Podcasts about roud

Roud 32 - KEMPY KAY Guest: Helen Lindley    Email us: intheroud@singyonder.co.uk Find us on social media via our LinkTree   Your host: Matt Quinn   Modern performances: Martin Carthy Folk song recourses: Sing Yonder The Vaughn Williams Memorial Library Sussex Traditions GlousTrad Tobas an Dualchais/Kist o Riches Jon Boden's A Folk Song A Day Andy Turner's A Folk Song A Week The Max Hunter Folk Song Collection   Record labels promoting recordings of traditional singers: Veteran Records Topic Records Musical Traditions One Row Records    Other Folk Song/Music podcasts: The Old Songs Podcast Every Folk Song Folk On Foot Fire Draw Near Handed Down

Roud 31 - THE TREES THEY DO GROW HIGH Historical guest: Sandra Kerr Singer Guest: Chris Foster   Email us: intheroud@singyonder.co.uk Find us on social media via our LinkTree   Your host: Matt Quinn Traditional versions:Lizzie Higgins May Bradley - album: Sweet Swansea Fred Jordan George Dunn - album: Chainmaker Walter Pardon Bob Copper Mary Ann Haynes Stanley Robertson Jeff Wesley Mary McGarvey Modern performances: Martin Carthy Brass Monkey Tony Rose Peter Bellamy Dan Quinn & Will Duke Jackie Oates Robin & Barry Dransfield Barry Dransfield (video) Folk song recourses: Sing Yonder The Vaughn Williams Memorial Library Sussex Traditions GlousTrad Tobas an Dualchais/Kist o Riches Jon Boden's A Folk Song A Day Andy Turner's A Folk Song A Week The Max Hunter Folk Song Collection   Record labels promoting recordings of traditional singers: Veteran Records Topic Records Musical Traditions One Row Records    Other Folk Song/Music podcasts: The Old Songs Podcast Every Folk Song Folk On Foot Fire Draw Near Handed Down

Pobyt v ústraní, daleko od každodenního ruchu a mnoha zahlcujících interakcí s druhými lidmi, není zdaleka ničím novým. V duchovní praxi je využíván po staletí a najdeme jej prakticky ve většině velkých náboženských systémů. Pobyt ve tmě se tak stává znovuobjeveným prostorem, v němž můžeme v případě krátkého pobytu prožít příjemnou relaxaci a zklidnění. A při delším setrvání ve tmě se pak můžeme vydat na dobrodružnou cestu vedoucí až k nám samotným. Terapie tmou má samozřejmě i svá úskalí a limity, a tak je k ní dobré přistupovat s respektem. O tom všem budeme v Zátiší hovořit s průvodcem terapií tmou Tomášem Roudem.

Bonus Episode: Misc Spotlight - Broadsides and how they relate to the oral tradition (with Steve Roud) Guest: Steve Roud   Email us: intheroud@singyonder.co.uk Find us on social media via our LinkTree   Your host: Matt Quinn Folk song recourses: Sing Yonder The Vaughn Williams Memorial Library Sussex Traditions GlousTrad Tobas an Dualchais/Kist o Riches Jon Boden's A Folk Song A Day Andy Turner's A Folk Song A Week The Max Hunter Folk Song Collection   Record labels promoting recordings of traditional singers: Veteran Records Topic Records Musical Traditions One Row Records    Other Folk Song/Music podcasts: The Old Songs Podcast Every Folk Song Folk On Foot Fire Draw Near Handed Down

Roud 30 - WILLIE'S LYKE WAKE aka THE BLUE FLOWERS AND THE YELLOW Historical guest: Steve Byrne Singer Guest: Bryony Griffith   Email us: intheroud@singyonder.co.uk Find us on social media via our LinkTree   Your host: Matt Quinn Modern performances: Shepherd, Spiers & Watson June Tabor & Oysterband Ewan MacColl Jez Lowe Lucy Pringle & Chris Wright Folk song recourses: Sing Yonder The Vaughn Williams Memorial Library Sussex Traditions GlousTrad Tobas an Dualchais/Kist o Riches Jon Boden's A Folk Song A Day Andy Turner's A Folk Song A Week The Max Hunter Folk Song Collection   Record labels promoting recordings of traditional singers: Veteran Records Topic Records Musical Traditions One Row Records    Other Folk Song/Music podcasts: The Old Songs Podcast Every Folk Song Folk On Foot Fire Draw Near Handed Down

