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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

In this second installment of our Women's History Month series, we continue celebrating Cele Peterson, a woman whose impact on Tucson stretched far beyond fashion. While she made a name for herself as a visionary designer and retailer, Cele was also a savvy entrepreneur, a cultural influencer, and a fierce advocate for her community. What made Cele's business empire last for over 80 years? How did she shape downtown Tucson's evolution, even as businesses left? What role did she play in the careers of music legends like Linda Ronstadt? We're diving into Cele Peterson's entrepreneurial legacy with Tucson journalist and historian Dan Buckley, who spent years documenting her life and stories. In this episode, you'll hear:

Taxi Girls "The Lion's Share" https://www.facebook.com/taxigirlsband/ Detroit Rebellion "Just Passing Through" - Fake News https://detroitrebellion.bandcamp.com/ Reaven "Something To Remember" www.reavenmusic.net The Froot "As Good As It Gets" https://www.facebook.com/TheFroot Plastic Rhino "I Rise" https://www.plasticrhinoband.com Rockabye Reaper "Wearing Thin" www.rockabyereaper.com ******************* More artists performing at the upcoming South Florida Folk & Acoustic Music Festival www.sffollk.org Mare Wakefield & Nomad "My Room" - No Remedy www.marewakefield.com Carla Sciaky "For Nyla' - Heart Of The Storm www.carlasciaky.com Joe Jencks "City Of Chicago" - The Coming of The Years www.joejencks.com Nathans & Ronstadt "Old Film" - Hang On For The Ride www.nathansandronstadt.com Dan & Faith "Brittle Bones" - Who We Are www.danandfaith.com ********************* The Rifters "Nothing Is Free" - The Enchanted World www.rifters.net Katie Knipp "Stillness" - Me www.katieknipp.com Ian Roland "Can't Lose Any More" - The Wood Wide Web www.ianrolandmusic.com The Heart Collectors "No Separation" - The Space Between www.theheartcollectors.com Crys Matthews "Suit & Tie" - Reclamation www.crysmatthews.com The Nields "Between Friends" - The Full Catastrophe www.nields.com ********************** The Twangtown Paramours "A Room In Bordeaux" - The Wind Will Change Again www.thetwangtownparamours.com Jim Patton & Sherry Brokus "A Woman Like You" - Harbortowne www.pattonbrokus.com Larry & Joe 'Love Along The Way" (live) - Manos Panamericanos www.larryandjoe.com Cathy Fink and Marcy Marxer with Chao Tian "Ruby" - From China to Appalachia www.cathymarcy.com Rory Taillon “Wish You Would Stay” – Now It's Quiet http://www.rorytaillon.com Davey O "For A Little While' - Some Days www.daveyo.com Claudia Schmidt 'Persephone's Song" - Reimagining www.claudiaschmidt.com Mike Agranoff "Urge For Going" - Straight Lines www.mikeagranoff.com Closing music: Geoffrey Armes “Vrikshashana (The Tree)” – Spirit Dwelling http://www.geoffreyarmes.com Running time: 4 hours 20 minutes I hold deed to this audio's usage, which is free to share with specific attribution, non-commercial and non-derivation rules. https://creativecommons.org/licenses/by-nc-nd/4.0/

Join us for another fantastic episode featuring the wonderful Casting Director, Sunny Boling Kennedy! Before we get into our interview with Sunny we go over our 12 Days of Giveaway details along with a reminder to mark your calendars for our 2nd Annual London meetup on December 7th! Sunday Boling Kennedy is an award-winning casting director and partner at Morman Boling Casting. She began her career at 20th Century Fox as an assistant to Christian Kaplan, working on big budget studio features, went onto work with Debi Manwiller, Eyde Belasco, Sheila Jaffe and Francine Maisler and then launched her own company in 2004 with Meg Morman. She has cast over 100 films, including Waitress, Hello, My Name is Doris, Aporia, The Ballad of Lefty Brown, The Hyperions, Unlovable, and Hard Luck Love Song.  TV and streaming credits include: The Baxters, Sneakerheads, Ish Hashuv Meod, The Dead Girls Detective Agency, In the Vault and Relationship Status. She has also cast numerous award-winning narrative podcasts - a few select credits include Blackout, Ad Lucem, 13 Days of Halloween S2 and S3, Last Known Position and Ronstadt. She has been nominated for 11 Artios Awards for excellence in casting and served on the board of the Casting Society for four years. She is currently the Secretary for Casting Society Cares. Resources: Morman Boling Casting Website Sunny's Instagram Sunny's IMDB ──────────────────────────── ⁠⁠⁠⁠⁠⁠⁠Stay Tuned with Tipsy Casting on IG⁠⁠⁠⁠⁠⁠⁠ Watch the ⁠⁠⁠⁠⁠⁠⁠Tipsy Casting YouTube Channel⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠Follow Jessica ⁠⁠⁠⁠⁠⁠⁠ & ⁠⁠⁠⁠⁠⁠⁠Follow Jenn ⁠⁠⁠⁠⁠⁠⁠ Learn More About ⁠⁠⁠⁠⁠⁠⁠Jess ⁠⁠⁠⁠⁠⁠⁠& ⁠⁠⁠⁠⁠⁠⁠Jenn's⁠⁠⁠⁠⁠⁠⁠ Casting Journeys  ⁠⁠⁠⁠⁠⁠⁠Get Casting Life Away Merch here!⁠

A deep dive into theatrical superstitions, plus checking in with Kate Hertz at Springs Ensemble Theatre and our Top 10 Colorado Headliners   In this week's episode of the OnStage Colorado Podcast, hosts Toni Tresca and Alex Miller stop to wonder what's behind theatrical myths like not saying “Macbeth” in a theatre or not whistling around the stage.  Later in the episode, Alex interviews Kate Hertz, who's directing the Springs Ensemble Theatre production of The Thanksgiving Play. The show runs Nov. 14-24 and Hertz speaks about her directorial debut, what SET is all about and what this play has to say about the risks of trying to depict the challenges of another ethnic group. And as usual we pick our Top 10 Colorado Headliners for the week, which include:   Behind Me is Silence, Community Concert Hall at Fort Lewis College, Durango, Nov. 14-16 Civic Love Stories With Undocumented Coloradans, Boulder Public Library, Nov. 15 The Old Man and The Old Moon, The People's Building, Aurora, Nov. 15-26 The 25th Annual Putnam County Spelling Bee, The Spark, Boulder, Nov. 15-22 2024 Wild & Scenic Film Festival Denver, The Bug Theatre, Denver, Nov. 19 Clownsgiving, Junkyard Social, Boulder, Nov. 16 Abby Apple Boes - ‘She's Here all Evening,' Aurora Fox, Nov. 15-16 24-Hour Theatre, Durango Arts Center, Nov. 16 Raised on Ronstadt, Local Theater, eTown, Boulder, Nov. 17 Jolly Moxie, Wonderbound, Boulder, Dec. 12-22

Gesenia Gerena, founder and lead singer of Ronstadt Revue, discusses their performance at the Pella Opera House coming up on Saturday, November 9th.

Amanda Ronstadt, an experienced educator and dedicated community volunteer, has been appointed to the Ridgefield School District Board of Directors. Learn more about her background, her hopes for Ridgefield's future, and the vision she brings to her new role. Read the full story at https://www.clarkcountytoday.com/news/amanda-ronstadt-appointed-to-ridgefield-school-district-board-of-directors on ClarkCountyToday.com #AmandaRonstadt #RidgefieldSchoolDistrict #LocalNews #ClarkCountyWA #Education #CommunityInvolvement

