signing at a toy store in London in two hours. I said, you know what? We're changing our schedule. We can be in Liverpool two or three hours later. We're all going to this event. The 30 of us were in line for him. Eight other people came besides us." 9. Seeing Through Fresh Eyes "When they get excited, 'Can you take a picture of me crossing Abbey Road?' I know it. I had that feeling in 83 and 84, 85, and year after year. It's the joy of the people going and me loving it vicariously through their eyes and emotions." 10. Beatles Week Magic "During Beatle Week, you're literally walking street to street to street, hearing nonstop Beatle music. You just pour out Beatles music and that could be a plus or a minus if you're a Beatles fan—this is it, you're in heaven." Chapters 00:00 Exploring Beatles Tourism in Liverpool 01:54 Charles Rosenay's Journey as a Beatles Ambassador 05:45 The Evolution of Beatles Tours Over Four Decades 07:50 Memorable Reactions from First-Time Visitors 09:50 The Must-See Locations on a Magical Mystery Tour 14:56 The Significance of the Cavern Club 16:52 Hidden Beatles Gems in Liverpool 19:01 Visiting Childhood Homes of the Beatles 20:35 Balancing Myth and History in Beatles Tours 23:13 The Unique Character of Liverpool Beyond the Beatles 23:25 The Heart of Liverpool: A City of Personality 27:14 Evolving Perspectives: Liverpool's Relationship with The Beatles 28:43 Beyond The Beatles: Exploring Liverpool's Culture 31:37 The Best Time to Visit: Beatle Week and More 35:15 Unexpected Moments: Surreal Experiences on Tours 39:33 Meeting Legends: Encounters with The Beatles' Family 40:30 The Evolution of Beatles Tourism: Then and Now 42:10 The Book of Top 10 Beatles Lists: A Unique Perspective 43:55 The Joy of Sharing: Passion for Beatles Tourism 47:03 anglotopia-podcast-outro.mp4 Video Version

(Editor's Note: Welcome to our Reissue series! For the past several weeks, Basic Folk has been digging back into the archives and reposting some of our favorite episodes alongside new introductions commenting on what it's like to listen back. Enjoy!This episode featuring Lizzie No interviewing Joy Oladokun, was originally posted on February 24, 2022.)Arizona-born Joy Oladokun grew up listening to her dad's extensive record collection and falling in love with the wide and wondrous world of rock and roll. You can hear these diverse sonic influences, from Genesis to Tracy Chapman, in Joy's rootsy, contemporary, and pop-savvy 2021 album, 'in defense of my own happiness.' Of particular note are her superpowers for melody and smart repetition, which have made her a force to be reckoned with ever since she made the leap from LA to Nashville to make a life as a musician.Joy is not only a phenomenal songwriter, but she's also fearless and hilarious on social media. Believe it or not, it was Twitter that brought us together and catalyzed this Basic Folk interview. It was fascinating to hear her talk about how she uses her platform as a rising star in indie pop and folk to create the kind of world she wants to see. She's using emotional transparency as a tool for political change; she is healing in public and gently nudging others to heal as well. Her single, “keeping the light on,'' is the perfect distillation of her radical softness.Follow Basic Folk on social media: https://basicfolk.bio.link/  Sign up for Basic Folk's newsletter: https://bit.ly/basicfolknews  Help produce Basic Folk by contributing: https://basicfolk.com/donate/ Interested in sponsoring us? Contact BGS: https://bit.ly/sponsorBGSpods Advertising Inquiries: https://redcircle.com/brands

Scott Morgan--household name to those in the know of Michigan legendary rock and roll. The Rationals, Sonic's Rendezvous Band, solo career, all points in between...It's difficult to envision Michigan rock without his legendary input!     Scott takes us behind the scenes from his apartment and into the studio and on the stage with all aspects of his career and all the happenings behind it. Political, forward thinking, guitar and pen, with a golden voice, Scott gives the MMHP989 the keys to the kingdom. From his relationship with Fred 'Sonic' Smith to his partnership with The Hellacoptors, Scott is the linchpin to so many eras of Michigan Rock, he has been a part of some epic incarnation from the '60s to now.     Don't waste any more time, just tune in and TURN IT UP! Part 1, now on the MMHP...

The band Nerv is a story as old as rock and roll itself. The lead singer has a band that implodes, another band needs a singer, and it's like they were soulmates. 8 years ago, Dillon and the rest of the band Nerv experienced that exact story. Then, a few years ago, their song "Bad Habits" blew up everywhere. But this band is doing it their way; they are writing their own story. A piece of that story gets told here on Cutter's Rockcast. 

