Podcast appearances and mentions of Rod Stewart

Rod Stewart & Ronnie Wood reunited for some Faces classics at Glastonbury last weekend, Marilyn Manson's tour opener in Brighton was cancelled by the UK government, Black Sabbath members received hometown honors ahead of their historic reunion concert and also released details of their early Sabbath demo tapes & more!  PLUS ‘This Week in Rock & Roll History Trivia', Rock Birthdays, ‘The Best & Worst Rock Album Artwork of the Week' & so much more!Everything is up at www.rocknewsweekly.com / All socials & TikTok @rocknewsweekly Watch us LIVE, chat with us & more…Every Sunday around 2pm PST @ https://www.twitch.tv/rocknewsweeklyWatch all of our videos, interviews & subscribe at Youtube.com/@rocknewsweeklyFollow us online:Instagram.com/rocknewsweeklyFacebook.com/rocknewsweeklyTwitter.com/rocknewsweeklyTikTok.com/@rocknewsweeklyAll of our links are up at www.rocknewsweekly.com every Monday, where you canCheck it out on 8 different platforms (including Amazon Audible & Apple/Google Podcasts) #Rock #News #RockNews #RockNewsWeekly #RockNewsWeeklyPodcast #Podcast #Podcasts #Metal #HeavyMetal #Alt #Alternative #ClassicRock #70s #80s #90s #Indie #Indie #Trivia #RockBirthdays  #BestAndWorstAlbumCovers #AlbumCovers #BadAlbumCovers #RodStewart #RonnieWood #FacesReunion #Faces #MarilynManson #BlackSabbath #Earth

The guys just can't stay away from Rod Stewart who always has a creepy one in the chamber. This time, it's a blues cover called Good Morning Little Schoolgirl; his first single for Decca Records. Surprisingly, this isn't the creepiest song he does though it does raise the ol' hackles.

A 40th anniversary special with two of its presenters (Hepworth and Ellen) and old pal and TV critic Boyd Hilton who watched on the day aged 18 (“young, pretentious, idiotic”) and reviews the new BBC documentary. We look back at … … the ways Live Aid changed television – “not about music but spectacle and scale”. … would the idea of staging it have ever come about in the world of social media? … being in the room for the Geldof F-Bomb. … Ian Astbury smoking on live TV, the concrete mausoleum of the old Wembley Stadium, Concorde, Status Quo and other things that now seem so 1985. … how Live Aid was the death of the New Romantics – “they don't work in daylight” – and why Boy George turned it down. … the footage set to the Cars' video, the emotional pivot of the day, and the interview with the Ethiopian girl Birhan Woldu in the new documentary. … how the thin sound of '80s acts like the Style Council and Ultravox didn't have the impact of old-school guitar/bass/drums. … was Live Aid the first live televised rock concert event? …and fragments of our fading memories – the U2 drama, Adam Ant, Sade, the lost link to Ian Botham, Billy Connolly in tears, acts unwisely playing new singles, Noel Edmonds' helicopter shuttle, the BBC insisting it “mustn't feel like a Telethon” – and all achieved without mobile phones. Plus the return of Oasis, the BBC's tangle with Neil Young at Glastonbury and the fall-out from the Bob Vylan broadcast. … and a few Glastonbury moments - Rod Stewart's cocktail-dress cabaret girls and the 1975's Matt Healy stumbling on with a fag and a pint of Guinness.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.

Today on The Two Matts podcast, Matthew d'Ancona and Matt Kelly again respond to your queries. They discuss whether Keir Starmer's willingness to back down and listen is actually something to be admired, if the Prime Minister should take more care with his speeches and how serious Palestine Action's protests were. Plus they talk about the extent of corruption in UK politics, just how progressive the Labour Party is, and 80-year-old Rod Stewart's Glastonbury set.OFFER: Get The New World for just £1 for the first month. Head to https://www.thenewworld.co.uk/2matts Hosted on Acast. See acast.com/privacy for more information.

A 40th anniversary special with two of its presenters (Hepworth and Ellen) and old pal and TV critic Boyd Hilton who watched on the day aged 18 (“young, pretentious, idiotic”) and reviews the new BBC documentary. We look back at … … the ways Live Aid changed television – “not about music but spectacle and scale”. … would the idea of staging it have ever come about in the world of social media? … being in the room for the Geldof F-Bomb. … Ian Astbury smoking on live TV, the concrete mausoleum of the old Wembley Stadium, Concorde, Status Quo and other things that now seem so 1985. … how Live Aid was the death of the New Romantics – “they don't work in daylight” – and why Boy George turned it down. … the footage set to the Cars' video, the emotional pivot of the day, and the interview with the Ethiopian girl Birhan Woldu in the new documentary. … how the thin sound of '80s acts like the Style Council and Ultravox didn't have the impact of old-school guitar/bass/drums. … was Live Aid the first live televised rock concert event? …and fragments of our fading memories – the U2 drama, Adam Ant, Sade, the lost link to Ian Botham, Billy Connolly in tears, acts unwisely playing new singles, Noel Edmonds' helicopter shuttle, the BBC insisting it “mustn't feel like a Telethon” – and all achieved without mobile phones. Plus the return of Oasis, the BBC's tangle with Neil Young at Glastonbury and the fall-out from the Bob Vylan broadcast. … and a few Glastonbury moments - Rod Stewart's cocktail-dress cabaret girls and the 1975's Matt Healy stumbling on with a fag and a pint of Guinness.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.

Hey there was a big festival on last weekend, maybe you heard about it or read about it or watched it or something. Returning guest Richard Chambers was at the damn thing and so he duly relays Dave and Adam with a feature-length review in lieu of a Top 5, and let us tell you listener, this is a damn fine report. Also damn fine is the NO ENCORE Patreon - hit it up today for bonus content!ACT ONE: Dave gets intensely self-indulgent about another podcast. Hey, why not? ACT TWO (9:42): A scattershot enough news section takes in Oasis x Bohemians, a fake band doing numbers, and Adam's newest vinyl purchase. ACT THREE (26:45): Glastonbury 2025 in review featuring live reports of Supergrass, CMAT, Wet Leg, Franz Ferdinand, Alanis Morrisette, The 1975, Romy, Bob Vylan (and all the news fallout that came with that), Kneecap (ditto), Patchwork (aka Pulp), Skepta, Charli XCX, Gurriers, Rod Stewart, Snow Patrol, Overmono, and Olivia Rodrigo. As you might expect, a LOT to talk about. Hosted on Acast. See acast.com/privacy for more information.