Ron Bosma, co-founder of Talentin, shares his journey in the human capital and staffing sector, including his time at Ronstadt group of companies. He discusses the challenges and opportunities in the labor market, such as talent scarcity and the need for skills recruitment. Ron also explores the gig economy and the need for better regulation to protect workers. He highlights the need for innovation and transformation in the staffing industry to keep up with changing demands. The conversation covers various topics related to the future of work, including the potential impact of talent marketplaces on the staffing sector, the role of technology in replacing certain aspects of the recruitment industry, the need for companies to adapt to new developments, the potential consequences of artificial intelligence and automation on jobs, the challenges and benefits of remote work, the investment in HR tech, and the future of work being defined by flexibility and adaptability.TakeawaysRon Bosma has had a long and successful career in the human capital and staffing sector, including his time at Ronstadt group of companies.The labor market is facing challenges such as talent scarcity and the need for skills recruitment.The gig economy needs better regulation to protect workers and ensure a fair bargain.The staffing industry needs to innovate and transform to keep up with changing demands and improve efficiency. Talent marketplaces and platforms have the potential to disintermediate the staffing sector and replace certain aspects of recruitment.While technology can replace certain tasks in the recruitment industry, it may not be able to fully replace the risk management aspect that staffing providers offer.Artificial intelligence and automation may have a significant impact on jobs, but they also present opportunities for the development of new jobs and skills.Remote work has become more prevalent, especially due to the COVID-19 pandemic, but there are still challenges in terms of collaboration and maintaining company culture.The investment in HR tech has been driven by market conditions and the shift towards remote and global work.The future of work will require flexibility, adaptability, continuous learning, and a focus on talent centricity.Chapters00:00 A Journey in the Human Capital and Staffing Sector09:29 Challenges and Opportunities in the Labor Market18:50 The Need for Better Regulation in the Gig Economy25:19 Innovation and Transformation in the Staffing Industry29:11 The Potential Impact of Talent Marketplaces30:25 The Role of Technology in the Recruitment Industry33:28 The Consequences of Artificial Intelligence and Automation on Jobs43:28 The Challenges and Benefits of Remote Work47:40 The Investment in HR Tech52:57 The Future of Work: Flexibility, Adaptability, and Talent CentricityConnect with Ron: https://www.linkedin.com/in/ronbosma/

Join Michael Litten "The Last DJ" for an in-depth conversation. Featuring a variety of songs. Sponsored by Drinkmate Theme music provided by Peter Perkins   Suzi Kory Bio ‘A lusciously arranged ballad reminiscent of Linda Ronstadt's glorious country roots' is how FYI Music News recently described Canadian country-rock artist Suzi Kory's latest ballad 'Settle of the Dust'. Considering Kory possesses the lyrical vulnerability and glistening vocals of Emmylou Harris, while maintaining the powerful delivery of Ronstadt it comes as no surprise that alongside Dolly Parton she cites these country queens as her biggest musical influences.  Born in Beirut, Kory's parents moved the family to Toronto when she was eight months old. Her mother, a devoted fan of country music would continuously play classic country, and Kory found herself singing along. By her teens, she became exposed to hard rock, most notably Guns N' Roses.   https://www.suzikory.com/

San Francisco officially declared July 15th Linda Ronstadt Day.  In her honor, The Kitchen Sisters Present this story about her book "Linda Ronstadt: Feels Like Home, about her family, and the food, culture and music of the borderland of Arizona and Mexico where she is rooted.  Feels Like Home: A Song for the Sonoran Borderlands  is an historical, musical, edible memoir that spans the story of five generations of Linda's Mexican American German family, from the Sonoran desert in Mexico to the Ronstadt family hardware store in Tucson to the road that led Linda to LA and musical stardom. Intimate and epic, "this is little Linda, Mexican Linda, cowgirl Linda, desert Linda."The book, written in collaboration with New York Times writer Lawrence Downes, is a road trip through the Sonoran Borderlands, from Tucson to Banámichi, Mexico — the path Linda's immigrant grandfather took at a time when the border was not a place of peril but of possibility.We went to see Linda at home to ask her about the journey.This story was produced by The Kitchen Sisters (Davia Nelson & Nikki Silva) and Evan Jacoby in collaboration with Brandi Howell and Nathan Dalton. Mixed by Jim McKeeThanks to Lawrence Downes, John Boylan, Bill Steen, Janet Stark and The PRX Podcast Garage. And to the team at Heyday Books: Steve Wasserman, Kalie Caetano & Megan Beatie and to Putamayo Music who just released Feels Like Home: Songs From The Sonoran Borderlands, Linda Ronstadt's Musical Odyssey.Special thanks to Linda Ronstadt for opening her home and her vault to this story. 

We Are Parasols "My Heart Is All Blurred" - Body Horror https://nomovementrecords.com/ Hawks Do Not Share "Midtown" - A Dream To Hold On To https://nomovementrecords.com/ Sun Atoms "Ceiling Tiles" www.sunatoms.com Me You Us Them "Me You Us Them" - EP1 www.meyouusthem.com ****************** Jessie Kilguss "The Tiger's Wife" - What Do Whales Dream About At Night? www.jessiekilguss.com Rebecca Folsom "Walls" - Sanctuary www.rebecccafolsom.com Tom Freund "Runaround" - East Of Lincoln www.tomfreund.com Jeff Plankenhorn "Flat Tire" - Alone At Sea www.jeffplankenhorn.com Ian North "Landscape Architect" - Everything Is Incomplete www.iannorthmusic.com Pete Mancini "Gypsy Rider" - Silent Troubadour: The Songs Of Gene Clark www.petemancini.com David G Smith "To Be Human" - Witness Trees www.davidgsmithmusic.com Deni Bonet "Palisades" - Bright Shiny Objects www.denibonet.com ************ These artists are part of the upcoming Philadelphia Folk Festival www.folkfest.org Ellis Paul "Tattoo Lady" - 55 www.ellispaul.com Nathans & Ronstadt "Flatbush Sunset" - Hello World www.nathansandronstadt.com Alice Howe "You've Been Away So Song" - Circumstance www.alicehowe.com Jess Klein "Safe Harbor" - When We Rise www.jessklein.com Jonathan Byrd "Wild Ponies" - Cackalack www.jonathanbyrd.com Shanna In A Dress "Have a Great Day" - Robot www.shannainadress.com The Faux Paws "Child Of The Great Lakes" - s/t www.thefauxpawsmusic.com ************************ Federale "No Strangers" - www.federalepdx.com Gabriel Seize "My Video Game" - Prologue https://www.facebook.com/gabrielsesbouemusic/ Adrianna "Wild Electric"(808 State remix) - www.djadrianna.com Doombia "Como te voy a olvidar" - Dommbia: En Vivo www.doombiamusica.com June Body "Take Our Time Back" - Last Everything www.junebodyband.com The Out Seer "Fading" - www.theoutseer.com Boss' Daughter "Okay" - Bouts With Brummers www.bossdaughter.com --- Support this podcast: https://podcasters.spotify.com/pod/show/radiocblue/support

In the 2nd hour of the Marc Cox Morning Show: Hunter Biden's surprise appearance at a House hearing on Wednesday  Did Joe Biden know Hunter was going to show up KMOX's Tom Ackerman talks about the breaking news that Bill Belichick wont be back with the New England Patriots next year, as well as the news of Nick Saban retired, and some college basketball In Other News with Ethan: Selena Gomez is set to play Linda Ronstadt, Aaron Rodgers is off the Pat McAfee Show, the Starbucks Stanley cup going for $200, White Castles to get fancy for Valentines Day, and finally Study says too much screen time for infants is bad Coming Up: Jim Talent