Tony Wright joins Ed Opperman to talk about the facts and the fictions behind the now legendary case of the Yuba County Five.He's the author of two comic books and a graphic novel with Source Point Press. Tony is an archivist, father, husband, and a lost soul of rock and roll. When he is not writing, he is spending time with his family or enjoying a good meal. Tony has been featured as a Yuba County Five case expert on the Mopac Audio podcast Yuba County Five and was also featured as a case expert on the Motor Trend TV show Auto/Biography: Cold Case.The book explores the bizarre and tragic 1978 disappearance of Ted Weiher, Jack Madruga, Bill Sterling, Jackie Huett, and Gary Mathias in the Plumas National Forest in Northern California. Four of these men had intellectual disabilities while one was diagnosed with schizophrenia. On Friday, February 24, 1978, they left the Yuba County, California area in Madruga's 1969 Mercury Montego to attend a basketball game in Chico, California. Four days later the car they were traveling in was found abandoned on a snow-covered road in the mountains of the Plumas National Forest, some 75 miles in the wrong direction from home.Four jurisdictions of law enforcement would investigate and search for the missing men. Psychics were brought in, and there were strange reports of sightings of the five from numerous people. One witness came forward with an incredible story of seeing the men disappear into the forest that night. Yet every lead came to a dead end. About four months after they vanished, four of the five men's remains were found some 12 miles from the car, with one discovered in a US Forest Service trailer with plenty of food and fuel to keep them alive for months.Once described as ‘Bizarre as hell', the case of the Yuba County Five has baffled law enforcement and the families of the missing men for over 45 years. Tony Wright has meticulously researched this case, earning himself the reputation of being one of the foremost authorities on the subject, and his conclusions are likely as close as anyone will come to making sense of this tragedy.Book https://amzn.to/4niUiIkYou can see a virtual presentation at the Houston Public Library about the Yuba County Five case on Saturday, June 28th from 2pm until 3pm CST. You need to register to join. Register online at: https://calendar.houstonlibrary.org/event/14336666calendar.houstonlibrary.orgBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-opperman-report--1198501/support.

The legendary Don Barnes, co-founder and frontman of 38 Special, takes us on a riveting journey through five decades of rock and roll stardom. With his signature raspy voice and warm storytelling style, Barnes reveals the fascinating origin of the band's name—a police standoff where an officer threatened to "shoot the lock off" their rehearsal space with his 38 Special revolver.Growing up in Jacksonville, Florida—what Barnes calls "the Liverpool of the South"—shaped the band's musical foundation as teenagers playing sailors' clubs alongside future members of Lynyrd Skynyrd and The Allman Brothers. This naval town connection forged their musical DNA and taught them the fundamentals of songwriting by covering popular hits.Barnes shares a surprising revelation about 38 Special's true influences. Despite being categorized as Southern rock, the band drew heavy inspiration from British Invasion artists like The Beatles and Jeff Beck. After their first three albums "went straight over the cliff," they discovered their winning formula: stripping songs down to what Barnes calls "muscle and melody"—powerful guitar work paired with strong melodies and relatable stories drawn from real-life experiences.Don also shares other passions with Lindsay and Bruce that include keeping sets of golf clubs on the tour bus. And speaking of that bus, it rolls into Dublin as 38 Special and Kansas headline another rockin' Independence Day celebration at Coffman Stadium!

Gimme fuel, gimme fire, gimme the best podcast about the Velvet Underground and the 242nd greatest album of all time, Loaded.   Before we get to the album, this episode dishes up 11 splendid servings of good vibrations when we discuss our favorite Beach Boys songs and Marky Mark. Then we sit in on a beach wedding, relive some casino excitement, and share some iPhone hacks. We also pucker up some thoughts on kissing booths.   Then, at (1:00:00), we cool it down to talk about the Velvet Underground's fourth studio album, Loaded. We discuss Lou Reed's appeal, the inspiration for the band's hit songs, and the best songs about cowboys.    Next week's episode is sure to bring some changes as we become the best Zombies podcast and cover the 1968 psychedelic pop album "Odessey and Oracle."            Keywords:  Dirk Nowitzki, German penises, gym, surprise date, comedy store, wife, comedy show, basketball, Rolling Stone magazine, Velvet Underground, Loaded, Lou Reed, album review, music podcast, NBA, K-Rob, self-improvement, Ice Cream, Boston Baked Beans, gambling, blackjack, Vegas, casino, Mystic Lake, pull tabs, country music, cowboy songs, Tim McGraw, Waylon Jennings, Toby Keith, Beach Boys, Kokomo, Rolling Stones, Velvet Underground, Sweet Jane, Rock and Roll, album rankings, music podcast, music reviews, vinyl, record store, Velvet Underground album, Lou Reed's voice, Rolling Stone reviews, music playlist, Boston Baked Beans, country music hits, surf music, album rankings, Velvet Underground hits.