After a mad old season 8 of AiC the boys roll into the final episode and talk about the big return of Oasis this weekend, the Glastonbury festival red button coverage, James Lilley's return to winning ways at BKFC in Birmingham and Rod Stewart buying Elton John a fridge. The lads talk about the sad passing of their friend and Swansea City legend Dudley Lewis, Paddy has been to see Rob Beckett and has got a fly infestation in his house and both boys had a great night watching Chris Coleman at a gentleman's evening. Peter Kaye has stolen Paddy's whole act, Ryan's fallen down a school shooting rabbit hole and the boys go recommendation crazy to keep everyone busy while they take a break before season 9 kicks off. When that will happen is anyone's guess….@ambitioniscritcal1997 on Instagram @TheAiCPodcast on Twitter

For days the headlines have been consumed by what Bob Vylan said at Glastonbury. Jemma and Marina discuss. But, before they disseminate all the Glasto fallout and furore, they enjoy some British language discussion. Find out how to end a call you've had enough of and how to be polite while conveying disapproval. Then, find out why Farage has made such an outlandish claim, it's compelled the Albanian Prime Minister to get stuck in. There follow some amazing clips in this episode as various people try to draw the focus of the media storm back to the fact that a ceasefire has been broken, that children are being murdered every day and that it's all on camera. It poses the question, what's a worse crime - incitement to violence or actual violence? And what are The Daily Mail thinking when they misquote on the front page?It's a rollercoaster of an episode and takes in the current chaos within the Labour party as the welfare bill causes a rebellion and some painfully sad clips as the situation in Palestine worsens. Rod Stewart offers some light relief as does the 'under rated' section. And of course there's pudding Thank you for sharing and do tweet us @MarinaPurkiss @jemmaforte @TheTrawlPodcastPatreonhttps://patreon.com/TheTrawlPodcastYoutubehttps://www.youtube.com/@TheTrawlTwitterhttps://twitter.com/TheTrawlPodcastBlueSkyhttps://bsky.app/profile/thetrawl.bsky.socialCreated and Produced by Jemma Forte & Marina PurkissEdited by Max Carrey

Todo sobre la cancelación de Rod Stewart.Glastobury.Imagine Dragons-Reseña del Show de Bunbury en Bogotá. Heart.Van Halen.Marilyn Manson. Todos los lanzamientos Rock de la semana.

Rod Stewart: Legend. Bob Vylan: 'Death to IDF' Scum. BBC's Glastonbury Shame!  #BobVylan #Glastonbury2025 #RodStewart #BBCScandal #JonGaunt  Rod Stewart closed Glastonbury 2025 with a stunning all-star set — but it was Bob Vylan's 'Death to the IDF' chant, broadcast live on the BBC, that stole headlines and sparked outrage across the UK.  In this show, Jon Gaunt breaks down:  • What Bob Vylan said and why it's caused political fire • BBC's baffling decision to broadcast it live • PM Keir Starmer and the media fallout • Should Vylan and KNEECAP have been booked in the first place? • Lisa Connolly got 31 months for HATE speech so what should Vylan receive? This is the Glastonbury controversy they don't want you to talk about but Jon Gaunt wants your opinion.

What was the best gift ever? Rod Stewart just revealed the most epic gift Elton John ever gave him, while being interviewed backstage at Glastonbury. We then asked our listeners what their best gift is... and Batman fans, you're gonna be soooooo jealous!See omnystudio.com/listener for privacy information.

Morse code transcription: vvv vvv Rod Stewart at Glastonbury Old school charm from another era Jurassic World Rebirth is out, Oasis return Whats coming up this week In pictures Sunday at Glastonbury Festival Trumps budget may cost millions healthcare as Senate debates bill Government condemns Glastonbury chants aired live on BBC Whats it like spending a night in Glastos Naughty Corner How safe is the Boeing 787 Dreamliner, really Stop Beyonc pauses show after flying Cadillac tilts mid air Ukraine war Mariupol residents deny Russian stories about the city Heatwave temperatures to hit 30C today as heatwave continues

Morse code transcription: vvv vvv Ukraine war Mariupol residents deny Russian stories about the city Whats it like spending a night in Glastos Naughty Corner Rod Stewart at Glastonbury Old school charm from another era Stop Beyonc pauses show after flying Cadillac tilts mid air Jurassic World Rebirth is out, Oasis return Whats coming up this week In pictures Sunday at Glastonbury Festival Heatwave temperatures to hit 30C today as heatwave continues How safe is the Boeing 787 Dreamliner, really Trumps budget may cost millions healthcare as Senate debates bill Government condemns Glastonbury chants aired live on BBC

Morse code transcription: vvv vvv Ukraine war Mariupol residents deny Russian stories about the city Rod Stewart at Glastonbury Old school charm from another era Heatwave temperatures to hit 30C today as heatwave continues Trumps budget may cost millions healthcare as Senate debates bill Jurassic World Rebirth is out, Oasis return Whats coming up this week Government condemns Glastonbury chants aired live on BBC Whats it like spending a night in Glastos Naughty Corner In pictures Sunday at Glastonbury Festival Stop Beyonc pauses show after flying Cadillac tilts mid air How safe is the Boeing 787 Dreamliner, really

Morse code transcription: vvv vvv Whats it like spending a night in Glastos Naughty Corner Heatwave temperatures to hit 30C today as heatwave continues Rod Stewart at Glastonbury Old school charm from another era Trumps budget may cost millions healthcare as Senate debates bill Jurassic World Rebirth is out, Oasis return Whats coming up this week Stop Beyonc pauses show after flying Cadillac tilts mid air In pictures Sunday at Glastonbury Festival Government condemns Glastonbury chants aired live on BBC How safe is the Boeing 787 Dreamliner, really Ukraine war Mariupol residents deny Russian stories about the city

Drew had a Devo weekend, Eli Zaret stops by, Glastonbury 2025, Jim Harbaugh & Michigan sued, Barbara Walters Tell Me Everything on Hulu, OnlyFans for sale, and Tom Brady won the Jeff Bezos wedding. The latest WATP episode was recording right in our studios. Check it out right here. Drew caught Devo's art show in Birmingham, then the band themselves at The Fillmore Detroit. Eli Zaret drops by to pop off on the Jeff Bezos/Lauren Sanchez wedding, Tom Brady's antics, down goes Tommy Hilfiger, Jim Harbaugh added to a University of Michigan class action lawsuit, Surviving Ohio State on HBO, Detroit Piston Malik Beasley investigated for gambling, Angel Reese cashes in, the Detroit Tigers way out in first place, some boring golf stuff, Jake Paul's latest snoozer of a fight, the Detroit Red Wings draft choices, NBA Draft recap, RIP Dave Parker, George Costanza bobble-head night and more. Politics: The ‘Trump Bill' lingers on. Zohran Mamdani vs billionaires. AOC's yearbook scandal. NYFD's hot-girl problem. The General Lee went flying again. These chicks brawl and some private parts fall out all over the place. Marge Simpson is dead. A new doc on Barbara Walters has dropped on Hulu. Glastonbury: The big festival went down. John Fogerty sounded really old. Peter Capaldi crashed Franz Ferdinand. Lorde performed as well and danced like an idiot. Lorde is SOOOO deep. Hip Hop: King Combs and Kanye West drop some tunes. They suck. Joycelyn Savage is brainwashed by R. Kelly. Chris Brown humps his fans. Leonid Radvinsky wants $8B for OnlyFans. Paul McCartney is really into making lists these days. Rod Stewart's friend, Georgie, was super gay. Everybody hates Will Smith. Dave Landau will join us tomorrow. If you'd like to help support the show… consider subscribing to our YouTube Channel, Facebook, Instagram and Twitter (Drew Lane, Marc Fellhauer, Trudi Daniels, Jim Bentley and BranDon).