Roud 29 - SIR LIONEL aka BOLD SIR RYLAS Historical guest: Brian Peters Singer Guest: Jon Wilks   Email us: intheroud@singyonder.co.uk Follow us on: Facebook Twitter   Instagram Threads Bluesky   Your host: Matt Quinn Website:  Facebook  Twitter Instagram Traditional recordings:  Samuel Harmon  Buna Hicks (audio) Buna Hicks (video)  Bobby McMillon Nimrod Workman - album: Mother Jones' Will Eunice Yeatts MacAlexander - album: Far in the Mountains Vol. 1 Modern performances: Spiers & Boden Waterson:Carthy The Furrow Collective The Demon Barbers Jim Moray Jon Loomes Kate Rusby Folk song recourses: Sing Yonder The Vaughn Williams Memorial Library Sussex Traditions GlousTrad Tobas an Dualchais/Kist o Riches Jon Boden's A Folk Song A Day Andy Turner's A Folk Song A Week The Max Hunter Folk Song Collection   Record labels promoting recordings of traditional singers: Veteran Records Topic Records Musical Traditions One Row Records    Other Folk Song/Music podcasts: The Old Songs Podcast Every Folk Song Folk On Foot Fire Draw Near Handed Down

Roud 28 - HIND HORN Historical guest: David Atkinson (editor of the Folk Song Journal) Singer Guest: Rachel Newton   Email us: intheroud@singyonder.co.uk Follow us on: Facebook Twitter   Instagram Threads Bluesky   Your host: Matt Quinn Website:  Facebook  Twitter Instagram Traditional recordings: Duncan Williamson Maggie Hammons Parker Edward 'Sandy' Ives Modern performances: Bandoggs Maddy Prior Brian Peters Spiers & Boden Folk song recourses: Sing Yonder The Vaughn Williams Memorial Library Sussex Traditions GlousTrad Tobas an Dualchais/Kist o Riches Jon Boden's A Folk Song A Day Andy Turner's A Folk Song A Week The Max Hunter Folk Song Collection   Record labels promoting recordings of traditional singers: Veteran Records Topic Records Musical Traditions One Row Records     Other Folk Song/Music podcasts: The Old Songs Podcast Every Folk Song Folk On Foot Fire Draw Near Handed Down

Roud 27 - THE BONNIE BANKS OF FORDIE Historical guest: Brian Peters Singer Guest: Katie Macfarlane   Email us: intheroud@singyonder.co.uk Follow us on: Facebook Twitter   Instagram Threads Bluesky     Your host: Matt Quinn Website:  Facebook  Twitter Instagram Traditional recordings: Minnie Haman Jessie MacDonald John MacDonald Betsy Miller & Ewan MacColl Stanley Robertson Modern performances: Nic Jones Jon Boden Pete Coe Cohen Braithwaite-Kilcoyne Nick Hart & Tom Moore Shepherd, Spiers & Watson   Folk song recourses: Sing Yonder The Vaughn Williams Memorial Library Sussex Traditions GlousTrad Tobas an Dualchais/Kist o Riches Jon Boden's A Folk Song A Day Andy Turner's A Folk Song A Week The Max Hunter Folk Song Collection   Record labels promoting recordings of traditional singers: Veteran Records Topic Records Musical Traditions One Row Records     Other Folk Song/Music podcasts: The Old Songs Podcast Every Folk Song Folk On Foot Fire Draw Near Handed Down