Why Music Journalism Will Never Be The Same! In this episode, we go inside the rapidly changing world of music journalism with veteran journalist Mark Sutherland. Hear how the rise of digital media, AI, and the live music boom are shifting the power dynamics in the music industry. Mark shares firsthand insights on the collapse of traditional gatekeepers, the importance of adapting to new platforms, and why success for artists looks so different today. Whether you're an artist, music pro, or industry enthusiast, this conversation is packed with must-know trends!

In this episode of the Whiskey Rocks podcast, Joel is joined by guest co-host Angry Irish Mac (sitting in for Chris) for a bold conversation with Greg Keeley, founder of Larrikin Bourbon, a Kentucky-based distillery making waves in the craft whiskey scene.Before launching one of the most unapologetic bourbon brands on the market, Greg served in covert operations with both the Australian and U.S. Navies. His journey from military missions to mash bills is as intense as it is inspiring. We explore how his no-nonsense background influences his whiskey-making philosophy, what makes Larrikin stand out in a crowded field, and why he believes bourbon should be as bold as the people who drink it.Whether you're a fan of independent distilleries, a lover of American whiskey, or just want to hear how someone went from the battlefield to the barrel room, this episode is packed with grit, guts, and rock and roll energy.Listen now and discover why Larrikin might just be the most rebellious bourbon you've never tried.Find Whiskey Rocks online:Follow us on Instagram and TikTok @thewhiskeyrockspodcastJoin the conversation on Reddit at r/whiskeyrocks

Send us a textThis week, I talk with 16-year-old guitar prodigy Devlin Jack Guttridge. Devlin shares his musical journey from picking up the violin in third grade to falling in love with the guitar thanks to his mom and Ozzy Osbourne's 'Diary of a Madman.' He discusses pivotal moments like joining the School of Rock, and moving to Miami where he started jamming with gigging bands and jumping up onstage at open mic nights. We dive deep into his influences, from Stevie Ray Vaughan to Led Zeppelin, and his aspirations of becoming a session guitarist learning to build his own gear. Join in to learn how Devlin balances playing with his "family band,"  evolving his practice regimen, and staying passionate about music. Don't miss out on his insights on why rock and roll music continues to inspire him and how he plans to navigate his future in music.00:00 Welcome to the Rock-N-Roll Show Podcast01:02 Devlin's Musical Journey Begins02:29 Finding the Right Teacher and Early Performances03:57 Family Band and First Real Concerts08:22 Influences and Musical Evolution11:54 Moving to Florida and New Beginnings15:39 Playing with Bands and Gear Insights21:16 The Art of Performing and Stage Presence24:19 Learning and Mixing Music26:33 Future Plans and Aspirations28:36 Speed Round: Concert Experiences35:49 Rock and Roll Passion38:47 Conclusion and Farewell===========================Connect with us on social media!YouTubeInstagram TikTok Facebook

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

Ladies and gentlemen, gather ‘round the mic because in this episode of Prisoners of Rock and Roll, we're exploring some of music's greatest duets – where two voices come together like Jack and Coke, peanut butter and jelly, or Snoop dog and weed. We've got a pretty solid list of crossovers and collaborations that will have you saying, “oh yeah, I remember that song” as you turn up the radio to hear all of the brilliant and insightful stuff we have to say about it. This is Prisoners of Rock and Roll—unstoppable, unforgettable, and unapologetic! Let's hit it.  Episode Playlist Check out our episode playlist ⁠⁠⁠⁠⁠here⁠⁠⁠⁠⁠. Get In Touch Check us out ⁠⁠⁠⁠⁠online⁠⁠⁠⁠⁠, on⁠⁠⁠⁠⁠ Facebook⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠, or ⁠⁠⁠⁠⁠YouTube.⁠⁠⁠⁠⁠ or drops us an email at ⁠⁠⁠⁠⁠show@prisonersofrockandroll.com⁠⁠⁠⁠⁠. Or if you're in Philadelphia, come visit our home base at ⁠⁠⁠⁠⁠McCusker's Tavern⁠⁠⁠⁠⁠. Prisoners of Rock and Roll is part of ⁠⁠⁠⁠⁠Pantheon Media⁠⁠⁠⁠⁠. We're sponsored by⁠⁠⁠⁠⁠ Boldfoot Socks⁠⁠⁠⁠⁠. Learn more about your ad choices. Visit megaphone.fm/adchoices