Linda Ronstadt's fifth solo studio album would be her breakout one.  Heart Like a Wheel is a folk/country/rock mixture of covers and originals, and was the last album Ronstadt released on the Capitol Records label after she had moved to Asylum records.  It would reach the top of the Billboard 200, spend 51 weeks on the chart, and fuel Ronstadt's rise to the first "arena class" female rock star.Linda Maria Ronstadt is the third of four children born to a family of Mexican and German descent and a long history in Arizona.  Her professional start is considered to be the folk rock trio called the Stone Poneys, who had a hit in 1968 with the song "Different Drum."  Ronstadt is famous for touring in the early 70's with a backing band that included Don Henley, Glenn Frey, Bernie Leadon, and Randy Meisner - artists who would go on to form the Eagles.  Her four earlier albums produced only moderate success before her fortune turned dramatically upward with "Heart Like a Wheel."While Ronstadt's style is often referred to as country rock, she called it "Mexican bluegrass" in 1968.  Over time she would record songs in a variety of styles from rock to folk and country, including some Spanish language songs and even rock songs reimagined as lullabies.  Her ability to cross genres contributed both to her success and her share of criticism from those expecting something different.  Success did not always agree with her, as she felt she was encouraged to project a tough rock image that did not accurately reflect her true self.  Linda Ronstadt was inducted into the Rock and Roll Hall of Fame in 2014, shortly after her retirement from music in 2011.Bruce presents this breakthrough country rock album in this week's podcast. I Can't Help It (If I'm Still in Love with You)This cover was originally written and recorded by Hank Williams back in 1951.  It went to number 2 on the Billboard country singles chart back then.  A bunch of people have covered this song, but Ronstadt's cover is the most successful, going to number 2 on the Billboard Hot Country Singles chart and winning her a Grammy in 1976 for Best Female Country Vocal Performance.You're No GoodThe first single released from the album went to number 1 on the Billboard Hot 100.  It is a cover of a song written by Clint Ballard Jr. and first performed by Dee Dee Warwick in 1963.  The success of this "glad to be broken up" song would set the template for Ronstadt over the next five years of doing remakes of classic rock and roll songs.Faithless LoveAn original recording rather than a cover, this deeper cut was written by J.D. Souther, who wrote or co-wrote songs for both Ronstadt and the Eagles.  It would hit number 10 on the Billboard Hot Country Songs chart when Glen Campbell covered it in 1984. Willin'This song was first performed by Little Feat and was written by their front man, Lowell George.  Ronstadt's cover was used in James Cameron's film "The Abyss" in 1989.  Lowell wrote this song while he was a member of the Mothers of Invention. ENTERTAINMENT TRACK:Dance of the Reed Flutes (from the nature documentary "Animals Are Beautiful People")In addition to its frequent use in the Christmas ballet "The Nutcracker," this piece was also used in the nature documentary STAFF PICKS:Whatever Gets You Through the Night by John LennonLynch kicks off the staff picks with a song originally inspired by Lennon's habit of late night channel surfing.  He caught the phrase from Reverend Ike, an evangelist on TV, and turned it into this song.  It went to number 1 on the Billboard Hot 100.  Lennon got Elton John to provide the vocal duet for this song, and in return Lennon appeared onstage with John during his Thanksgiving concert at Madison Square Garden - one of his last major live appearances.I Can Help  by Billy SwanWayne brings us a song we all thought was performed by Ringo Starr.  Billy Swan was better known as a country songwriter than a solo artist, but this single would be his sole number 1 hit.  It is a particularly positive song, with a nice reprise at the end of the album cut.Must of Got Lost by the J. Geils Band Rob features an early hit from the J. Geils Band, reaching number 12 on the charts.  It has a funky hook, and a grammatically incorrect title, with lyrics that explore why a relationship went wrong.Wishing You Were Here by ChicagoBruce closes out the staff picks with a song off the Chicago VI album.  Chicago gets some assistance from the Beach Boys, who contribute to the backing vocals on this song about missing the one you love while on the road with a touring band. COMEDY TRACK:Wildwood Weed by Jim StaffordWe finish off with a story in song about that whacky tobackey in a country setting

In this week's episode of The Venue Rx Podcast, our host Jonathan Aymin sits down with Laurel Loew, a former vegetable farmer turned successful wedding venue owner in southern Arizona. She shares some of  the hurdles she faced when shifting from agriculture to wedding hosting and emphazies the significance of upholding a top-notch standard for her venue. Laurel provides insights into her marketing tactics, highlighting the adoption of platforms such as Instagram for promotional purposes. She stresses the importance of the venue's reputation and the overall guest experience, and she shares her perspectives on pricing and expresses her pleasure in orchestrating smaller, more intimate weddings. Laurel also reflects on her favorite and least favorite aspects of venue ownership. About Our Guest:  Agua Linda Farm is a truly one-of-a-kind wedding venue, recognized by Tucson Lifestyle Magazine as one of the top places to visit in the Tucson area. Featured in Town and Country Magazine, Better Homes and Gardens, and the New York Times, this unique, green oasis in the desert stands out in southern Arizona. The adobe hacienda, crafted by the Ronstadt family and designed by local architect Josiah Joesler in the 1940s, adds historical charm to the venue. Originally a family-operated farm, the property transitioned ownership to Hollywood movie producer Arthur Loew, Jr., in the late 1950s. During his tenure, notable figures like Elizabeth Taylor, John Wayne, Robert Wagner, and Gene Kelly were among the distinguished house guests. Following Arthur's ownership, his son Stewart transformed the 63 acres into an organic vegetable farm, supplying sustainably grown foods to local families. Regina, Stewart's mother, dedicated herself to cultivating the approximately 10 acres surrounding the adobe hacienda, guesthouse, and pool house. Over three decades of meticulous care, this space has evolved into a breathtaking showcase, featuring green lawns, roses, hollyhocks, iris, primroses, daffodils, and more. Throughout the year, these grounds take turns captivating visitors, making Agua Linda Farm an unparalleled destination for weddings and events. Find Them Here:  Tel: 520-891-5532 Email: info.agualindafarm@gmail.com Address:  2643 East Frontage Road Amado, Arizona 85645 Website: https://www.agualindafarm.com/ Youtube: https://www.youtube.com/@AguaLindaFarmWeddings Instagram: https://www.instagram.com/agualindafarm/  Pinterest: https://www.pinterest.com/agualindafarm/  Facebook: https://www.facebook.com/WeddingsAguaLindaFarm/

David Bowie would leave the glam rock genre of his previous albums for a more soulful sound with his ninth studio album, Young Americans.  This album features blue eyed soul, or what Bowie would refer to as "plastic soul."  David Bowie moved to the United States in 1974 during a time when tax concerns were driving many artists out of the UK.  He was living in New York City at the time, and starting production on the album in Philadelphia where he worked with guitarist Carlos Alomar.  A funk guitarist, Alomar had worked as a session musician at the Apollo Theater and would become a collaborator and band leader for Bowie over the next decade.  In addition to Carlos Alomar, Bowie worked on this album with a number of artists including Robin Clark, Ava Cherry, saxophonist David Sanborn, and a new musician named Luther Vandross.He would also collaborate on this album with ex-Beatle John Lennon who was recording in New York at the same time as Bowie's recording moved there.  Bowie and Lennon had met previously at a party hosted by Elizabeth Taylor.  Lennon collaborated with Bowie during his "lost weekend" period.Young Americans contains elements of soul, funk, and R&B, and was a deliberate attempt to garner more success in the U.S. market.  It certainly achieved this result, though critics would deliver mixed reviews.  The transition from glam rock to blue-eyed soul would not be one which all fans embraced, but David Bowie would follow his own creative muse.  It would not be the last time we would see a significant stylistic change from Bowie.  It was nevertheless a commercial success, going to number 9 on the US albums chart, remaining on the charts for almost a year.Rob brings us this funky example of “plastic soul.” Young AmericansThe title track was recorded in Philadelphia, and hit number 18 on the Billboard Hot 100, Bowie's second-highest chart success to this date.  Then unknown singer Luther Vandross conceived the backing vocal arrangement.  The song provides impressions of American life through the eyes of an English man.  David Sanborn provides the saxophone work.Across the UniverseThis cover of the Beatles song also found collaboration with Beatles' alumnus John Lennon.  Backing vocals and guitar are provided by Lennon, who considered this song a better version than his own.  Critics tend to disagree, as reviews on the Bowie version were primarily negative.FascinationThis track began as a jam by Luther Vandross entitled “Funky Music (Is a Part of Me)” which was performed before the Bowie concerts in 1974.  When Vandross was retained from the “Diamond Dogs” tour, the two collaborated to create the song “Fascination.”  The song was an homage to the Philadelphia funk sound.FameThis single hit number 1 on the US charts, the first Bowie song to do so.  Composed by Bowie, Alomar, and Lennon, the high backing “Fame” vocalizations are provided by John Lennon.  Bowie would describe it as a “nasty, angry” song directed at management with which he had previous issues. ENTERTAINMENT TRACK:Ease On Down the Road by Consumer Rapport (from the motion picture The Wiz)A soulful take on The Wizard of Oz featured Diana Ross as Dorothy and Michael Jackson as the Scarecrow. STAFF PICKS:Judy Mae by Boomer Castleman Wayne initiates the staff picks with a controversial song that went to number 33 on the Billboard Hot 100.  The lyrics tell of a father to a 17 year-old girl who marries a woman half his age.  When an affair ensures between the stepmother and the daughter, the father dies of an accident shortly thereafter.  It feels like a racier version of “The Night the Lights Went Out in Georgia.”Long Haired Country Boy by the Charlie Daniels BandBrian brings us a song about a guy with a very passive attitude about life. “I ain't asking for nobody for nuthin' that I can't get on my own.  If you don't like the way I'm livin' you just leave this long-haired country boy alone.” It was off the second album from the CDB entitled “Fire on the Mountain.”When Will I Be Loved by Linda Ronstadt Bruce features Ronstadt doing a cover originally from the Everly Brothers in 1960.  While the original peaked at number 8, Ronstadt's cover would go to number 2 on the Billboard Hot 100.  The song is a vocal trio between Ronstadt, Kenny Edwards, and Andrew Gold. Trampled Under Foot by Led Zeppelin Rob finishes the staff picks with a song John Paul Jones claims was inspired by Stevie Wonder's “Superstition.”  The lyrics were inspired by blues artist Robert Johnson's “Terraplane Blues” from  1936.  A Terraplane was a classic car that serves as a not-so-subtle source for sexual innuendo.  It is off the band's double album, “Physical Graffiti.”  COMEDY TRACK:Bertha Butt Boogie by The Jimmy Castor Bunch This funk novelty track went to number 16 on the US pop chart and number 22 on the US R&B chart.