Roud 26 - THE CRUEL BROTHER Historical guest: Martin Nail Singer Guest: Sophie Crawford   Email us: intheroud@singyonder.co.uk Follow us on: Facebook Twitter   Instagram Threads Bluesky     Your host: Matt Quinn Website:  Facebook  Twitter Instagram   Modern performances: Martin Simpson Crucible Eliza Carthy & Norma Waterson Steeleye Span (Cruel Brother) Steeleye Span (Gulliver Gentle and Rosemary) Peggy Seeger & Ewan MacColl The Shee Sophie Crawford Folk song recourses: Sing Yonder The Vaughn Williams Memorial Library Sussex Traditions GlousTrad Tobas an Dualchais/Kist o Riches Jon Boden's A Folk Song A Day Andy Turner's A Folk Song A Week The Max Hunter Folk Song Collection   Record labels promoting recordings of traditional singers: Veteran Records Topic Records Musical Traditions One Row Records     Other Folk Song/Music podcasts: The Old Songs Podcast Every Folk Song Folk On Foot Fire Draw Near Handed Down

Roud 25 - THE FAIR FLOWER OF NORTHUMBERLAND Historical guest: Sandra Kerr Singer Guest: Alasdair Roberts   Email us: intheroud@singyonder.co.uk Follow us on: Facebook Twitter   Instagram Threads Bluesky     Your host: Matt Quinn Website:  Facebook  Twitter Instagram   Traditional Recordings: Lizzie Higgins - original LP album (Roud 25 not included) Lizzie Higgins - full performance on YouTube Stanley Robertson Modern performances: Dick Gaughan Sheena Wellington  The Exiles Jackie Oates  Sara Grey Lori Watson Folk song recourses: Sing Yonder The Vaughn Williams Memorial Library Sussex Traditions GlousTrad Tobas an Dualchais/Kist o Riches Jon Boden's A Folk Song A Day Andy Turner's A Folk Song A Week The Max Hunter Folk Song Collection   Record labels promoting recordings of traditional singers: Topic Records Veteran Records Musical Traditions One Row Records     Other Folk Song/Music podcasts: The Old Songs Podcast Every Folk Song Folk On Foot Fire Draw Near Handed Down

Welcome to the broadcast! Some Lide winds blow the cobwebs away, before we head up into the Curlew Mountains to view some strange lights...

Roud 24 - ERLINTON Guest: Helen Lindley   Email us: intheroud@singyonder.co.uk Follow us on: Facebook Twitter   Instagram Threads Bluesky     Your host: Matt Quinn Website:  Facebook  Twitter Instagram Modern performances: Thank Goodness It's Folk (feat. Sam Baxter) Jack Rutter   Folk song recourses: Sing Yonder The Vaughn Williams Memorial Library Sussex Traditions GlousTrad Tobas an Dualchais/Kist o Riches Jon Boden's A Folk Song A Day Andy Turner's A Folk Song A Week The Max Hunter Folk Song Collection   Record labels promoting recordings of traditional singers: Topic Records Veteran Records Musical Traditions One Row Records     Other Folk Song/Music podcasts: The Old Songs Podcast Every Folk Song Folk On Foot Fire Draw Near Handed Down

In this episode of The Acting Notes, we sit down with renowned headshot photographer Michael Roud to break down everything actors need to know about getting the perfect headshot. We discuss what makes a headshot stand out, how to prepare for a session, and the biggest mistakes actors make. Michael also shares insights from his years of experience working with actors at every level. Check out Michael's work and book a session at michaelroud.comDisclaimer: Apologies for the echo in the audio—technical difficulties got the best of us on this one! But stick with it; the insights in this episode are worth it.

Roud 23 - EARL BRAND aka THE DOUGLAS TRAGEDY Historical guest: Steve Gardham Singer Guest: Hannah Martin   Email us: intheroud@singyonder.co.uk Follow us on: Facebook Twitter   Instagram Threads Bluesky     Your host: Matt Quinn Website:  Facebook  Twitter Instagram   Traditional Recordings: Bella Higgins Mrs Victoria Morris (album - When Cecil Left The Mountains) Professor and Mrs Greer George Fraser Modern performances: Ewan MacColl Jim Moray The Cecil Sharp Project The Gigspanner Big Band   Folk song recourses: Sing Yonder The Vaughn Williams Memorial Library Sussex Traditions GlousTrad Tobas an Dualchais/Kist o Riches Jon Boden's A Folk Song A Day Andy Turner's A Folk Song A Week The Max Hunter Folk Song Collection   Record labels promoting recordings of traditional singers: Topic Records Veteran Records Musical Traditions One Row Records     Other Folk Song/Music podcasts: The Old Songs Podcast Every Folk Song Folk On Foot Fire Draw Near Handed Down