On this episode, I'll introduce you to  Karen Domino White, daughter of rock and roll legend Fats Domino. In her memoir, The Domino Effect, she unveils the untold stories of her family's past, offering a heartfelt glimpse into her unique upbringing. Karen's soulful blend of gospel, jazz, and blues pays homage to her roots while carving out her own musical identity. Join us for an exclusive interview as we delve into her life's journey, the challenges of growing up in the shadow of a music icon, and her mission to inspire others through her story and song. Don't miss this captivating conversation, because Karen Domino White is Someone You Should Know. Click here to buy Rik Anthony a cold one.Show Links:Click here to go to Karen's FacebookClick here to go to Karen's InstagramClick here to purchase Karen's book on Amazon.comAll music used with permission from the artistSomeone You Should Know 2025 // CatGotYourTongueStudios 2025Feedback: Send us a text.How to Contact Us:Official Website: https://Someoneyoushouldknowpodcast.comGmail: Someoneyoushouldknowpodcast@gmail.comTwitter: @RIKANTHONY1Facebook: https://www.facebook.com/rikanthonyInstagram: https://www.instagram.com/someoneyoushouldknowpodcast/LinkedIn: https://www.linkedin.com/in/rik-anthony2019/TikTok: @SomeoneYouShouldKnow2023YouTube: https://www.youtube.com/@someoneyoushouldknowpodcastThank you for listening!Theme music "Welcome to the Show" by Kevin MacLeod was used per the standard license agreement.

Chasing the shade and applying Factor 50 in the wilting heat of this week's rock and roll news turns the conversation to … … Kneecap v the Prime Minister.… will any openly anti-Trump musician find it hard to tour the States?… the girl who's listening to all 10,000 of her late father's albums, one 60-second Instagram reel at a time.… a bottle of Snoop Dogg rosé, anyone?   … why Carol Kaye turned down the Hall Of Fame. … Hollywood and “the genius of the system” v the current vogue for applauding individual genius. … Lottie Golden, Laurie Styvers, Jeannie Piersol and our love for High Moon Records, the Virago of the record business. … why self-sabotage is a British institution. … Nick Cave Unisex Clogs? Pet Shop Boys chrome pepper-grinder? Brave new frontiers in pop merchandise. … Genya Ravan's I Won't Sleep On The Wet Spot No More. … Beau Dommage, Dragon's Breath, Two Left Feet … Canadian band or voguish craft ale? Also in the mix … Dawn French, Phoebe Snow, Humphrey Ocean, Alan Bennett and Bridget St John.Find 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.

Join us as we sit down with the incredible Americana rock band, American Mile! These Los Angeles-based road warriors are known for playing over 200 shows a year, and we dive deep into what the rock and roll tour lifestyle is like nowadays, with a special focus on staying healthy on the road. Ever wonder about an iconic riff like the one in "Waiting on a Sunday"? We ask the band: does a riff like that just come to you? Where does that inspiration truly come from? American Mile began with a strong rock foundation but found themselves drawn to the soul and storyteller songwriting of country music. We explore what it was about the narrative elements of country that made them fall in love with it. Their music often resonates with powerful themes of resilience and dedication, especially for those facing difficult times. We delve into their philosophy: where does this spirit of knowing life doesn't happen to you, it happens FOR you, truly come from? We also get to know Colton, the newer member of the band, and hear about his journey joining this dynamic group. From their explosive stage presence cultivated across countless venues like Summerfest and The Viper Room, to their new album "American Dream" following their acclaimed debut "The Longest Road," American Mile is a must-see act. Tune in for an engaging conversation with a band that truly lives and breathes their music! ____ Support the Show: DUNKIN': Try Jamie's favorite summer drink, the Dunkin' Pink Spritz Refresher. The vibrant drink is a fizzy, fruit-forward blend of guava, orange and passion fruit flavors with a splash of sparkling water—a sparkling, sweet sip that's ready to kick off summer. Order in-store or order ahead of time on the Dunkin' app. Learn more about your ad choices. Visit megaphone.fm/adchoices

While San Diego County's COVID-19 case numbers remain low, hospitalizations increased slightly in the last month. Then, today the San Diego City Council will consider whether to override Mayor Todd Gloria's partial veto of the council's budget. Plus, a profile of a rock and roll legend who got her start in National City.