Hello Quizheads, welcome to Takeaway Trivia your pub quiz in a podcast.Four rounds of bar trivia in the comfort of your own home. No queuing for a your beer, no sticky tables and no one heckling the answers. Play the quiz however you like. Get your gang together and play like a true quiz night or entertain yourself on the drive home from a music festival.This week's rounds:>2:10: General Knowledge>05:35: Lyrically Speaking>13:08: Clued Up>20:00: The End of the Quiz QuizCONTACT TAT> ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠> ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Bluesky⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠> ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Ko-fi⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ We make every effort to check that the trivia presented in each episode is correct and up to date at the time of publishing however, the contents of this podcast are presented for entertainment purposes only. Takeaway Trivia cannot be held responsible for any errors. Please get in touch if you think we've got it wrong to win the ultimate pedant's prize - a shout out in the Correction Section!Takeaway Trivia is available wherever you download podcasts including Spotify, Apple Podcasts, Amazon Music and Audible. It's also available on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Youtube⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠New episode every Monday!#pubquiz #podcast #trivia #quiz #generalknowledge #questions #bartrivia #answers #GlastonburyMusic:"⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠There It Is⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠" by Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 License:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠http://creativecommons.org/licenses/by/4.0/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠"Carpe Diem" by Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0License:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠http://creativecommons.org/licenses/by/4.0/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ "Easy Lemon" by Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 License:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠http://creativecommons.org/licenses/by/4.0/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠"Life of Riley" by Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0

From this weeks mailbag, we read messages about Jasper Carrot, Rod Stewart and Henry Coopers brothers, a Diet Coke warning, some dog fouling - which leads to a long conversation about Joe's vigilante-ism - and a top tier quip on a cruise ship. FOR ALL THINGS CHATABIX'Y FOLLOW/SUBSCRIBE/CONTACT: YouTube: ⁠⁠⁠⁠https://www.youtube.com/@chatabixpodcast⁠⁠⁠⁠ Insta: ⁠⁠⁠⁠https://www.instagram.com/chatabixpodcast/⁠⁠⁠⁠ TikTok: ⁠⁠⁠⁠https://www.tiktok.com/@chatabix⁠⁠⁠⁠ Twitter: ⁠⁠⁠⁠https://twitter.com/chatabix1⁠⁠⁠⁠ Patreon: ⁠⁠⁠⁠https://www.patreon.com/chatabix⁠⁠⁠⁠ Merch: ⁠⁠⁠⁠https://chatabixshop.com/⁠⁠⁠⁠ Contact us: ⁠⁠⁠⁠chatabix@yahoo.com⁠⁠⁠⁠ Learn more about your ad choices. Visit podcastchoices.com/adchoices

Des and the team break up the week's big news. Including: Reaction to US strikes in the Middle East, plans to restrict short term lets in the Highlands, moving the Edinburgh festival out of August, Rod Stewart at Glastonbury and much more. Lead Writer: Madeleine Brettingham Additional material: Chris Stanners, Darren Phillips & Alice Bright, Gregor Paton, L.P. Stanton, Luke Gannon, Stephen Holford, Katherine Kennedy, Chris Ballard, Alex Buchanan & Mark Granger, Rebecca Bain & Alex Garrick Wright and Cooper Mawhinney Sweryt Producer: Chris Quilietti Series Producer: Dave Flynn Researcher: Jodie White Script Editor: Keiron NicholsonAn Eco-Audio certified Production

President Trump says the United States and Iran will hold a meeting next week, but that they do not need to sign an agreement. He also denied reports that the US strikes on Iran's nuclear facilities failed to finish the job. We hear from the BBC's Lyse Doucet, who's in Iran, and ask what chance there is that new negotiations could work. Also in the programme: in Kenya, there are reports of several people having been killed and more than 400 injured at events marking the first anniversary of protests against attempts to raise taxes; and where old rockers go to roll - Rod Stewart on taking the tea-time slot at the Glastonbury Festival.

A mix of songs that hit number one on the Adult Contemporary chart in the 1990s. Artists include Seal, Phil Collins, Celine Dion, Don Henley, Bryan Adams, Rod Stewart, Eric Clapton, Elton John and more! (R)

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

It's Jane's birthday but not everyone has remembered... *cough Fi cough*. On this special day, they chat significant ages, bra fittings, Rod Stewart in the heat, and hedgehog spikes. If you want to come and see us at Fringe by the Sea, you can buy tickets here: www.fringebythesea.com/fi-jane-and-judy-murray/ And if you fancy sending us a postcard, the address is: Jane and FiTimes Radio, News UK1 London Bridge StreetLondonSE1 9GFIf you want to contact the show to ask a question and get involved in the conversation then please email us: janeandfi@times.radioThe next book club pick has been announced! We'll be reading Leonard and Hungry Paul by Rónán Hession.Follow us on Instagram! @janeandfiPodcast Producer: Eve SalusburyExecutive Producer: Rosie Cutler Hosted on Acast. See acast.com/privacy for more information.

Braves dominate, Stanley Cup gets cracked, ESPN forces Schefter into golf, and Rod Stewart wants sprint gold at 80.See omnystudio.com/listener for privacy information.

Braves dominate, Stanley Cup gets cracked, ESPN forces Schefter into golf, and Rod Stewart wants sprint gold at 80.Atlanta's ONLY All Conservative News & Talk Station.: https://www.xtra1063.com/See omnystudio.com/listener for privacy information.

Today's WKXL NH Unscripted show has us highlighting  the fund raising efforts of NH Gives and it's impact on non-profits. Then we veer off into comparing the two most famous versions of Tom Waits' “Tom Trauberts Blues” (his and then Rod Stewart's). And finally we toss in Stewart's “I Don't Want to Talk About It” for good measure. The video version which has been viewed over a billion times!

A lot of our 80s favourites are getting sick — is it a conspiracy, or just a sign that we're all getting really old?Michael Jackson's family is making a biopic and, in a totally-not-nepo-baby move, his nephew has landed the lead role.Still no word on who's playing Tito.Was that a sock in Steve Guttenberg's pocket, or was he just happy to see the Village People? And someone stole Marty McFly's guitar — but don't worry, your kids are gonna love it.Morton Harket's Parkinson's Diagnosis (00:01:02):https://americansongwriter.com/lead-singer-of-popular-1980s-band-may-never-sing-again-after-parkinsons-diagnosis/Billy Joel's Health and Documentary (00:04:36):https://www.foxnews.com/entertainment/billy-joel-jokes-about-aging-cremation-after-brain-disorder-diagnosisRod Stewart's Health Struggles (00:06:14): https://www.remindmagazine.com/article/30616/rod-stewart-history-of-health-issues/Michael Jackson Biopic Announcement (00:10:53):https://screenrant.com/michael-jackson-movie-box-office-record/Boy George and Culture Club Documentary (00:16:11):https://ca.news.yahoo.com/boy-george-culture-club-review-013000500.html?guccounter=1Steve Guttenberg, Caitlyn Jenner, and “Can't Stop the Music” (00:19:02):https://www.dailymail.co.uk/tvshowbiz/article-14790353/80s-icon-moment-caitlyn-jenner-stuff-shorts-socks-steve-guttenberg.htmlCare Bears Live Action (00:23:06): https://movieweb.com/care-bears-reboot-warner-bros-josh-greenbaum/Back to the Future's Missing Guitar (00:25:26):https://parade.com/news/cast-of-beloved-80s-classic-invites-fans-to-help-with-decades-long-mysteryhttps://losttothefuture.com # MortenHarket, # Parkinson'sdisease, # MichaelJFox, # BillyJoel, # normalpressurehydrocephalus, # RodStewart, # thyroidcancer, # prostatecancer, # MichaelJackson, #biopic, # JafarJackson, # BoyGeorge, # CultureClub, # 80scinema, # fashiontrends, # SteveGuttenberg, # BacktotheFuture, # missingguitar, # LosttotheFuture, # cinematichistory, # DavidHasselhoff, # 80snostalgia, # popculture, # humor, # anecdotes, # movierecommendations, # musicindustry, # agingstars, # therapy, # cerebrospinalfluid, # surgery, # medicalhistory, # resilience, # iconicmusicians, # popstardom, # reboots, # CGIremake, # CareBears, # cherryredGibson # ChristopherLloyd,

Today's show has us highlighting  the fund raising efforts of NH Gives and it's impact on non-profits. Then we veer off into comparing the two most famous versions of Tom Waits' “Tom Trauberts Blues” (his and then Rod Stewart's). And finally we toss in Stewart's “I Don't Want to Talk About It” for good measure. The video version which has been viewed over a billion times!