Roud 22 - GIL BRENTON Historical guest: Helen Lindley Singer Guest: Nancy Kerr   Email us: intheroud@singyonder.co.uk Follow us on: Facebook Twitter   Instagram Threads Bluesky     Your host: Matt Quinn Website:  Facebook  Twitter Instagram     Historical Guest: Helen Lindley   Singer Guest: Nancy Kerr Folk song recourses: Sing Yonder The Vaughn Williams Memorial Library Sussex Traditions GlousTrad Tobas an Dualchais/Kist o Riches Jon Boden's A Folk Song A Day Andy Turner's A Folk Song A Week The Max Hunter Folk Song Collection   Record labels promoting recordings of traditional singers: Topic Records Veteran Records Musical Traditions One Row Records     Other Folk Song/Music podcasts: The Old Songs Podcast Every Folk Song Folk On Foot Fire Draw Near Handed Down

Welcome to the broadcast! Let's wander around some places associated with St Brigid, including a very famous street in central London...

Roud 21 - THE OUTLANDISH KNIGHT Historical guest: Vic Gammon Singer Guest: Cohen Braithwaite-Kilcoyne   Email us: intheroud@singyonder.co.uk Follow us on: Facebook Twitter   Instagram Threads Bluesky     Your host: Matt Quinn Website:  Facebook  Twitter Instagram     Historical Guest: Vic Gammon More about Vic    Singer Guest: Cohen Braithwaite-Kilcoyne Cohen's website   Traditional recordings played: Carlotte Renals Vic Legg Sarah Porter (album - Just Another Saturday night) Gordon Hall May Bradley (album - Sweet Swansea) LaRena Clark Lena Bourne Fish Mary Ann Haynes   Modern versions mentioned: Spiers & Boden Bellowhead Martin Carthy Nic Jones Kevin Mitchell Cath & Phil Tyler Waterson: Carthy The Askew Sisters Shirley & Dolly Collins Rachel Newton Alice Jones Rachel McShane Folk song recourses: Sing Yonder The Vaughn Williams Memorial Library Sussex Traditions GlousTrad Tobas an Dualchais/Kist o Riches Jon Boden's A Folk Song A Day Andy Turner's A Folk Song A Week The Max Hunter Folk Song Collection   Record labels promoting recordings of traditional singers: Topic Records Veteran Records Musical Traditions One Row Records     Other Folk Song/Music podcasts: The Old Songs Podcast Every Folk Song Folk On Foot Fire Draw Near Handed Down

Welcome to the broadcast! Step back with me into Ordinary Time as we celebrate Twelfth Night... Welsh style! Plus let's pay a visit to Pentre Ifan, said to be the entrance to Annwn...

Roud 20 - THE FALSE KNIGHT ON THE ROAD Historical guest: Steve Roud Singer Guest: Barry Goodman   Email us: intheroud@singyonder.co.uk Follow us on: Facebook Twitter   Instagram     Your host: Matt Quinn Website:  Facebook  Twitter Instagram     Historical Guest: Steve Roud More about Steve   Singer Guest: Barry Goodman Barry's Website   Traditional recordings played: Bella Higgins Bella Higgins & Andrew Stewart Paddy Tunney Maud Long Duncan MacPhee   Modern versions mentioned: Gilmore & Roberts Tim Hart & Maddy Prior Gavin Davenport Oysterband Steeleye Span   Folk song recourses: Sing Yonder The Vaughn Williams Memorial Library Sussex Traditions GlousTrad Tobas an Dualchais/Kist o Riches Jon Boden's A Folk Song A Day Andy Turner's A Folk Song A Week The Max Hunter Folk Song Collection   Record labels promoting recordings of traditional singers: Topic Records Veteran Records Musical Traditions One Row Records     Other Folk Song/Music podcasts: The Old Songs Podcast Every Folk Song Folk On Foot Fire Draw Near Handed Down