Suzi Kory's musical mission from writing and performing from Rock to Country tunes and now up for a Texas Sounds International Country Music Award talks about her goals with The Trout. Never one to sit on her laurels, Suzi continues to broaden her musical journey by producing music festivals, writing new songs and even writing a book about her journey. A great performer with a wonderful message. ‘A lusciously arranged ballad reminiscent of Linda Ronstadt's glorious country roots' is how FYI Music News recently described Canadian country-rock artist Suzi Kory's vocals. Considering Kory possesses the lyrical vulnerability and glistening vocals of Emmylou Harris, while maintaining the powerful delivery of Ronstadt it comes as no surprise that alongside Dolly Parton she cites these country queens as her biggest musical influences. Born in Beirut, Kory's parents moved the family to Toronto when she was eight months old. Her mother, a devoted fan of country music would continuously play classic country, and Kory found herself singing along. In addition to the music Kory has been on music conference panels (Niagara Music Week), published articles on ‘How to Make it in the Music Industry' (FYI Music News), and is a Motivational Speaker. “I'm a very positive person and always trying to motivate people. So that's what the songs became about — love and living a life of loving people, loving yourself, and finding happiness by being genuine and true to who you are. The important thing to me is to use music in such a way that it positively affects people.” n addition to the music Kory has been on music conference panels (Niagara Music Week), published articles on ‘How to Make it in the Music Industry' (FYI Music News), and is a Motivational Speaker. “I'm a very positive person and always trying to motivate people. So that's what the songs became about — love and living a life of loving people, loving yourself, and finding happiness by being genuine and true to who you are. The important thing to me is to use music in such a way that it positively affects people.” n addition to the music Kory has been on music conference panels (Niagara Music Week), published articles on ‘How to Make it in the Music Industry' (FYI Music News), and is a Motivational Speaker. “I'm a very positive person and always trying to motivate people. So that's what the songs became about — love and living a life of loving people, loving yourself, and finding happiness by being genuine and true to who you are. The important thing to me is to use music in such a way that it positively affects people.” https://www.suzikory.com/homeSupport the showThanks for listening for more information or to listen to other podcasts or watch YouTube videos click on this link >https://thetroutshow.com/

Enter promo code "ASKZAC30" to save 30%Truefire https://prf.hn/l/LbY3nGLTo Support the Channel:Patreon  https://www.patreon.com/AskZacTip jar:  https://paypal.me/AskZacVenmo @AskZac  Or check out my store for merch  - www.askzac.comToday we spotlight Clarence White's former #1 Telecaster, which he used on some of The Byrd's "Sweetheart of the Rodeo" tracks, and likely the "Nashville West" recordings. After Gene Parsons installed the B-Bender on his sunburst backup Tele, it knocked the white Tele to the #2 position, and it was soon traded to his bandmate Bob Warford for a Nobel acoustic guitar.  Wanting to also use a B-Bender, Warford & his dad engineered their own system based on Gene's original design, but with a few improvements including the allowance for a slimmer body to fit in a standard guitar case. Once learning the ropes of the mechanism, Bob would feature the B-Bender-equipped Tele with such greats as the Everly Brothers, Linda Ronstadt, Emmylou Harris, Herb Pedersen, and Chris Hillman. Today's video drills down on the modifications done to it, and we look at the ingredients to his rig to produce the memorable tones he featured on Ronstadt's "Willin'" and "Dark End Of The Street."Spotify Playlisthttps://open.spotify.com/playlist/2kK...Bender plans and photoshttps://www.askzac.com/post/bob-warfo...Gear Used:Crook Paisley Tele.Strings: Webstrings pure nickel 9-42 Pick:Blue Chip TPR 35Amp:2021 Fender Handwired 64 Princeton Reverb with a Jensen Neo 10-100 speaker.#askzac #clarencewhite  #bobwarfordSupport the show

This week we are bringing something a little different to your Top of Mind feed, a crossover with our new show: House of Data. This brand new Altos Research x HW Media show explores how data is influencing decisions at the most ambitious companies in housing. Enjoy! Listen on Apple Podcasts Listen on Spotify Listen on HousingWire My first guest on House of Data is Zach Ronstadt. Zach is the VP of Strategic Operations at Meritage Homes and has spent the last 15 years creating a data and research team called Strategic Operations that supports their regional leaders with insights and data to make better decisions. Zach and I talk about building trust as a data team with decision makers and what that process looks like over time, developing the ability to influence decisions without being the decision maker, how to be effective in a data role, and what data has told Zach about evolving consumer preferences in new homes. Related to this episode: Zach's LinkedIn Meritage Homes House of Data explores how data is influencing decisions at the most ambitious companies in housing. Each episode dives into how housing market participants are ingesting, organizing, and making decisions using data, and the competitive advantages that follow.

ALBUM FOCUS: A reoccurring series focusing on new and outstanding concept, compilation and tribute albums. Putumayo Presents African Yoga: A Peaceful Soundtrack For Yoga and Relaxation http://www.putumayo.com In tandem with the beginning of Putumayo's 30th anniversary year, the world music label presents this collection, which draws from the rich musical tapestry of the vast and diverse African continent. Ablaye Cissoko & Volker Goetze "Miliamba" Ami Faku "Ndikhethe Wena" Geoffrey Oryema "Land Of Anaka" ***************** Hymn For Her "Human Condition" - Pop-N-Downers www.hymnforher.com Jesse Stratton Band "A Hot Dog And A Beer" - Family & Friends www.jessestrattonmusic.com Secret Emchy Society "Another Time And Place" - Gold Country/Country Gold www.emchy.com Professor Louie & The Crowmatix "Tick Tock" - Strike Up The Band www.professorlouie.com Blue Dogs "That's How I Knew" - Big Dreamers www.bluedogs.com The Runaway Grooms "Heartwork" - This Road www.therunawaygrooms.com Jon Shain & FJ Ventre "Sinking Ship" - Never Found A Way To Tame The Blues www.jonshain.com Nathans & Ronstadt "Man and a Whale" - Hello World www.nathansandronstadt.com Greg Klyma "Circular World" - Another Man's Treasure www.klyma.com ******************** Daniel Rotem "Wave Nature" - Wave Nature www.danielrotem.com Katherine Kyu Hyeon Lim "Paloma E" - www.katherineviolin.com Paula Standing "The More I Give" - The More I Give www.paulastanding.com Jesse Terry "Strangers In Our Town" - When We Wander www.jesseterrymusic.com Rebecca Folsom "In My Little Town" - Sanctuary www.rebeccafolsom.com Chris Smither "Old Man Down" - More From The Levee www.smither.com Peggy Seeger "The First Time Ever I Saw Your Face" www.peggyseeger.com Karan Casey "The Rocks Of Bawn" - Nine Apples Of Gold www.karancasey.com ******************* Closing music: MFSB "My Mood" - Universal Love Running time: 4 hours, 29 minutes --- Send in a voice message: https://podcasters.spotify.com/pod/show/radiocblue/message Support this podcast: https://podcasters.spotify.com/pod/show/radiocblue/support

WCCO News anchor Frank Vascellaro joins The Daver and chats about his first concert, and other memorable shows he's been to. Bonus: his wife (Amelia Santaniello tells her version of some stories on another episode of the podcast. Out now! Sponsored by Aquarius Home Services (https://aquariushomeservices.com/), Star Bank (https://starbank.net), & Propane Association (https://discoverpropanemn.com/) - and is recorded in the Aquarius Home Services Studio!

WCCO News anchor Frank Vascellaro joins The Daver and chats about his first concert, and other memorable shows he's been to. Bonus: his wife (Amelia Santaniello tells her version of some stories on another episode of the podcast. Out now! Sponsored by Aquarius Home Services (https://aquariushomeservices.com/), Star Bank (https://starbank.net), & Propane Association (https://discoverpropanemn.com/) - and is recorded in the Aquarius Home Services Studio!