Ladies and gentlemen, gather ‘round the mic because in this episode of Prisoners of Rock and Roll, we're exploring some of music's greatest duets – where two voices come together like Jack and Coke, peanut butter and jelly, or Snoop dog and weed. We've got a pretty solid list of crossovers and collaborations that will have you saying, “oh yeah, I remember that song” as you turn up the radio to hear all of the brilliant and insightful stuff we have to say about it. This is Prisoners of Rock and Roll—unstoppable, unforgettable, and unapologetic! Let's hit it.  Episode Playlist Check out our episode playlist ⁠⁠⁠⁠here⁠⁠⁠⁠. Get In Touch Check us out ⁠⁠⁠⁠online⁠⁠⁠⁠, on⁠⁠⁠⁠ Facebook⁠⁠⁠⁠, ⁠⁠⁠⁠Twitter⁠⁠⁠⁠, or ⁠⁠⁠⁠YouTube.⁠⁠⁠⁠ or drops us an email at ⁠⁠⁠⁠show@prisonersofrockandroll.com⁠⁠⁠⁠. Or if you're in Philadelphia, come visit our home base at ⁠⁠⁠⁠McCusker's Tavern⁠⁠⁠⁠. Prisoners of Rock and Roll is part of ⁠⁠⁠⁠Pantheon Media⁠⁠⁠⁠. We're sponsored by⁠⁠⁠⁠ Boldfoot Socks⁠⁠⁠⁠. Learn more about your ad choices. Visit megaphone.fm/adchoices

Chasing the shade and applying Factor 50 in the wilting heat of this week's rock and roll news turns the conversation to … … Kneecap v the Prime Minister.… will any openly anti-Trump musician find it hard to tour the States?… the girl who's listening to all 10,000 of her late father's albums, one 60-second Instagram reel at a time.… a bottle of Snoop Dogg rosé, anyone?   … why Carol Kaye turned down the Hall Of Fame. … Hollywood and “the genius of the system” v the current vogue for applauding individual genius. … Lottie Golden, Laurie Styvers, Jeannie Piersol and our love for High Moon Records, the Virago of the record business. … why self-sabotage is a British institution. … Nick Cave Unisex Clogs? Pet Shop Boys chrome pepper-grinder? Brave new frontiers in pop merchandise. … Genya Ravan's I Won't Sleep On The Wet Spot No More. … Beau Dommage, Dragon's Breath, Two Left Feet … Canadian band or voguish craft ale? Also in the mix … Dawn French, Phoebe Snow, Humphrey Ocean, Alan Bennett and Bridget St John.Find 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.

Chasing the shade and applying Factor 50 in the wilting heat of this week's rock and roll news turns the conversation to … … Kneecap v the Prime Minister.… will any openly anti-Trump musician find it hard to tour the States?… the girl who's listening to all 10,000 of her late father's albums, one 60-second Instagram reel at a time.… a bottle of Snoop Dogg rosé, anyone?   … why Carol Kaye turned down the Hall Of Fame. … Hollywood and “the genius of the system” v the current vogue for applauding individual genius. … Lottie Golden, Laurie Styvers, Jeannie Piersol and our love for High Moon Records, the Virago of the record business. … why self-sabotage is a British institution. … Nick Cave Unisex Clogs? Pet Shop Boys chrome pepper-grinder? Brave new frontiers in pop merchandise. … Genya Ravan's I Won't Sleep On The Wet Spot No More. … Beau Dommage, Dragon's Breath, Two Left Feet … Canadian band or voguish craft ale? Also in the mix … Dawn French, Phoebe Snow, Humphrey Ocean, Alan Bennett and Bridget St John.Find 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.

Listen in and enjoy the Saturday Night party as Cousin Brucie plays the greatest Rock and Roll hits there are! 

Red Voodoo is a Sacramento-based rock band formed in 2018, known for their high-energy performances and a modern take on classic rock. They are influenced by 70s and 80s rock, incorporating polished harmonies and catchy hooks. The band consists of Dino McCord (lead vocals), Davin Loiler (lead guitar), Andrew Edwards (bass), and Andy Nathan (drums). Red Voodoo has gained recognition for their stage presence and has opened for established rock acts like Sammy Hagar, Y&T, Everclear, and Slaughter. They released their debut single, "Rise Up," produced by Tesla's Frank Hannon, which gained popularity on underground radio. Their music often features a blend of classic rock sounds with a contemporary edge, appealing to fans of bands like Van Halen, Sammy Hagar, and Boston. The band is also known for their energetic live shows and aims to make rock music mainstream again. The band's name, "Red Voodoo," was inspired by Sammy Hagar's album of the same name, but the band also uses it to represent the "magic of creating fun rock and roll music" and the energy they put into their live performances. They have also released an EP titled "Red Voodoo" which showcases their musicianship and songwritingBecome a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-like-it-s-live--4113802/support.