Roud 19 - THE NOBLEMAN & THE THRESHERMAN Historical guest: Vic Gammon Singer Guest: Vic Shepherd & John Bowden   Email us: intheroud@singyonder.co.uk Follow us on: Facebook Twitter   Instagram     Your host: Matt Quinn Website:  Facebook  Twitter Instagram     Historical Guest: Vic Gammon More about Vic   Singer Guest: Vic Shepherd & John Bowden Vic & John on Facebook   Traditional recordings played: Harry Holman - album called Just Another Saturday Night  Sarah Makem  Ron Copper Bob Copper - album called The Two Bobs' Worth Eleazar Tillett Frank Hinchliffe   Modern versions mentioned: Paul & Liz Davenport - album called Spring Tide Rising The Dollymopps Andy Turner Peter Bellamy - 31mins 54s Dr Faustus Belshazzar's Feast Patakas   Folk song recourses: Sing Yonder The Vaughn Williams Memorial Library Sussex Traditions GlousTrad Tobas an Dualchais/Kist o Riches Jon Boden's A Folk Song A Day Andy Turner's A Folk Song A Week The Max Hunter Folk Song Collection   Record labels promoting recordings of traditional singers: Topic Records Veteran Records Musical Traditions One Row Records     Other Folk Song/Music podcasts: The Old Songs Podcast Every Folk Song Folk On Foot Fire Draw Near

Welcome to the broadcast! Thinking about Britain's Germanic heritage, this Christmas we raise a glass to the ancient northern spirits: the mothers at Modraniht, and the Norse dísir and their Dísablót.

Roud 18 - BRUTON TOWN Historical guest: Steve Gardham Singer Guest: James Patterson   Email us: intheroud@singyonder.co.uk Follow us on: Facebook Twitter   Instagram     Your host: Matt Quinn Website:  Facebook  Twitter Instagram     Historical Guest: Steve Gardham More about Steve   Singer Guest: James Patterson Patterson/Dipper   Traditional recordings played:  Carolyne Hughes  Eliza Pace (album called When Cecil Left the Mountains) Hattie Presnell   Modern versions mentioned: Pentangle Tony Rose - 15mins 28s in The WIlderness Yet Martin Carthy Bellowhead Jon Boden Sara Grey Jim Moray Martin Simpson   Folk song recourses: Sing Yonder The Vaughn Williams Memorial Library Sussex Traditions GlousTrad Tobas an Dualchais/Kist o Riches Jon Boden's A Folk Song A Day Andy Turner's A Folk Song A Week The Max Hunter Folk Song Collection   Record labels promoting recordings of traditional singers: Topic Records Veteran Records Musical Traditions One Row Records     Other Folk Song/Music podcasts: The Old Songs Podcast Every Folk Song Folk On Foot Fire Draw Near

Cadeau de noël de M. Roud qui revient enfin sur les ondes. Emission préparée avec soin et fébrilité pour son public qui lui manquait 01 - Bruce Springsteen - "Thunder road"02 - Fontaines DC - "In the modern world"03 - Peter Perrett - "I wanna go with dignity"04 - Kid Kapichi - "Can EU hear me ?"05 - The Lambrini Girls - "Love"06 - Fat Dog - "Peace song"07 - The Last Dinner Party - "Caesar on tv screen"08 - Joe Pernice - "Who will you believe"09 - The Lemon Twigs - "They don't know how to fall in place"10 - Jack White - "What's the rumpus"11 - The Voidz - "Prophecy of the dragon"12 - Mustang - "Aerosol"13 - Mustang - "L'argent du beurre"14 - Etienne Daho - "Bleu comme toi"15 - Aline - "La lune sera bleue"16 - Eagles of Death Metal - "Careless whisper"17 - The Baseballs - "Umbrella"18 - K-CIDY - "Soudain une envie"19 - Fontaines DC - "Starbuster"