Kosh is a Grammy Award Winning art director and former design director for Apple Records. His first project was John Lennon and Yoko's “War Is Over (if you want it)” Christmas card, which led to the worldwide WAR IS OVER billboard campaign that continues to this day. He designed The Beatles' Let It Be book and album package and the Abbey Road album cover, as well as John & Yoko's Wedding Album boxed set. He worked extensively with Linda Ronstadt, garnering three Grammys for her albums, Simple Dreams, Get Closer and Lush Life. He designed and art directed the iconic logo and cover, Hotel California for the Eagles, the classic logo for ELO and designed the cover for The Who's Who's Next and The Rolling Stones' Get Yer Ya-Yas Out. On today's episode we'll discuss the making of several of these iconic album covers, his early days working with John and Yoko and his longstanding friendship with Ronstadt. It's a fun retrospective on the covers that have become almost as recognizable as the music itself. To learn more about John Kosh and his work, check out his website: https://koshdesign.com/about-kosh/ Social media: Facebook: https://www.facebook.com/koshart Instagram: https://www.instagram.com/koshartdesign Learn more about your ad choices. Visit megaphone.fm/adchoices

Kosh is a Grammy Award Winning art director and former design director for Apple Records. His first project was John Lennon and Yoko's “War Is Over (if you want it)” Christmas card, which led to the worldwide WAR IS OVER billboard campaign that continues to this day. He designed The Beatles' Let It Be book and album package and the Abbey Road album cover, as well as John & Yoko's Wedding Album boxed set. He worked extensively with Linda Ronstadt, garnering three Grammys for her albums, Simple Dreams, Get Closer and Lush Life. He designed and art directed the iconic logo and cover, Hotel California for the Eagles, the classic logo for ELO and designed the cover for The Who's Who's Next and The Rolling Stones' Get Yer Ya-Yas Out. On today's episode we'll discuss the making of several of these iconic album covers, his early days working with John and Yoko and his longstanding friendship with Ronstadt. It's a fun retrospective on the covers that have become almost as recognizable as the music itself. To learn more about John Kosh and his work, check out his website: https://koshdesign.com/about-kosh/ Social media: Facebook: https://www.facebook.com/koshart Instagram: https://www.instagram.com/koshartdesign Learn more about your ad choices. Visit megaphone.fm/adchoices

ALBUM FOCUS: A reoccurring series focusing on new and outstanding concept, compilation and tribute albums Putumayo Presents African Yoga: A Peaceful Soundtrack For Yoga and Relaxation www.putumayo.com In tandem with the beginning of Putumayo's 30th anniversary year, the world music label presents this collection, which draws from the rich musical tapestry of the vast and diverse African continent Ballaké Sissoko and Vincent Ségal "Mako Mady" Fetsum "Birth Of A River" Buddha's Lounge "Kumbatia" ****************************** Peter Mulvey (with SistaStrings) "Soft Animal" - Love Is The Only Thing www.petermulvey.com Jess Novak Band "Anchor" - A Thousand Lives www.jessrocknovak.com Jo Wymer "The Shoebox" - SLG www.jowymer.com King Bee & The Stingers "Contrary To The Word" - www.kingbeestingers.com Laurie Morvan "The Extra Mile" -Gravity www.lauriemorvan.com Garett Huffman "Dreaming" - https://garretthuffman.com/ Amy Speace "Blues For Joy" - Tuscon www.amyspeace.com Flat River Band "Helplessly Hoping" - Sights And Sounds www.flatriverband.com Michael Martin Murphey "Drunken Lady Of The Morning" - Austinology: Alleys Of Austin www.michaelmartinmurphey.com ************************** The Slambovian Circus Of Dreams "Look Around" - A Very Unusual Head www.slambovia.com Jon Shain & FJ Ventre "Woodsmoke" - Never Found A Way To Tame The Blues www.jonshain.com Andrew Salgado "Learning How To Forget" www.andrewsalgado.net Stillhouse Junkies "Half A Pound Of Silver" - Small Towns www.stillhousejunkies.com Karan Casey "I Live In A Country" (featuring Pauline Scanlon) - Nine Apples Of Gold www.karancasey.com Nathans & Ronstadt "One Dollar Gloves" - Hello World www.nathansandronstadt.com Annie & Rod Capps "Riverbound" - How Can I Say This? www.annieandrodcapps.com Tipps & Obermiller "Rewind, Repeat" - Love (and Other Mysteries) www.tippsandobermiller.com Rebecca Folsom "Sanctuary" - Sanctuary www.rebeccafolsom.com ************************ Closing: MFSB "My Mood" - Universal Love Running time: 4 hours, 59 minutes --- Send in a voice message: https://podcasters.spotify.com/pod/show/radiocblue/message Support this podcast: https://podcasters.spotify.com/pod/show/radiocblue/support

C&R have major mid week laughs, as the fellas cover the Tom Brady re-retirement news like only they can! Both Dr. Phil & Ozzy get well deserved love today! What did they think? Where was Covino when the Brady announcement happened & is it TMI? The guys take Brady calls from across the country & re-open their Linda Ronstadt conversation. Did one of the show's regular callers hook up with the legendary singer back in the day??See omnystudio.com/listener for privacy information.

In this episode we welcome the truly legendary Pamela Des Barres, all the way from her native San Fernando Valley, and invite her to reminisce about the all-girl GTOs, Frank Zappa, Lowell George... and plenty more besides. The bestselling author of 1987's groupie confessional I'm With The Band describes how she entered the Laurel Canyon orbit of ringmaster Zappa, and how the motley troupe he christened Girls Together Outrageously came into being. The former Miss Pamela talks about her fellow "Misses" Mercy and Christine, then describes the sessions for the group's unruly 1969 classic Permanent Damage. This leads on to a discussion of the Groupie phenomenon and its problematic nature in the #MeToo era. In passing, we hear about Rodney Bingenheimer's English Disco and 1974's Hollywood Street Revival and Trash Dance show. The somewhat different — yet not entirely unrelated — L.A. domain of the canyon singer-songwriter crowd is considered as we hear clips from co-host Barney Hoskyns' 2003 audio interview with James Taylor/Linda Ronstadt producer Peter Asher. Following discussion of Ronstadt, Joni Mitchell and their mutual paramour John David Souther, we circle back to the GTOs and the guest appearance of the late Jeff Beck on Permanent Damage. We then pay extensive tribute to Beck's eclectic genius and unique technique. We conclude with quotes from notable RBP library additions, including pieces about Bonnie Raitt recording at Bearsville, L.A. session bassist Carol Kaye and apocalyptic jazz trio Comet Is Coming. Many thanks to special guest Pamela Des Barres. Visit her website at pameladesbarresofficial.com for details of her podcast, books and more. Pieces discussed: The GTOs by Miles, A Requiem for Miss Christine, Girls Together Outrageously, Miss Mercy, Los Angeles Clubs, Rodney Bingenheimer, The GTOs live, Peter Asher audio, Jeff Beck audio, Jeff Beck by Eden, Jeff Beck by Alan Light, Jeff Beck by Kate Mossman, Bonnie Raitt, Ethel Merman, Carol Kaye, Compiling by gender and The Comet is Coming. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode we welcome the truly legendary Pamela Des Barres, all the way from her native San Fernando Valley, and invite her to reminisce about the all-girl GTOs, Frank Zappa, Lowell George... and plenty more besides. The bestselling author of 1987's groupie confessional I'm With The Band describes how she entered the Laurel Canyon orbit of ringmaster Zappa, and how the motley troupe he christened Girls Together Outrageously came into being. The former Miss Pamela talks about her fellow "Misses" Mercy and Christine, then describes the sessions for the group's unruly 1969 classic Permanent Damage. This leads on to a discussion of the Groupie phenomenon and its problematic nature in the #MeToo era. In passing, we hear about Rodney Bingenheimer's English Disco and 1974's Hollywood Street Revival and Trash Dance show. The somewhat different — yet not entirely unrelated — L.A. domain of the canyon singer-songwriter crowd is considered as we hear clips from co-host Barney Hoskyns' 2003 audio interview with James Taylor/Linda Ronstadt producer Peter Asher. Following discussion of Ronstadt, Joni Mitchell and their mutual paramour John David Souther, we circle back to the GTOs and the guest appearance of the late Jeff Beck on Permanent Damage. We then pay extensive tribute to Beck's eclectic genius and unique technique. We conclude with quotes from notable RBP library additions, including pieces about Bonnie Raitt recording at Bearsville, L.A. session bassist Carol Kaye and apocalyptic jazz trio Comet Is Coming. Many thanks to special guest Pamela Des Barres. Visit her website at pameladesbarresofficial.com for details of her podcast, books and more. Pieces discussed: The GTOs by Miles, A Requiem for Miss Christine, Girls Together Outrageously, Miss Mercy, Los Angeles Clubs, Rodney Bingenheimer, The GTOs live, Peter Asher audio, Jeff Beck audio, Jeff Beck by Eden, Jeff Beck by Alan Light, Jeff Beck by Kate Mossman, Bonnie Raitt, Ethel Merman, Carol Kaye, Compiling by gender and The Comet is Coming.