This week, we welcome a true music industry veteran — Steve Trudell. Born into the business and raised in the legendary halls of Motown alongside his father, the iconic Johnny Trudell, Steve has spent his life working with some of the biggest names in music, including The Trans-Siberian Orchestra, Disturbed, Evanescence, Billy Joel, Peter Gabriel, Rod Stewart,and many more.Now based in Nashville, Steve continues to contract for major tours and is diving into exciting new projects — including a fresh, genre-spanning live show called Y'alls Generation. In this episode, he shares incredible behind-the-scenes stories from decades in the industry, insights into the creative process, and what it takes to keep the music alive on the road and in the studio.

MUSICNine women, some who say they were underage, have accused Jared Leto of sexual misconduct, including incidents dating back to 2006.· Hayley Williams of Paramore joined Turnstile to sing on the Never Enough track "Seein' Stars" Thursday night in Brooklyn, New York. Watch the performance on YouTube. The Back to the Beginning festival with Ozzy Osbourne and Black Sabbath's final shows on July 5th will streamed live with tickets on sale now at BackToTheBeginning.com. Rod Stewart has canceled six upcoming US concert dates this month, sharing with fans, "I continue to recover from the flu. So sorry, my friends. I'm devastated and sincerely apologize for any inconvenience to my fans. I'll be back on stage and will see you soon." TVKourtney Kardashian and Travis Barker didn't get a warm welcome at a WWE event, instead, they got bodyslammed with boos. MOVING ON INTO MOVIE NEWS:Ballerina couldn't dance its way to the top of the box office. Disney's Lilo & Stitch claimed the No. 1 spot for the third consecutive weekend with $32.5 million. Btw: A mom in the U.K. took her kid to see "Lilo & Stitch", and noticed an adult man, by himself, "munching on snacks" and watching the movie. And she posted on a parents' forum, asking if it was unreasonable to find this odd. Mia Goth will play a villain in Ryan Gosling's "Star Wars" movie. George Clooney's Broadway play Good Night, and Good Luck just made Broadway history. Sex with a pie isn't the grossest thing Jason Biggs ever did. He once jumped into a "trash bin" to snort AND FINALLYA site called FamilyMinded.com put together a list of the WORST songs of the '70s. 1. "Let 'Em In", Paul McCartney and Wings (1976)2. "Billy Don't Be a Hero", Bo Donaldson and the Heywoods (1974)3. "(You're) Having My Baby", Paul Anka (1974)4. "Lovin' You", Minnie Riperton (1974)5. "Disco Duck", Rick Dees and His Cast of Idiots (1976)6. "Ben", Michael Jackson (1972)7. "Afternoon Delight", Starland Vocal Band (1976)8. ANCHORMAN AND THAT IS YOUR CRAP ON CELEBRITIES!Follow us @RizzShow @MoonValjeanHere @KingScottRules @LernVsRadio @IamRafeWilliams - Check out King Scott's Linktr.ee/kingscottrules + band @FreeThe2SG and Check out Moon's bands GREEK FIRE @GreekFire GOLDFINGER @GoldfingerMusic THE TEENAGE DIRTBAGS @TheTeenageDbags and Lern's band @LaneNarrows ⁠http://www.1057thepoint.com/RizzSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

In the first of a series of Glastonbury specials, Annie Macmanus and Nick Grimshaw sit down with Sir Rod Stewart to discuss the legends slot. When will he decide his set list, how does he look after his voice before a big show and who does he think Glastonbury should book for the slot in 2027? Get in touch with Annie and Nick! If you're over 16 WhatsApp 079700 82700 or email sidetracked@bbc.co.uk

Morse code transcription: vvv vvv Glastonbury Who are Patchwork and the festivals other secret stars Rod Stewart cancels US gigs ahead of Glastonbury legends slot Glasgow city centre roads closed due to ongoing disturbance Government struggles to cut foreign aid spent on asylum hotels Swapped at birth Why dad never looked like his parents MI5 misled watchdog about neo Nazi spy case after lying in court How a polo loving businessman was a secret global drug lord NHS app Plans for more patients in England to get results on phones Will Musks explosive row with Trump help or harm his businesses Cryptosporidium open farm day visitors warned over parasite risk

National Guard Troops are now being seen on the ground in Los Angeles after President Donald Trump deployed the Guard members after massive protests over Immigration Raids escalated in Los Angeles. The President's spending and tax bill is before the Senate where more political wrangling over the big beautiful bill is expected this week. Rod Stewart cancels some of his shows. Stay in "The Loop" with #iHeartRadio.

Morse code transcription: vvv vvv Cryptosporidium open farm day visitors warned over parasite risk Government struggles to cut foreign aid spent on asylum hotels Glasgow city centre roads closed due to ongoing disturbance NHS app Plans for more patients in England to get results on phones How a polo loving businessman was a secret global drug lord Glastonbury Who are Patchwork and the festivals other secret stars Will Musks explosive row with Trump help or harm his businesses Swapped at birth Why dad never looked like his parents MI5 misled watchdog about neo Nazi spy case after lying in court Rod Stewart cancels US gigs ahead of Glastonbury legends slot

Morse code transcription: vvv vvv Will Musks explosive row with Trump help or harm his businesses How a polo loving businessman was a secret global drug lord Glasgow city centre roads closed due to ongoing disturbance NHS app Plans for more patients in England to get results on phones Swapped at birth Why dad never looked like his parents MI5 misled watchdog about neo Nazi spy case after lying in court Cryptosporidium open farm day visitors warned over parasite risk Glastonbury Who are Patchwork and the festivals other secret stars Government struggles to cut foreign aid spent on asylum hotels Rod Stewart cancels US gigs ahead of Glastonbury legends slot

Episode Summary: It's National Donut Day on The Coffee Club, and things get sticky—in the best way possible. Janae and Ronnie kick off the show munching on Sandy's doughnuts and sliding into a hilarious mix of small-town charm, wild skincare experiments (hello, snail secretion cream), and heartfelt community events. The duo chat about everything from accidentally texting your boss about diarrhea (oops!) to the powerful patriotism behind a multi-city flag exchange motorcycle ride across North Dakota. You'll also meet Macy, a rising star in the station, and hear all about a food truck fest with a mission to feed more than just your belly. Sprinkle in some Rod Stewart updates, fish-related frisbee golf incidents, and pumpkin-carving smack talk, and you've got a fun, flavorful Friday episode.