Roud 17 - THE THREE BUTCHERS Historical guest: Steve Roud Singer Guest: Jon Loomes   Email us: intheroud@singyonder.co.uk Follow us on: Facebook Twitter   Instagram     Your host: Matt Quinn Website:  Facebook  Twitter Instagram     Historical Guest: Steve Roud More about Steve   Singer Guest: Jon Loomes Jon's website   Traditional recordings played: Harry Cox Paddy Doran Bob Scarce (album called A Story to Tell - Keith Summers in Suffolk 1972 - 1979) Walter Pardon Nimrod Workman (album called Meeting's A Pleasure vol 1 & 2) Gordon Hall   Modern versions mentioned: Martin Carthy Steeleye Span Gryphon Pete Seeger Andy Irvine Oss Roy Bailey   Folk song recourses: Sing Yonder The Vaughn Williams Memorial Library Sussex Traditions GlousTrad Tobas an Dualchais/Kist o Riches Jon Boden's A Folk Song A Day Andy Turner's A Folk Song A Week The Max Hunter Folk Song Collection   Record labels promoting recordings of traditional singers: Topic Records Veteran Records Musical Traditions One Row Records     Other Folk Song/Music podcasts: The Old Songs Podcast Every Folk Song Folk On Foot Fire Draw Near

Roud 16 - THE FROG AND THE MOUSE Historical guest: Steve Gardham Singer Guest: Jess Arrowsmith   Email us: intheroud@singyonder.co.uk Follow us on: Facebook Twitter   Instagram     Your host: Matt Quinn Website:  Facebook  Twitter Instagram     Historical Guest: Steve Gardham More about Steve   Singer Guest: Jess Arrowsmith Jess' wesbite   Traditional recordings played:  Freda Palmer - (album called Leafield Lass)  Elizabeth Cronin Cecilia Costello (album called Old Fashioned Songs) Maud Long (album called When Cecil Left the Mountains)   Modern versions mentioned: Frankie Armstrong Tim Hart and friends Jeff Warner Sandra Kerr Andy Turner Bruce Springsteen Kermit the Frog (Muppet Show pilot episode) Rowlf the Dog (Muppet Show S3/E1)   Folk song recourses: Sing Yonder The Vaughn Williams Memorial Library Sussex Traditions GlousTrad Tobas an Dualchais/Kist o Riches Jon Boden's A Folk Song A Day Andy Turner's A Folk Song A Week The Max Hunter Folk Song Collection   Record labels promoting recordings of traditional singers: Topic Records Veteran Records Musical Traditions One Row Records     Other Folk Song/Music podcasts: The Old Songs Podcast Every Folk Song Folk On Foot Fire Draw Near

Roud 15 - THE CRUEL SHIP'S CARPENTER Historical guest: Vic Gammon Singer Guest: Andy Turner   Email us: intheroud@singyonder.co.uk Follow us on: Facebook Twitter   Instagram     Your host: Matt Quinn Website:  Facebook  Twitter Instagram     Historical Guest: Vic Gammon More about Vic Singer Guest: Andy Turner Andy Turner's website   Traditional recordings played: Sam Larner Paddy McCluskey Almeda Riddle Jeannie Robertson George Dunn - album Chainmaker Weenie Brazil - album Down by the Old Riverside   Modern versions mentioned: Peter Bellamy Waterson:Carthy Jackie Oates Steeleye Span Damien Barber & Mike Wilson Jon Boden Holly and the Reivers Mike Waterson   Folk song recourses: Sing Yonder The Vaughn Williams Memorial Library Sussex Traditions GlousTrad Tobas an Dualchais/Kist o Riches Jon Boden's A Folk Song A Day Andy Turner's A Folk Song A Week The Max Hunter Folk Song Collection   Record labels promoting recordings of traditional singers: Topic Records Veteran Records Musical Traditions One Row Records     Other Folk Song/Music podcasts: The Old Songs Podcast Every Folk Song Folk On Foot Fire Draw Near