Full disclosure here, and it’s sort of controversial. I’ve never been a Beach Boys fan. It’s just never really worked for me. As a kid, it just seemed to be a parent’s version of what rock and roll is supposed to be. The fact they had a song called “Be True To Your School” was enough evidence for me to not buy that Endless Summer collection that came out around the same time as I was discovering The Ramones and Sex Pistols. That’s not to say that I don’t have respect for the band, especially Brian Wilson, who passed away on June 11. The fact that so many of my favorite bands revered Wilson (including the Ramones) gave me some new insight. In fact, I always have said that I love the bands influenced by The Beach Boys more than the actual band. Plus, I have developed an appreciation for Pet Sunds, although I’m still not prepared to call it the greatest album ever. But I pulled it out after hearing the news of Brian’s death, and I also played the version of Smile that came out in 2011. That may be my favorite album by them, but is it […]

Full disclosure here, and it's sort of controversial. I've never been a Beach Boys fan. It's just never really worked for me. As a kid, it just seemed to be a parent's version of what rock and roll is supposed to be. The fact they had a song called “Be True To Your School” was enough evidence for me to not buy that Endless Summer collection that came out around the same time as I was discovering The Ramones and Sex Pistols. That's not to say that I don't have respect for the band, especially Brian Wilson, who passed away on June 11. The fact that so many of my favorite bands revered Wilson (including the Ramones) gave me some new insight. In fact, I always have said that I love the bands influenced by The Beach Boys more than the actual band. Plus, I have developed an appreciation for Pet Sunds, although I'm still not prepared to call it the greatest album ever. But I pulled it out after hearing the news of Brian's death, and I also played the version of Smile that came out in 2011. That may be my favorite album by them, but is it […]

Where do you rank Guns N' Roses among the greatest bands of all time? Would they rank even higher if they had never broken up? Author Martin Popoff gives his opinion as we celebrate the band's 40th anniversary!Purchase a copy of Guns N' Roses at 40Visit Martin Popoff's website ---------- BookedOnRock.com The Booked On Rock Store The Booked On Rock YouTube Channel Follow The Booked On Rock with Eric Senich:BLUESKYFACEBOOKINSTAGRAMTIKTOKX Find Your Nearest Independent Bookstore Contact The Booked On Rock Podcast: thebookedonrockpodcast@gmail.com The Booked On Rock Music: “Whoosh” by Crowander / “Last Train North” & “No Mercy” by TrackTribe