In this episode of the Better With Running Podcast, hosts Chris and Zac start the show by touching on listener feedback and a recent incident highlighting poor track etiquette amidst the current "running boom." Chris updates on his elliptical training as he recovers from injury, hoping for a gentle return to running soon, while Zac details his own structured return-to-run program, starting with walk/jogs and feeling positive. They also briefly discuss elliptical machine preferences and inaccuracies.The spotlight then turns t #teamrun2pb athlete and physiotherapist Matt Ridgewell, who shares his inspiring journey to breaking the 3-hour marathon barrier at Noosa with a 2:58:07 finish. Matt recounts his running origins, his professional passion for treating runners, and the personal challenges he overcame—including a stress fracture and significant life events—leading up to his triumphant race. describes his love for both the objective and meditative aspects of running, praises Zacca's coaching, and answers a series of quick-fire questions about his running and future goals before the hosts conclude that Rod Stewart's WR attempt is a bit misguided, as they round out the show with WR Chat.00:00:17: Introduction and 250th episode anticipation. 00:00:56: Listener feedback and previous week's "one percenters" discussion. 00:01:35: Track etiquette issues and "runfluencers." 00:04:49: Chris's elliptical training update. 00:08:16: Discussion on elliptical machine pros and cons. 00:12:50: Zac's return to running program. 00:18:38: Introduction of guest Matt Ridgewell. 00:20:27: Matt's running origin story. 00:21:34: Matt's work as a physiotherapist and experience with running injuries. 00:25:11: What Matt loves about running. 00:28:13: Lead-up to the Noosa Marathon and Matt's sub-3 goal. 00:30:40: Challenges before the Noosa Marathon (floods, travel changes). 00:32:08: Matt describes the Noosa Marathon race experience. 00:33:34: Pacing and group dynamics during the marathon. 00:35:11: The emotional finish and achieving his goal. 00:39:04: Matt discusses being coached by Zac. 00:43:30: Matt's favorite marathon training sessions. 00:45:06: Matt's future running plans. 00:47:46: Quick-fire questions with Matt begin. 01:01:50: World Record Chat: Rod Stewart and the 80+ 100m record.

MUSICTaylor Swift has bought her masters, meaning she now has more control over her music moving forward than she originally did, and early reports from industry outlets like Billboard, which have followed the case closely from the beginning, suggest a sale price of $360 million. Seven Mary Three's debut album, 1994's Churn, has been reissued digitally with three previously unreleased tracks: “Wrecking Wall,” an early demo of “My My,” and “Over Nothing,” which served as the blueprint for “Margarette” on both Churn and American Standard.· Rod Stewart canceled his Monday night show in Las Vegas at the last minute, sharing with fans on Instagram, "I am sorry to inform you that I'm not feeling well and my show tonight at The Colosseum at Caesars Palace is being rescheduled to June 10th." Meghan Markle is trying to build her lifestyle brand, but not everyone is on board. Word has it that Meghan asked Dolly Parton to appear on her Netflix show "With Love, Meghan", and got DENIED. Lainey Wilson is known for always wearing her signature bell-bottoms. "I have completely lost count, but I've worn a new pair onstage each time for the past 15 years.· What comes to mind when I say the BEST Disney movie soundtrack. TVJonathan Joss, best known for voicing John Redcorn on King of the Hill, was fatally shot Sunday in San Antonio, Texas, Variety reports. MOVING ON INTO MOVIE NEWS:George Romero invented the zombie genre as we know it with 1968's "Night of the Living Dead". And now his daughter Tina is keeping his legacy alive . . . but with a twist. Switch 2 pre-order panic … The Nintendo Switch 2 will launch this Thursday, June 5th. Unfortunately, a bunch of excited fans got a surprise they didn't ask for when some big stores here in the U.S. and England canceled their pre-orders. They thought they were going to open the new console on day one – but now, they're scrambling. The stores suggest the customers will get a chance to buy a console next month – and some of the customers will be getting some store credit to ease their pain. AND FINALLYReddit users have been naming the celebrities they think were UNFAIRLY canceled or mistreated by the public. Let's see if you can remember why these people were canceled:Brendan Fraser: He was basically shunned after accusing the former president of the Hollywood Foreign Press Association of groping him. He made a massive comeback with "The Whale", after which we all realized how much we missed him. Janet Jackson: Wardrobe Malfunction. We learned that phrase during the Super Bowl Halftime Show of 2004, when Justin Timberlake exposed Janet's bejeweled nipple. Everyone got on HER case, but Justin escaped pretty much unscathed for some reason. Corey Feldman: Corey, who was a famous child actor, alleged that he'd been sexually abused by powerful figures in the industry. When he publicly discussed the claims during an interview with Barbara Walters, the talk show host said, “You're damaging an entire industry.” Sinead O'Connor: She never really recovered from the blowback after she tore up a picture of Pope John Paul the Second on "Saturday Night Live" in 1992. But she was doing it to protest child abuse in the Catholic Church . . . and she had a point. Rose McGowan: Rose's career took a hit after she publicly accused Harvey Weinstein of sexual abuse and rape. Katherin Heigel: Katherine faced immense backlash after calling out the working conditions on the Grey's Anatomy set. At the time, she was branded “difficult” to work with. Rebecca Black: She was just a 13-year-old kid trying to realize her dream of pop stardom when she released the horrible song "Friday" and it's just-as-horrible music video in 2011. In retrospect, we were all way too hard on her.AND THAT IS YOUR CRAP ON CELEBRITIES!Follow us @RizzShow @MoonValjeanHere @KingScottRules @LernVsRadio @IamRafeWilliams - Check out King Scott's Linktr.ee/kingscottrules + band @FreeThe2SG and Check out Moon's bands GREEK FIRE @GreekFire GOLDFINGER @GoldfingerMusic THE TEENAGE DIRTBAGS @TheTeenageDbags and Lern's band @LaneNarrows ⁠http://www.1057thepoint.com/RizzSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

In this wild and heartwarming episode of The Therapy Crouch, Peter and Abbey go from petty parenting battles to posh kitchen arguments, all while fielding the most jaw-dropping listener confessions yet. From 3AM texts during a family crisis to the dilemma of deleting your partner's intimate photos with their ex—nothing is off-limits.Abbey opens up about her passion for horse and tracking Peter's every move on his lads' trip, while Peter shares insights from visiting Rod Stewart's jaw-dropping Essex mansionListener letters also bring the heat, with confessions about MILF dilemmas, boyfriend icks, and leftover photos of exes causing chaos. Hosted on Acast. See acast.com/privacy for more information.