Luke & Trev chat about a good performance against a strong Darmstadt team that ends 1-1. Timo Schultz's triple substitution changed the game and saw Metcalfe assist Daschner for the equaliser after a great strike from Ronstadt opened the scoring for SV Darmatadt. We discuss if Igor Matanović has a place in the current set-up, Luke's voice recordings from the match are back and a shoutout for Micheal from Glasgow!

Maggie LePique sits down with Dan Guerrero, an award-winning producer/director of diverse programming for network and cable television and of live arts and culture concert events at prestigious venues including the Dorothy Chandler Pavilion for the LA Opera and multiple events at the Kennedy Center in DC. The eclectic artist also tours with his autobiographical solo play ¡Gaytino! Made in America that was recently filmed and is screening at U.S. Film Festivals. Guerrero is also an influential activist for both the Latinx and LGBTQ communities and is a popular figure on the speaking circuit. But he is most proud of his work as an educator teaching the course ¡Gaytino! Performance and the Power of One at UCLA. That led to his appointment as a UC Regents lecturer jointly in the UCLA Cesar E. Chavez Chicano/a Studies and LGBTQ Departments. Dan and I discuss Linda Ronstadt's new Memoir Feels Like Home: A Song For The Sonoran Borderlands as well as the companion CD from Putumayo Records: Feels Like Home: Songs from the Sonoran Borderlands—Linda Ronstadt's Musical Odyssey.  In Feels Like Home, Grammy award-winning singer Linda Ronstadt effortlessly evokes the magical panorama of the Sonoran borderlands, a landscape etched by sunlight and carved by wind, offering a personal tour of the place where she came of age, built around meals and memories. Following her best-selling musical memoir, Simple Dreams, this book seamlessly braids together Ronstadt's recollections of people and their passions in a region little understood in the rest of the United States.The granddaughter of Mexican immigrants, Ronstadt celebrates the marvelous flavors and indomitable people on both sides of the border in this road trip through the high desert. Written in collaboration with Lawrence Downes and illustrated throughout with stunning photographs by Bill Steen, Feels Like Home features 20 recipes for traditional Sonoran dishes and a bevy of revelations for Ronstadt's admirers, including never-before-seen family photos. If this book were a radio signal, you might first pick it up on an Arizona highway, well south of Phoenix, coming into the glow of Ronstadt's hometown of Tucson. It would be playing the old canciones, from a time when the border was a place not of peril but of possibility.Putumayo has released Feels Like Home: Songs from the Sonoran Borderlands—Linda Ronstadt's Musical Odyssey, a musical accompaniment to the acclaimed singer's new book, Feels Like Home: A Song for the Sonoran Borderlands, published by Heyday Books. The musical collection was co-curated by Ronstadt and Putumayo founder Dan Storper and includes influential songs from her childhood and career, as well as several of her own interpretations of classic Mexican songs. Participating artists include legends and musical explorers Lalo Guerrero, Ry Cooder, Jackson Browne, Dolly Parton, Emmylou Harris, Neil Young, Taj Mahal and David Hidalgo. Source: https://lindaronstadt.com/book/feels-like-home/Source: https://www.putumayo.com/feels-like-homeSource: https://www.heydaybooks.com/catalog/feels-like-home/?utm_source=carousel&utm_id=flikSource: http://www.danguerrero.comThis episode is from an archive from the KPFK program Profiles adapted for podcast.Host Maggie LePique, a radio veteran since the 1980's at NPR in Kansas City Mo. She began her radio career in Los Angeles in the early 1990Support the show

On this weeks episode, we dive deep into Heart Like A Wheel, the 1974 LP from  Linda Ronstadt. Possessing one of the strongest, versatile, and distinctive voices in rock has allowed Ronstadt to sing some of the greatest songs ever written in just about every musical genre. On this album, she interprets songs by variety of singers and songwriters to stunning effect, including James Taylor, Lowell George, Phil Everly, and Kate McGarrigle. While this was her fifth album, is was also her break out largely due to  the quality of Ronstadt's voice (which is is on full display here) and her intelligent rendering of the tunes within. 

Ronstadt's career spanned rock, pop, country and everything in between. Her most famous recordings include "Heart Like a Wheel," "Desperado," "Faithless Love," and many more. In 2013, Ronstadt revealed that she has Parkinson's disease and can no longer sing. Ronstadt has a new memoir called Feels Like Home: A Song for the Sonoran Borderlands. It's an exploration of her Mexican roots, with recipes of some of the dishes she grew up with. We listen back to her 2013 interview with Terry Gross. Also, Justin Chang reviews Till, a new film about the lynching of Emmett Till.

Singer Linda Ronstadt sold millions of records, performed for over four decades and made history as the first woman to have three consecutive platinum albums. Her new book, "Feels Like Home: A Song for the Sonoran Borderlands," offers a different window into her life as she reflects on her roots. Jeffrey Brown spoke with Ronstadt for our arts and culture series, "CANVAS." PBS NewsHour is supported by - https://www.pbs.org/newshour/about/funders

Singer Linda Ronstadt sold millions of records, performed for over four decades and made history as the first woman to have three consecutive platinum albums. Her new book, "Feels Like Home: A Song for the Sonoran Borderlands," offers a different window into her life as she reflects on her roots. Jeffrey Brown spoke with Ronstadt for our arts and culture series, "CANVAS." PBS NewsHour is supported by - https://www.pbs.org/newshour/about/funders

Katie shares her background and her love of vintage furniture with how she has turned that into a business helping designers solve their furniture needs.    

The legendary Linda Ronstadt has a new book out. Feels Like Home: A Song for the Sonoran Borderlands — a historical, musical, edible memoir that spans the story of five generations of Linda's Mexican American German family, from the Sonoran desert in Mexico to the Ronstadt family hardware store in Tucson to the road that led Linda to LA and musical stardom. Intimate and epic, "this is little Linda, Mexican Linda, cowgirl Linda, desert Linda." The book, written in collaboration with New York Times writer Lawrence Downes, is a road trip through the Sonoran Borderlands, from Tucson to Banámichi, Mexico — the path Linda's immigrant grandfather took at a time when the border was not a place of peril but of possibility. We went to see Linda at home to ask her about the journey. This story was produced by The Kitchen Sisters (Davia Nelson & Nikki Silva) and Evan Jacoby in collaboration with Brandi Howell and Nathan Dalton. Mixed by Jim McKee Thanks to Lawrence Downes, John Boylan, Bill Steen, Janet Stark and The PRX Podcast Garage. And to the team at Heyday Books: Steve Wasserman, Kalie Caetano & Megan Beatie and to Putamayo Music who just released Feels Like Home: Songs From The Sonoran Borderlands, Linda Ronstadt's Musical Odyssey. Special thanks to Linda Ronstadt for opening her home and her vault to this story.

Friends growing apart happens, but creatures crashing a fantasy convention… not so much. Five high schoolers bonded over the Bloodthirsty Hearts novel series turned slightly-erotic movie franchise as kids, and now it's what brings them back together for the first-ever fan convention. However, what starts as fun and games quickly turns into a fight-for-your-life event as creatures from the same universe invade. Will the childhood friends be able to work past their differences and survive the night? Perhaps their shared obsession will prove to be useful after all… ~~ From the makers of Classified and Ronstadt comes Bloodthirsty Hearts, a supernatural comedy. QCODE+ subscribers on Apple Podcasts will get early access to new episodes before anyone else and exclusive bonus content. Learn more at apple.co/qcode. ~~ Produced by QCODE and Tenderfoot TV (Up and Vanished, Radio Rental). Created and written by George V. Ghanem and directed by Sam Beasley. Starring Victoria Moroles, Gus Birney, Sofia Bryant, Sivan Alyra Rose, and Cheyenne Haynes with Taran Killam, Happy Anderson, Naomi Grossman, and Ezra Buzzington. ~~ All 8 episodes will be available for free, but QCODE+ subscribers get early, uninterrupted access to new episodes.See omnystudio.com/listener for privacy information.