We kick things off with former Congressman J.D. Hayworth, now spokesperson for the Pharmaceutical Reform Alliance. He joins the show to expose Big Pharma's runaway profits—with margins more than twice the average of S&P 500 companies—and their outrageous spending, including $36 billion on direct-to-consumer advertising. Hayworth explains how President Trump has assembled a nonpartisan, pro-American team to tackle this crisis head-on. This is an American problem that demands an American solution, and the people are united in their demand for change. 84% blame pharmaceutical companies for high prices, and they overwhelmingly support reforms to force drugmakers to put patients before profits. Then we're joined by Michael Deibert, journalist and longtime Haiti expert, who just returned from the region. He gives us a look at the current humanitarian crisis, political collapse, and gang violence that has displaced over 1.3 million Haitians. We also hear from Shay Khatiri, a young Iranian-American man who shares his moving personal story of escape and perseverance while raising awareness for the ongoing fight for freedom in Iran. And as always, stay tuned for Kiley's Corner, where Brennen shares the La Bamba story—the tragic plane crash that took the life of rock and roll legend Ritchie Valens.www.breakingbattlegrounds.voteTwitter: www.twitter.com/Breaking_BattleFacebook: www.facebook.com/breakingbattlegroundsInstagram: www.instagram.com/breakingbattlegroundsLinkedIn: www.linkedin.com/company/breakingbattlegroundsTruth Social: https://truthsocial.com/@breakingbattlegroundsShow sponsors:Invest Yrefy - investyrefy.comOld Glory DepotSupport American jobs while standing up for your values. OldGloryDepot.com brings you conservative pride on premium, made-in-USA gear. Don't settle—wear your patriotism proudly.Learn more at: OldGloryDepot.comDot VoteWith a .VOTE website, you ensure your political campaign stands out among the competition while simplifying how you reach voters.Learn more at: dotvote.vote4Freedom MobileExperience true freedom with 4Freedom Mobile, the exclusive provider offering nationwide coverage on all three major US networks (Verizon, AT&T, and T-Mobile) with just one SIM card. Our service not only connects you but also shields you from data collection by network operators, social media platforms, government agencies, and more.Use code ‘Battleground' to get your first month for $9 and save $10 a month every month after.Learn more at: 4FreedomMobile.comAbout our guest:Former Congressman J.D. Hayworth is the spokesperson for the Pharmaceutical Reform Alliance, advocating for drug‑pricing reforms and criticizing Big Pharma's pricing strategies.-My name is Michael Deibert, and I am a journalist, author and Researcher at the Centro de Estudos Internacionais at the Instituto Universitário de Lisboa. For the more than two decades, my work as a reporter and analyst has focused on conflict, peacebuilding, democratic movements and organized crime, with regional focuses on the Great Lakes Region of Africa, Latin America and the Caribbean, especially Haiti. With my writing here, as with all of my work, I hope to increases awareness of that which binds us together and the common humanity we all share. This kind of reporting, though I believe it is vitally important, is often a struggle financially, being both labour and cost-intensive with very modest remuneration. Please consider supporting this work if you can.-Shay Khatiri is the VP of development and a senior fellow at Yorktown Institute. An immigrant from Iran, he is an alumnus of Arizona State University and the Strategic Studies Department at Johns Hopkins University, School of Advanced International Studies. He publishes the Substack newsletter, The Russia–Iran File. Get full access to Breaking Battlegrounds at breakingbattlegrounds.substack.com/subscribe

This week Brian and Jason discuss the pros and cons of streaming services, and the lack of big promotion in rock and roll. Next the guys welcome their guests, Bronson Hetzer and Ryan Palcic from Dayton, Ohio southern rock band, The Filthy Heathens. Bronson and Ryan chat with the fellows about humble beginnings in music, forming the band during the pandemic, song writing, studio work, mishaps at Waffle House, and so much more. Learn more about your ad choices. Visit megaphone.fm/adchoices

Formed in Los Angeles' lengendary Sunset Strip in 1985, Guns N' Roses quickly rose from the gritty club scene to become one of the biggest acts in rock music - achieving massive commercial success and becoming a top live draw in under three years. Along the way, their meteoric rise was matched by no shortage of controversy, internal conflict, and headline-making moments.  In the book "Guns N' Roses at 40", acclaimed rock historian and author Martin Popoff explores 40 priotal moments that shaped the band's legacy - from their formation and  breakout success to major tours, iconic releases, creative partnerships, internal struggles, and everthing in between.  We were thrilled to be speaking with Martin Popoff about his new book. With over 100 titles to his name on topics ragning from hard rock and heavy metal to classic rock and vinyl collection, Martin's work includes Rush" The Illustrated History, Led Zeppelin: Song By Song, Pink Floyd: Album by Album, Bowie at 75, AC/DC at 50, KISS at 50 and more. He also contributed to the award-winning docuemtaries Rush: Beyond the LIghted Stage and ZZ Top: That Little Ol' Band From Texas.   

Heads up, Strutters: this week's show bursts with news and romance as Jed Elliott and his wife, actress-designer Virginia “Ginny” Gardner, drop by to spill all the details on their whirlwind Raya meet-cute, globe-trotting love story, AND the launch of their gender-neutral locket collection with The Crystal Boutique—an anniversary gift to fans that fuses Jed's rock-and-roll edge with Ginny's dainty flair. We also unpack the newly announced “Everybody Wants” 10th-anniversary tour dates—most buzz-worthy being the July 18 return to the legendary Bottle & Cork in Dewey Beach, Delaware (move fast, those tickets vanish in a blink). From laughing-gas-inspired podcast hijacks to tips on balancing chaotic schedules with a strict three-week rule, this candid chat is packed with laugh-out-loud banter, backstage confessions, and sparkling relationship wisdom—all wrapped in that signature Struts swagger fans crave. Learn more about your ad choices. Visit megaphone.fm/adchoices