One of the more underrated - some might say virtually lost - bands of the early rock era is Delaney & Bonnie.  This singer-songwriter duo is made of session guitarist/vocalist Delaney Bramlett and his wife and former Ikette Bonnie Bramlett.  Just as important as this founding couple is the number of talented musicians they brought into their recordings, with albums often being referenced as recorded by "Delaney & Bonnie and friends."  These "friends" included luminaries such as Leon Russell, Eric Clapton, George Harrison, Duane Allman, Greg Allman, Steve Howe, and Rita Coolidge.  D&B Together is the sixth and final album from Delaney & Bonnie.  Originally entitled "Country Life," the album was delivered to Atco/Atlantic Records behind schedule and rushed into distribution.  Although Atlantic executive Jerry Wexler was a friend of the duo, he didn't think the quality was where it needed to be and withdrew it from the market.  He later sold the contract and the album's master tapes to CBS, who reordered the running sequence and re-released it in March 1972.  In addition to frequent collaborators Eric Clapton, Leon Russell, and Duane Allman, this album also contains the work of "friends" like Dave Mason, Billy Preston, and Tina Turner. Despite the title, Delaney and Bonnie would divorce shortly after the album came out.  Drugs were taking their toll on the couple and their relationship could not survive it.  However, they did have a daughter named Bekka Bramlett, who was a member of Fleetwood Mac from 1993-1995 and had a long career as a backing vocalist in the music industry.Bruce presents this underrated rock/soul album for this week's podcast.Comin' HomeThis song was released in December 1969 by Atco Records (US) and Atlantic Records (international).  It was co-written by Bonnie Bramlett and Eric Clapton, and features Eric Clapton.  It went to number 84 on the US pop charts.  The lyrics are about being on the road and getting ready to come home to the one the singer loves.  Only You Know and I KnowDave Mason originally wrote and recorded this song in 1970, and it became his first charting single, going to number 42 on the Billboard Hot 100.  Delaney & Bonnie re-recorded it and took it to number 20 on the same chart.  This single was released in 1971, another single that came out before the album.  I Know Something Good About YouThis is a deeper cut on the album with an upbeat, funky sound.  It was written by Delaney Bramlett and Joe Hicks.  Groupie (Superstar)Most people recognize this as a hit from the Carpenters, but this is the original.  Rita Coolidge came up with the idea after observing female groupies with rock starts in the late 60's, and the song was written by Bonnie Bramlett and Leon Russell.  It was the B-side to "Comin' Home."  Richard Carpenter picked it up for the Carpenters, and changed some of the lyrics to be less risqué.   ENTERTAINMENT TRACK:Main theme from the television series The RookiesThis police action series debuted in October 1972. STAFF PICKS:And You and I by YesWayne leads off the staff picks with an excerpt of the 10+ minute work written by Jon Anderson, Bill Bruford, Steve Howe, and Chris Squire. The entire song consists of four parts, but the first two were released as a single edit which hovered just outside the top 40 on the Billboard charts.   You Wear It Well by Rod StewartRob brings us the first single from Stewart's fourth studio album, "Never a Dull Moment."  It went to number 13 on the Billboard Hot 100, and number 1 on the UK singles chart.  Many consider this an arrangement of Stewarts hit "Maggie May."  As with his previous album, members of the Faces join in as musicians on "Never a Dull Moment."Lean On Me by Bill WithersLynch features a song written and performed by Withers.  It was inspired by his experience growing up in a mining town in West Virginia. The community ethic of that town was something Withers missed when he moved to Los Angeles.  It was the first single from Withers' second album, "Still Bill." Turn to Stone by BarnstormBruce brings us a song inspired by frustration over the Vietnam War, the Nixon Administration, and the protesting that was going on at the time.  Joe Walsh left the James Gang and formed a group called Barnstorm.  The group put out three albums including one with the wonderful title "The Smoker You Drink, the Player You Get."  This song is off the group's self-titled debut album.  COMEDY TRACK:My Ding-a-Ling by Chuck BerryWe close out this week's podcast with Berry's double entendre masterpiece, on the charts in this month.   Thanks for listening to “What the Riff?!?” NOTE: To adjust the loudness of the music or voices, you may adjust the balance on your device. VOICES are stronger in the LEFT channel, and MUSIC is stronger on the RIGHT channel.Please follow us on Facebook https://www.facebook.com/whattheriffpodcast/, and message or email us with what you'd like to hear, what you think of the show, and any rock-worthy memes we can share.Of course we'd love for you to rate the show in your podcast platform!**NOTE: What the Riff?!? does not own the rights to any of these songs and we neither sell, nor profit from them. We share them so you can learn about them and purchase them for your own collections.

Freddie Mercury's secret daughter claims she got a DNA test to prove her story, Rod Stewart confirms Faces reunion will happen at Glastonbury, Billy Joel is diagnosed with a rare medical condition and is forced to cancel his upcoming tour & more!  PLUS ‘This Week in Rock & Roll History Trivia', Rock Birthdays, ‘The Best & Worst Rock Album Artwork of the Week' & so much more!Everything is up at www.rocknewsweekly.com / All socials @rocknewsweekly Watch us LIVE, chat with us & more…Every Sunday around 2pm PST @ https://www.twitch.tv/rocknewsweeklyWatch all of our videos, interviews & subscribe at Youtube.com/@rocknewsweeklyFollow us online:Instagram.com/rocknewsweeklyFacebook.com/rocknewsweeklyTwitter.com/rocknewsweeklyTikTok.com/@rocknewsweeklyAll of our links are up at www.rocknewsweekly.com every Monday, where you canCheck it out on 8 different platforms (including Amazon Audible & Apple/Google Podcasts) #Rock #News #RockNews #RockNewsWeekly #RockNewsWeeklyPodcast #Podcast #Podcasts #Metal #HeavyMetal #Alt #Alternative #ClassicRock #70s #80s #90s #Indie #Indie #Trivia #RockBirthdays  #BestAndWorstAlbumCovers #AlbumCovers #BadAlbumCovers #RodStewart #Faces #RonnieWood #Glastonbury #Glastonbury2025 #BillyJoel #FreddieMercury #MaryAustin #LesleyAnnJones #LoveFreddie #LoveFreddieBook

May 30, 2025 Today we look at the top songs debuting on the Billboard chart this week back in 1985, 1995, 2005, & 2015. Dustin, Jason, & Tyler have a hosts only late show. We discuss 12 songs from this week in music history, including 5 Top 10s and 11 Top 40 hits. We have new songs from Rod Stewart, Toby Keith, Heart, E Sheeran, and more. Want to be cool like us and watch the music videos for all the songs? Then here's a convenient playlist that has them all in order of discussion.

What an amazing night at the American Music Awards! Kelly & Sharon have much to discuss including Jennifer Lopez as MC and performer, Gloria Estefan bringing her fire to the stage, Rod Stewart being surprised and Janet Jackson declaring that she doesn't view herself as an icon - but we do! Kelly & Sharon also break down Janet's performance and give their opinion on how Janet continues to inspire with her work ethic and commitment to her art. We also celebrate the 30th anniversary of Michael & Janet Jackson's "Scream" song/video and how their infamous dance break in the music video almost didn't happen. Try your luck with Kelly's Trivia and Sharon takes you back to 1993 with your 90's Rewind. Thank you for listening to 90's NOW!

Brian Auger honestly states in this podcast, “Being a professional musician and making a living at it wasn't planned, it just happened.” British Keyboard artist Brian Auger has played with the best of the best - Jimi Hendrix, Jimmy Page, Sonny Boy Williamson, Rod Stewart, Eric Burdon, John McLaughlin , Eric Clapton, Steve Winwood, Spencer Davis just to name a few. His groups were The Trinity with Julie Driscoll and the Oblivion Express as well as playing in many sessions with major artists. In this insightful podcast Brian takes us from being bombed by Hitler's troops  as a young boy in the streets of London to his becoming a world class musician specializing in the Hammond B3 organ. Brian sums up his approach to playing music with the following quote:     “I'm never dissatisfied with the reaction to albums because there are certain albums that I made in the ‘70s and the ‘60s that sold poor and people want them. It seems to pick up different generations as it goes along. I don't worry about that. I just worry that the tracks that we would put, have a meaning to them, they mean something to me. Each album is like a page in my musical diary: Where I am musically at that time. I am not looking to write something for any kind of need in the marketplace or anything like that. I am just trying to make the best music that I can make and put it out there.”