Friends growing apart happens, but creatures crashing a fantasy convention… not so much. Five high schoolers bonded over the Bloodthirsty Hearts novel series turned slightly-erotic movie franchise as kids, and now it's what brings them back together for the first-ever fan convention. However, what starts as fun and games quickly turns into a fight-for-your-life event as creatures from the same universe invade. Will the childhood friends be able to work past their differences and survive the night? Perhaps their shared obsession will prove to be useful after all… ~~ From the makers of Classified and Ronstadt comes Bloodthirsty Hearts, a supernatural comedy. QCODE+ subscribers on Apple Podcasts will get early access to new episodes before anyone else and exclusive bonus content. Learn more at apple.co/qcode. ~~ Produced by QCODE and Tenderfoot TV (Up and Vanished, Radio Rental). Created and written by George V. Ghanem and directed by Sam Beasley. Starring Victoria Moroles, Gus Birney, Sofia Bryant, Sivan Alyra Rose, and Cheyenne Haynes with Taran Killam, Happy Anderson, Naomi Grossman, and Ezra Buzzington. ~~ All 8 episodes will be available for free, but QCODE+ subscribers get early, uninterrupted access to new episodes.See omnystudio.com/listener for privacy information.

Elizabeth Ward Land is known for her standout roles on Broadway, most recently as a member of Sarah Silverman's off-Broadway musical, The Bedwetter. She's also been featured in numerous television and movie roles. Using her powerful and resonant voice, Elizabeth's new album, "Still Within the Sound of My Voice, - The Songs of Linda Ronstadt," is a powerful tribute to the 11-time Grammy-winning music legend, who was diagnosed with a medical condition that caused her to lose control of her vocal cords - effectively ending her singing career. With this album, Elizabeth pays homage to the incomparable Ms. Ronstadt. Elizabeth has plenty of stories to share, making for a fascinating conversation with this very talented entertainer.

Friends growing apart happens, but creatures crashing a fantasy convention… not so much.  Five high schoolers bonded over the Bloodthirsty Hearts novel series turned slightly-erotic movie franchise as kids, and now it's what brings them back together for the first-ever fan convention. However, what starts as fun and games quickly turns into a fight-for-your-life event as creatures from the same universe invade. Will the childhood friends be able to work past their differences and survive the night? Perhaps their shared obsession will prove to be useful after all… ~~ From the makers of Classified and Ronstadt comes Bloodthirsty Hearts, a supernatural comedy premiering everywhere July 7. QCODE+ subscribers on Apple Podcasts will get early access to new episodes before anyone else and exclusive bonus content. Learn more at apple.co/qcode. Produced by QCODE and Tenderfoot TV (Up and Vanished, Radio Rental). Created and written by George V. Ghanem and directed by Sam Beasley. Starring Victoria Moroles, Gus Birney, Sofia Bryant, Sivan Alyra Rose, and Cheyenne Haynes with Taran Killam, Happy Anderson, Naomi Grossman, and Ezra Buzzington. All 8 episodes will be available for free, but QCODE+ subscribers get early, uninterrupted access to new episodes. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Friends growing apart happens, but creatures crashing a fantasy convention… not so much.  Five high schoolers bonded over the Bloodthirsty Hearts novel series turned slightly-erotic movie franchise as kids, and now it's what brings them back together for the first-ever fan convention. However, what starts as fun and games quickly turns into a fight-for-your-life event as creatures from the same universe invade. Will the childhood friends be able to work past their differences and survive the night? Perhaps their shared obsession will prove to be useful after all… ~~ From the makers of Classified and Ronstadt comes Bloodthirsty Hearts, a supernatural comedy premiering everywhere July 7. QCODE+ subscribers on Apple Podcasts will get early access to new episodes before anyone else and exclusive bonus content. Learn more at apple.co/qcode. Produced by QCODE and Tenderfoot TV (Up and Vanished, Radio Rental). Created and written by George V. Ghanem and directed by Sam Beasley. Starring Victoria Moroles, Gus Birney, Sofia Bryant, Sivan Alyra Rose, and Cheyenne Haynes with Taran Killam, Happy Anderson, Naomi Grossman, and Ezra Buzzington. All 8 episodes will be available for free, but QCODE+ subscribers get early, uninterrupted access to new episodes. Learn more about your ad choices. Visit megaphone.fm/adchoices

Friends growing apart happens, but creatures crashing a fantasy convention… not so much.  Five high schoolers bonded over the Bloodthirsty Hearts novel series turned slightly-erotic movie franchise as kids, and now it's what brings them back together for the first-ever fan convention. However, what starts as fun and games quickly turns into a fight-for-your-life event as creatures from the same universe invade. Will the childhood friends be able to work past their differences and survive the night? Perhaps their shared obsession will prove to be useful after all… ~~ From the makers of Classified and Ronstadt comes Bloodthirsty Hearts, a supernatural comedy premiering everywhere July 7. QCODE+ subscribers on Apple Podcasts will get early access to new episodes before anyone else and exclusive bonus content. Learn more at apple.co/qcode. Produced by QCODE and Tenderfoot TV (Up and Vanished, Radio Rental). Created and written by George V. Ghanem and directed by Sam Beasley. Starring Victoria Moroles, Gus Birney, Sofia Bryant, Sivan Alyra Rose, and Cheyenne Haynes with Taran Killam, Happy Anderson, Naomi Grossman, and Ezra Buzzington. All 8 episodes will be available for free, but QCODE+ subscribers get early, uninterrupted access to new episodes.

Friends growing apart happens, but creatures crashing a fantasy convention… not so much.  Five high schoolers bonded over the Bloodthirsty Hearts novel series turned slightly-erotic movie franchise as kids, and now it's what brings them back together for the first-ever fan convention. However, what starts as fun and games quickly turns into a fight-for-your-life event as creatures from the same universe invade. Will the childhood friends be able to work past their differences and survive the night? Perhaps their shared obsession will prove to be useful after all… ~~ From the makers of Classified and Ronstadt comes Bloodthirsty Hearts, a supernatural comedy premiering everywhere July 7. QCODE+ subscribers on Apple Podcasts will get early access to new episodes before anyone else and exclusive bonus content. Learn more at apple.co/qcode. Produced by QCODE and Tenderfoot TV (Up and Vanished, Radio Rental). Created and written by George V. Ghanem and directed by Sam Beasley. Starring Victoria Moroles, Gus Birney, Sofia Bryant, Sivan Alyra Rose, and Cheyenne Haynes with Taran Killam, Happy Anderson, Naomi Grossman, and Ezra Buzzington. All 8 episodes will be available for free, but QCODE+ subscribers get early, uninterrupted access to new episodes. Learn more about your ad choices. Visit megaphone.fm/adchoices

Friends growing apart happens, but creatures crashing a fantasy convention… not so much.  Five high schoolers bonded over the Bloodthirsty Hearts novel series turned slightly-erotic movie franchise as kids, and now it's what brings them back together for the first-ever fan convention. However, what starts as fun and games quickly turns into a fight-for-your-life event as creatures from the same universe invade. Will the childhood friends be able to work past their differences and survive the night? Perhaps their shared obsession will prove to be useful after all… ~~ From the makers of Classified and Ronstadt comes Bloodthirsty Hearts, a supernatural comedy premiering everywhere July 7. QCODE+ subscribers on Apple Podcasts will get early access to new episodes before anyone else and exclusive bonus content. Learn more at apple.co/qcode. Produced by QCODE and Tenderfoot TV (Up and Vanished, Radio Rental). Created and written by George V. Ghanem and directed by Sam Beasley. Starring Victoria Moroles, Gus Birney, Sofia Bryant, Sivan Alyra Rose, and Cheyenne Haynes with Taran Killam, Happy Anderson, Naomi Grossman, and Ezra Buzzington. All 8 episodes will be available for free, but QCODE+ subscribers get early, uninterrupted access to new episodes. Learn more about your ad choices. Visit megaphone.fm/adchoices

Friends growing apart happens, but creatures crashing a fantasy convention… not so much.  Five high schoolers bonded over the Bloodthirsty Hearts novel series turned slightly-erotic movie franchise as kids, and now it's what brings them back together for the first-ever fan convention. However, what starts as fun and games quickly turns into a fight-for-your-life event as creatures from the same universe invade. Will the childhood friends be able to work past their differences and survive the night? Perhaps their shared obsession will prove to be useful after all… ~~ From the makers of Classified and Ronstadt comes Bloodthirsty Hearts, a supernatural comedy premiering everywhere July 7. QCODE+ subscribers on Apple Podcasts will get early access to new episodes before anyone else and exclusive bonus content. Learn more at apple.co/qcode. Produced by QCODE and Tenderfoot TV (Up and Vanished, Radio Rental). Created and written by George V. Ghanem and directed by Sam Beasley. Starring Victoria Moroles, Gus Birney, Sofia Bryant, Sivan Alyra Rose, and Cheyenne Haynes with Taran Killam, Happy Anderson, Naomi Grossman, and Ezra Buzzington. All 8 episodes will be available for free, but QCODE+ subscribers get early, uninterrupted access to new episodes.