Johnny Cash - "Hey, Good Lookin'" [0:00:00] Johnny Cash - "I Could Never Be Ashamed Of You" [0:06:27] Ernest Tubb - "Thanks A Lot" [0:08:16] Merrill Moore - "Red Light" [0:10:48] Bob Gallion - "I Want Her Blues" [0:13:23] Brenda Lee - "All Alone Am I" [0:15:34] Music behind DJ: The Hairy Bears - "Blue Moon of Kentucky" [0:18:14] Dugg Collins - "That's The Way It Is On Monday" [0:21:16] Murry Kellum - "Red Ryder" [0:24:24] Johnny Holliday - "Yes, Yes, Yes" [0:27:15] Rich Jaqua - "Ballad of Black Bart" [0:29:13] Janis Martin - "Little Bit" [0:31:20] Music behind DJ: The Hairy Bears - "Blue Moon of Kentucky" [0:33:40] Ronnie Hawkins - "Mary Lou" [0:37:29] Woody Byrd - "Jazz vs. Rock and Roll" [0:40:09] Johnny Martin - "Uncle Sam's Navy" [0:41:33] Danny Staton - "Riddle of the Papawhos" [0:43:52] Mickey Starr - "Think About Living" [0:46:25] Music behind DJ: The Hairy Bears - "Blue Moon Of Kentucky (Kentucky Soul)" [0:47:47] Charlie Rich - "Hurry Up Freight Train" [0:50:54] Tom Blake & The Triple Express - "Hard Times" [0:53:50] The New Legion Rock Spectacular - "Wild One" [0:58:02] https://www.wfmu.org/playlists/shows/153241

Send us a textThis week on The Joy of Cruising Podcast, I am proud to welcome Josh Christina, Recording Artist, scene-stealing, piano-wielding frontman, and veteran headliner of several cruise lines. Listeners know I am as passionate about music and comedy as I am about cruising so when I get a chance to have a conversation with someone who has performed on cruise ships, I am in my glory. Josh Christina is a dynamic and passionate musician whose love for piano rock has taken him on an incredible journey. His musical story began at the age of 7, inspired by the iconic sounds of Elvis Presley in Disney's Lilo & Stitch. It wasn't until age 15, after seeing the Broadway show Million Dollar Quartet and discovering the electrifying Jerry Lee Lewis, that Josh began playing piano, igniting his path as a pianist and performer. Josh's talents caught the attention of Grammy-nominated producer Kent Wells, who has worked with legends like Dolly Parton and Reba McIntire. Kent describes Josh as “such an old soul,” praising the way “the music just pours out of him.” This connection led to Josh recording in Nashville, creating music that resonates with the soul of classic rock and boogie-woogie. His single “Kayla Ann” topped several independent radio charts, and Josh's album Instincts (recorded at the historic Sam Phillips Recording in Memphis, TN) was a testament to his mastery. Produced by Josh and Grammy-winning pianist Jon Carroll, Instincts received high praise, with Jon calling Josh a performer who “does it real well and means every note.” Josh's high-energy performances have taken him across the globe, including a UK tour where he graced the stage of Ireland's Late Late Show. He's headlined major cruise lines, bringing his piano rock show to fans of all ages worldwide. He's also shared the stage with some of the world's top boogie-woogie and rock ‘n' roll pianists, earning admiration from both peers and fans for keeping the genre alive. His latest album, UFO's Over Phoenix, recorded live at Stages Music and Arts in Maryland, has already captured attention for its unique sound. Daryl Davis, former bandleader and pianist for Chuck Berry, describes the album as striking “the perfect balance of a scent of the familiar while being creatively and refreshingly new.” Josh Christina's infectious energy, undeniable talent, and deep respect for rock and roll history have earned him a dedicated following. His music is a celebration of the past, present, and future of piano rock.Support the showSupport thejoyofcruisingpodcast https://www.buzzsprout.com/2113608/supporters/newSupport Me https://www.buymeacoffee.com/drpaulthContact Me https://www.thejoyofcruising.net/contact-me.htmlBook Cruises http://www.thejoyofvacation.com/US Orders (coupon code joyofcruisingpodcast)The Joy of Cruising https://bit.ly/TheJoyOfCruisingCruising Interrupted https://bit.ly/CruisingInterruptedThe Joy of Cruising Again https://bit.ly/TheJoyOfCruisingAgainIntl Orders via Amazon

The Sharon Playhouse is launching its 2025 summer season with the musical “Million Dollar Quartet,” opening Friday night and run through July 6th, including a special holiday performance on July 4th at 4pm.This show brings to life the unforgettable night in 1956 when rock and roll legends Elvis Presley, Johnny Cash, Jerry Lee Lewis, and Carl Perkins gathered at Sun Records to create musical history.The season will continue with three other shows including Annie, Sylvia and The Mousetrap.