It's the Rodcast baby.On this very special episode of That Peter Crouch Podcast, Pete, Chris, and Sids make a pilgrimage to the stately home of none other than Sir Rod Stewart—rock legend, model train aficionado, and die-hard Celtic fan.Recorded inside Rod's private gym and overlooking his personal football pitch, this episode is a goldmine of outrageous stories and charming confessions. From Elton John gifting him a Rembrandt painting, to the infamous drunken Scottish Cup draw, Rod holds nothing back.He opens up about his lifelong love affair with football, his competitive friendship with Elton, and how his model railway obsession helps him stay grounded (and vocally fit!) while touring the world.Whether he's reminiscing about pitch invasions at Wembley, revealing the secrets behind his Vegas shows, or naughty 70's antics, this is Rod Stewart at his most raw and relatable.Chumbawamba00:00 – The lads arrive at Rod's house00:57 – First glimpses into Rod's estate, football pitch, and gym setup.02:25 – Rod arrives05:04 – Rod's football upbringing, trial at Brentford, and passion for the game.07:10 – Competitive Christmases with Sir Elton John11:17 – Rod's sprint training12:00 – The iconic drunken Scottish Cup draw explained.14:11 – His dad turning off England's World Cup win—Scottish loyalties run deep.21:11 – Recounting the pitch invasion at Wembley in 1977.25:50 – Singing in front of the Queen and Prince Philip.31:13 – Rod's touring secrets, including building train factories in hotel rooms.35:24 – How “Maggie May” accidentally became a worldwide hit.Follow our Clips page https://www.youtube.com/channel/UCLNBLB3xr3LyiyAkhZEtiAAFor more Peter Crouch:Twitter - https://twitter.com/petercrouchTherapy Crouch - https://www.youtube.com/@thetherapycrouchFor more Chris StarkTwitter - https://twitter.com/Chris_StarkInstagram - https://www.instagram.com/chrisstark/For more Steve SidwellTwitter - https://twitter.com/sjsidwellInstagram - https://www.instagram.com/stevesidwell14#PeterCrouch #ThatPeterCrouchPodcast Hosted on Acast. See acast.com/privacy for more information.

Blockbuster Blake Stubbs, in for Dean Richards, joins Wendy Snyder, in for Bob Sirott, to provide details on the latest news in entertainment. Wendy and Blake talk about ‘Mission: Impossible – The Final Reckoning', ‘Lilo and Stitch’ taking the top spot, Memorial Day weekend box office numbers, Rod Stewart’s performance at AMAs, George Clooney’s new […]

Mary Lou Retton's DUI arrest, Jennifer Lopez cringy AMA opening, Meghan Markle reevaluating her “business”, new lies from Sherri Papini, the Tylenol Murders, the Diddy trial, and more details about BranDon's neighbor who married David Geffen. Crime: The driver has been arrested in the Liverpool Parade car attack. 9 people have been arrested for assisting the escaped inmates of New Orleans. Downtown LA had a hell of a party Memorial Day weekend. The “Devil in the Ozarks” has escaped from an Arkansas prison. America's sweetheart Mary Lou Retton has been busted for DUI. She had an open bottle of wine in her Porsche. Better get another GoFundMe going. The American Music Awards: JLo had an embarrassing opening number when she danced and made out with everyone. Rod Stewart is old and swore on national TV. The Diddy trial was more explosive today. Vin Armani is cursed by his massive hog. Meghan Markle dropped the season finale episode of her awful podcast. You still can't buy her jams and jellies online and you might not be able to ever again. Rachael Ray is digging a grave with a fork and a knife… and alcohol. Her husband is a total pervert. Hawk Tuah is finally addressing the memecoin debacle, but won't name names or take any responsibility. The Costco Guy's Big Justice throw out the first pitch at a Texas Rangers game. The Rizzler was nowhere to be found. Shaduer Sanders has a car issue. What is Lil Tay up to these days? Netflix features Cold Case: The Tylenol Murders. The Skara Cannibal really scares Drew. BranDon's sexy former neighbor is getting more and more headlines. Valerie Bertinelli will just not stop talking about Eddie Van Halen. Sherri Papini: Caught in the Lie is out now on HBO Max and features a handful of new whoppers. Britney Spears is pissed Sam Asghari has found a new chick years after their divorce. George Floyd's “legacy” is under attack. Donald Trump signed some pardons… including Todd and Julie Chrisley. If you'd like to help support the show… consider subscribing to our YouTube Channel, Facebook, Instagram and Twitter (Drew Lane, Marc Fellhauer, Trudi Daniels, Jim Bentley and BranDon).