Friends growing apart happens, but creatures crashing a fantasy convention… not so much.  Five high schoolers bonded over the Bloodthirsty Hearts novel series turned slightly-erotic movie franchise as kids, and now it's what brings them back together for the first-ever fan convention. However, what starts as fun and games quickly turns into a fight-for-your-life event as creatures from the same universe invade. Will the childhood friends be able to work past their differences and survive the night? Perhaps their shared obsession will prove to be useful after all… ~~ From the makers of Classified and Ronstadt comes Bloodthirsty Hearts, a supernatural comedy premiering everywhere July 7. QCODE+ subscribers on Apple Podcasts will get early access to new episodes before anyone else and exclusive bonus content. Learn more at apple.co/qcode. Produced by QCODE and Tenderfoot TV (Up and Vanished, Radio Rental). Created and written by George V. Ghanem and directed by Sam Beasley. Starring Victoria Moroles, Gus Birney, Sofia Bryant, Sivan Alyra Rose, and Cheyenne Haynes with Taran Killam, Happy Anderson, Naomi Grossman, and Ezra Buzzington. All 8 episodes will be available for free, but QCODE+ subscribers get early, uninterrupted access to new episodes.

Friends growing apart happens, but creatures crashing a fantasy convention… not so much.  Five high schoolers bonded over the Bloodthirsty Hearts novel series turned slightly-erotic movie franchise as kids, and now it's what brings them back together for the first-ever fan convention. However, what starts as fun and games quickly turns into a fight-for-your-life event as creatures from the same universe invade. Will the childhood friends be able to work past their differences and survive the night? Perhaps their shared obsession will prove to be useful after all… ~~ From the makers of Classified and Ronstadt comes Bloodthirsty Hearts, a supernatural comedy premiering everywhere July 7. QCODE+ subscribers on Apple Podcasts will get early access to new episodes before anyone else and exclusive bonus content. Learn more at apple.co/qcode. Produced by QCODE and Tenderfoot TV (Up and Vanished, Radio Rental). Created and written by George V. Ghanem and directed by Sam Beasley. Starring Victoria Moroles, Gus Birney, Sofia Bryant, Sivan Alyra Rose, and Cheyenne Haynes with Taran Killam, Happy Anderson, Naomi Grossman, and Ezra Buzzington. All 8 episodes will be available for free, but QCODE+ subscribers get early, uninterrupted access to new episodes. Learn more about your ad choices. Visit megaphone.fm/adchoices

Friends growing apart happens, but creatures crashing a fantasy convention… not so much.  Five high schoolers bonded over the Bloodthirsty Hearts novel series turned slightly-erotic movie franchise as kids, and now it's what brings them back together for the first-ever fan convention. However, what starts as fun and games quickly turns into a fight-for-your-life event as creatures from the same universe invade. Will the childhood friends be able to work past their differences and survive the night? Perhaps their shared obsession will prove to be useful after all… ~~ From the makers of Classified and Ronstadt comes Bloodthirsty Hearts, a supernatural comedy premiering everywhere July 7. QCODE+ subscribers on Apple Podcasts will get early access to new episodes before anyone else and exclusive bonus content. Learn more at apple.co/qcode. Produced by QCODE and Tenderfoot TV (Up and Vanished, Radio Rental). Created and written by George V. Ghanem and directed by Sam Beasley. Starring Victoria Moroles, Gus Birney, Sofia Bryant, Sivan Alyra Rose, and Cheyenne Haynes with Taran Killam, Happy Anderson, Naomi Grossman, and Ezra Buzzington. All 8 episodes will be available for free, but QCODE+ subscribers get early, uninterrupted access to new episodes. Learn more about your ad choices. Visit megaphone.fm/adchoices

Friends growing apart happens, but creatures crashing a fantasy convention… not so much.  Five high schoolers bonded over the Bloodthirsty Hearts novel series turned slightly-erotic movie franchise as kids, and now it's what brings them back together for the first-ever fan convention. However, what starts as fun and games quickly turns into a fight-for-your-life event as creatures from the same universe invade. Will the childhood friends be able to work past their differences and survive the night? Perhaps their shared obsession will prove to be useful after all… ~~ From the makers of Classified and Ronstadt comes Bloodthirsty Hearts, a supernatural comedy premiering everywhere July 7. QCODE+ subscribers on Apple Podcasts will get early access to new episodes before anyone else and exclusive bonus content. Learn more at apple.co/qcode. Produced by QCODE and Tenderfoot TV (Up and Vanished, Radio Rental). Created and written by George V. Ghanem and directed by Sam Beasley. Starring Victoria Moroles, Gus Birney, Sofia Bryant, Sivan Alyra Rose, and Cheyenne Haynes with Taran Killam, Happy Anderson, Naomi Grossman, and Ezra Buzzington. All 8 episodes will be available for free, but QCODE+ subscribers get early, uninterrupted access to new episodes. Learn more about your ad choices. Visit megaphone.fm/adchoices

Friends growing apart happens, but creatures crashing a fantasy convention… not so much.  Five high schoolers bonded over the Bloodthirsty Hearts novel series turned slightly-erotic movie franchise as kids, and now it's what brings them back together for the first-ever fan convention. However, what starts as fun and games quickly turns into a fight-for-your-life event as creatures from the same universe invade. Will the childhood friends be able to work past their differences and survive the night? Perhaps their shared obsession will prove to be useful after all… ~~ From the makers of Classified and Ronstadt comes Bloodthirsty Hearts, a supernatural comedy premiering everywhere July 7. QCODE+ subscribers on Apple Podcasts will get early access to new episodes before anyone else and exclusive bonus content. Learn more at apple.co/qcode. Produced by QCODE and Tenderfoot TV (Up and Vanished, Radio Rental). Created and written by George V. Ghanem and directed by Sam Beasley. Starring Victoria Moroles, Gus Birney, Sofia Bryant, Sivan Alyra Rose, and Cheyenne Haynes with Taran Killam, Happy Anderson, Naomi Grossman, and Ezra Buzzington. All 8 episodes will be available for free, but QCODE+ subscribers get early, uninterrupted access to new episodes. Learn more about your ad choices. Visit megaphone.fm/adchoices

Friends growing apart happens, but creatures crashing a fantasy convention… not so much.  Five high schoolers bonded over the Bloodthirsty Hearts novel series turned slightly-erotic movie franchise as kids, and now it's what brings them back together for the first-ever fan convention. However, what starts as fun and games quickly turns into a fight-for-your-life event as creatures from the same universe invade. Will the childhood friends be able to work past their differences and survive the night? Perhaps their shared obsession will prove to be useful after all… ~~ From the makers of Classified and Ronstadt comes Bloodthirsty Hearts, a supernatural comedy premiering everywhere July 7. QCODE+ subscribers on Apple Podcasts will get early access to new episodes before anyone else and exclusive bonus content. Learn more at apple.co/qcode. Produced by QCODE and Tenderfoot TV (Up and Vanished, Radio Rental). Created and written by George V. Ghanem and directed by Sam Beasley. Starring Victoria Moroles, Gus Birney, Sofia Bryant, Sivan Alyra Rose, and Cheyenne Haynes with Taran Killam, Happy Anderson, Naomi Grossman, and Ezra Buzzington. All 8 episodes will be available for free, but QCODE+ subscribers get early, uninterrupted access to new episodes. Learn more about your ad choices. Visit megaphone.fm/adchoices