MUSICBritney Spears hasn't been in actual trouble in a while . . . but she did get scolded on Thursday after lighting a cigarette on a public charter flight from Cabo to Los Angeles. Billy Joel has canceled all of his concert dates after revealing a rare brain disorder diagnosis, which can severely affect hearing, vision and balance.In a new biography called 'Love, Freddie', a 48-year-old woman says she is the lovechild of Queen icon Freddie Mercury, conceived in 1976. TVRIP: Duck Dynasty' star Phil Robertson, who was diagnosed with Alzheimer's disease back in December. Cast changes are normal for Saturday Night Live every year, but the speculation is heavy for major departures this summer.The Netflix comedy was created by Shane Gillis, Tires season two is on the way! Michael Strahan's parents ate his pet pig when he was a kid, and the football Hall of Famer didn't know until he was an adult. MOVING ON INTO MOVIE NEWS:This year's Memorial Day weekend was a massive success at the box office and Lilo & Stitch dominated! During a screening of "Final Destination: Bloodlines" in La Plata, Argentina, the ceiling collapsed and fell on a 29-year-old woman who was there with her 11-year-old daughter. Jamie Foxx is silencing conspiracy theories about Sean "Diddy" Combs trying to kill him. AND FINALLYBillie Eilish was the big winner at the American Music Awards Monday night in Las Vegas: wining all seven awards she was nominated for, include Artist of the Year, Album of the Year and Song of the Year. Eilish accepted Artist of the Year via video, as she's on tour in Europe.Lady Gaga and Bruno Mars each won three awards, including Favorite Music Video and Collaboration of the Year for "Die With a Smile."A handful of another artists won two awards apiece — Eminem, SZA, Twenty One Pilots, Bruno Mars, Bad Bunny, Post Malone and Beyonce.In special awards, Janet Jackson was give the Icon Award, Rod Stewart was given the Lifetime Achivement Award (by five of his children) and Zac Brown was given the new Veteran's Voice Award. The night's performances:Host Jennifer Lopez, who previously hosted in 2015, opened show with a brief performance of "Dance Again" and then did a lengthy dance number to a mash-up of 23 of the nominated songs.Blake Shelton performed "Stay Country or Die Tryin' from his new album For Recreational Use Only.Benson Boone did “Mystical Magical” from his upcoming album American Heart, which is due out June 20th. And of course his performance included a backflip.Lainey Wilson debuted the single "Somewhere Over Laredo."Gwen Stefani performed a medley of "Swalllowed My Tears," from her latest album Bouquet, plus her hits "The Sweet Escape" and "Hollaback Girl."Janet Jackson performed "Someone to Call My Lover" and "All for You,"Reneé Rapp sang "Leave Me Alone" from her upcoming sophomore album Fight Me, which is out August 1stGloria Estefan performed a medley of hits including "Rhythm Is Gonna Get You" and "Conga."Alex Warren performed his hit “Ordinary."Becky G and Manuel Turizo gave their new single "Que Haces" its live debut.Rod Stewart performed "Forever Young" to close out the show. The complete list of winners: Artist of the Year: Billie Eilish New Artist of the Year: Gracie AbramsAlbum of the Year: Billie Eilish - Hit Me Hard and SoftSong of the Year: Billie Eilish - “Birds of a Feather”Collaboration of the Year: Lady Gaga & Bruno Mars - “Die With A Smile”Social Song of the Year: Doechii - “Anxiety” Favorite Touring Artist: Billie EilishFavorite Music Video: Lady Gaga & Bruno Mars - “Die With A Smile”Favorite Male Pop Artist: Bruno MarsFavorite Female Pop Artist: Billie EilishFavorite Pop Album: Billie Eilish - Hit Me Hard and SoftFavorite Pop Song: Billie Eilish - “Birds of a Feather”Favorite Male Country Artist: Post MaloneFavorite Female Country Artist: BeyoncéFavorite Country Duo or Group: Dan + ShayFavorite Country Album: Beyoncé - Cowboy CarterFavorite Country Song: Post Malone Featuring Morgan Wallen - “I Had Some Help”Favorite Male Hip-Hop Artist: EminemFavorite Female Hip-Hop Artist: Megan Thee StallionFavorite Hip-Hop Album: Eminem - The Death Of Slim Shady (Coup De Grâce)Favorite Hip-Hop Song: Kendrick Lamar - “Not Like Us”Favorite Male R&B Artist: The WeekndFavorite Female R&B Artist: SZAFavorite R&B Album: The Weeknd - Hurry Up TomorrowFavorite R&B Song: SZA - “Saturn”Favorite Male Latin Artist: Bad BunnyFavorite Female Latin Artist: Becky GFavorite Latin Duo or Group: Julión Álvarez y su Norteño BandaFavorite Latin Album: Bad Bunny - DeBÍ TiRAR MáS FOToSFavorite Latin Song: Shakira - “Soltera”Favorite Rock Artist: Twenty One PilotsFavorite Rock Album: Twenty One Pilots - ClancyFavorite Rock Song: Linkin Park - “The Emptiness Machine”Favorite Dance/Electronic Artist: Lady GagaFavorite Soundtrack: Arcane League of Legends: Season 2Favorite Afrobeats Artist: TylaFavorite K-Pop Artist: RM AND THAT IS YOUR CRAP ON CELEBRITIES!Follow us @RizzShow @MoonValjeanHere @KingScottRules @LernVsRadio @IamRafeWilliams - Check out King Scott's Linktr.ee/kingscottrules + band @FreeThe2SG and Check out Moon's bands GREEK FIRE @GreekFire GOLDFINGER @GoldfingerMusic THE TEENAGE DIRTBAGS @TheTeenageDbags and Lern's band @LaneNarrows ⁠http://www.1057thepoint.com/RizzSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

The American Music Awards are finally back, baby—and the chaos did not disappoint. J Lo made out with her backup dancers, Janet Jackson made a glorious return, and Rod Stewart dropped the F-bomb in front of his kids. But the moment that stole the show? Shaboozey, while presenting with Megan Moroney, got the giggles when she credited The Carter Family with inventing country music… not Beyoncé and Jay-Z, as he apparently thought.See omnystudio.com/listener for privacy information.

We're celebrating our 10th anniversary all year by digging in the vaults to re-present classic episodes with fresh commentary. Today, we're revisiting our 2021 conversation with Jimmy Jam & Terry Lewis. ABOUT JIMMY JAM & TERRY LEWISWith 26 Billboard #1 R&B hits and 16 Billboard #1 pop hits to their credit, Jimmy Jam and Terry Lewis are perhaps the most influential and successful songwriting and production duo in modern music history. With a total of 41 Top 10 hits in the US, Jimmy and Terry were named ASCAP Songwriters of the Year a record-breaking nine times. They are perhaps best known for their work with Janet Jackson, beginning with the Control album, which earned the duo a Grammy for Producer of the Year. Between 1986 and 1994 they scored thirteen #1 songs with Janet on either the R&B or pop chart, including “What Have You Done For Me Lately,” “Nasty,” “When I Think of You,” “Control,” “Let's Wait Awhile,” “Miss You Much,” “Rhythm Nation,” “Escapade” “Love Will Never Do (Without You),” “The Best Things in Life Are Free,” “That's the Way Love Goes,” “Any Time, Any Place,” and “Again,” which earned Jimmy, Terry, and Janet an Academy Award nomination for Best Original Song. Jimmy and Terry got their start as musicians with Morris Day and the Time, the Prince-produced band whose biggest hit was the Jam and Lewis-penned “Jerk Out.” They made the transition to a successful songwriting and production team working with the S.O.S. band, which landed a #2 R&B hit with “Just Be Good to Me.” From there, they made their mark on pop and R&B hits for decades to come. In addition to their work with Jackson, the duo wrote and produced the #1 pop singles “Human” by Human League, “Romantic” by Karyn White, “Thank God I Found You” by Mariah Carey, and the Boyz II Men singles “On Bended Knee” and “4 Seasons of Loneliness.” Additional R&B chart toppers include “Encore” by Cheryl Lynn, “Fake” by Alexander O'Neal, “Everything I Miss at Home” by Cherelle, “Sensitivity” by Ralph Tresvant, and the Johnny Gill singles “Rub You the Right Way” and “Wrap My Body Tight.” Other highlights from their catalog include New Edition's “If It Isn't Love” and “I'm Still in Love With You,” “No More Drama” by Mary J. Blige, Robert Palmer's hit pop cover of their Cherelle single “I Didn't Mean to Turn You On,” and recordings by Gladys Knight & The Pips, Barry White, Michael Jackson, Lionel Richie, Usher, Spice Girls, Aretha Franklin, Charlie Wilson, Ledisi, Sting, Elton John, Beyonce, Rihanna, Rod Stewart, Drake, Kendrick Lamar, Gwen Stefani, Willie Nelson, and many others.Always versatile, the duo has earned Grammy awards for Best R&B Album for Chaka Kahn's Funk This, Best Gospel Song for Yolanda Adams' “Be Blessed,” and Best Dance Recording for Janet Jackson's #1 pop and R&B hit “All For You.” Additional Jackson hits that were written and produced with Jam and Lewis include the Janet and Michael Jackson hit “Scream” and the #1 singles “Together Again,” “I Get Lonely,” “Doesn't Really Matter,” and the Nelly duet “Call On Me.”In total the team has earned over 100 gold, platinum, multi-platinum and diamond album certifications from the RIAA, have received more Producer of the Year Grammy nominations than anyone in history, earned the NAACP Lifetime Achievement Award, and were inducted into the Songwriters Hall of Fame.