Roud 13 - THE DEMON LOVER Historical guest: Brian Peters Singer Guest: Emily Portman   Email us: intheroud@singyonder.co.uk Follow us on: Facebook Twitter   Instagram     Your host: Matt Quinn Website:  Facebook  Twitter Instagram     Historical Guest: Brian Peters Brian Peters' website  Singer Guest: Emily Portman Emily Portman's Website   Traditional recordings played: Andrew Stewart Dillard Chandler  Almeda Riddle  LaRena Clark Texas Gladden   Modern versions mentioned: Jean Ritchie Alastair Roberts Martin Simpson version 1 Martin Simpson version 2 Andy Irvine Peter Bellamy  Steeleye Span Brian Peters Nic Jones   Folk song recourses: Sing Yonder The Vaughn Williams Memorial Library Sussex Traditions GlousTrad Tobas an Dualchais/Kist o Riches Jon Boden's A Folk Song A Day Andy Turner's A Folk Song A Week The Max Hunter Folk Song Collection   Record labels promoting recordings of traditional singers: Topic Records Veteran Records Musical Traditions One Row Records     Other Folk Song/Music podcasts: The Old Songs Podcast Every Folk Song Folk On Foot Fire Draw Near

Roud 13 - THE DOWIE DENS OF YARROW Historical guest: Lori Watson Singer Guest: Amanda MacLean   Email us: intheroud@singyonder.co.uk Follow us on: Facebook Twitter   Instagram     Your host: Matt Quinn Website:  Facebook  Twitter Instagram     Historical Guest: Lori Watson Lori Watson's website   Singer Guest: Amanda MacLean Amanda Maclean's Website   Traditional recordings played: Sheila Stewart Willie Scott Jimmy McBeath   John MacDonald  Jane Turriff Stanley Robertson   Modern versions mentioned: Jean Redpath Peggy Seeger The Corries Dick Gaughan Alison McMoreland Dougie MacKenzie Andy Turner   Folk song recourses: Sing Yonder The Vaughn Williams Memorial Library Sussex Traditions GlousTrad Tobas an Dualchais/Kist o Riches Jon Boden's A Folk Song A Day Andy Turner's A Folk Song A Week The Max Hunter Folk Song Collection   Record labels promoting recordings of traditional singers: Topic Records Veteran Records Musical Traditions One Row Records     Other Folk Song/Music podcasts: The Old Songs Podcast Every Folk Song Folk On Foot Fire Draw Near

Due to the lateness of this episode (extreme tech issues), please enjoy a juicy extra-long section on Halloween

In place of S2/E3 (coming next week) here's the first of three episodes which will go out exclusively on our In The Roud Patreon, which launches on Wednesday 30th October.  Our first Singers' Choice mini season features Nancy Kerr and this is her first choice, the Irish song The Wee Weaver (Roud 3378). History provided by John Moulden.    S2 of In The Roud will be back next week with Roud 13 - The Dowie Dens of Yarrow (with Lori Watson & Amanda MacLean)

Roud 12 - THE ELFIN KNIGHT Historical guest: Brian Peters Singer Guest: Martin Carthy   Email us: intheroud@singyonder.co.uk Follow us on: Facebook Twitter   Instagram     Your host: Matt Quinn Website:  Facebook  Twitter Instagram     Historical Guest: Brian Peters  Brian Peters' website   Singer Guest: Martin Carthy Martin Carthy   Traditional recordings played:  Rosemary and Thyme by Allie Long Parker The Cambric Shirt by Sarah Ogan Gunning (album - Meeting is a Pleasure) Every Rose Grows Merry in Time by Sara Cleveland  Flim-a-Lim-a-Lee by Lawrence Older The Elfin Knight by Martha Reid Rosemary Lane by Liz Jeffries   Modern versions mentioned: Whittingham Fair by Eliza Carthy and Nancy Kerr The Cambric Shirt by Dr Faustus Strawberry Lane by Cohen Braithwaite-Kilcoyne Scarborough Fair by Wood Wilson Carthy Rosemary Lane by Bellowhead   Folk song recourses: Sing Yonder The Vaughn Williams Memorial Library Sussex Traditions GlousTrad Tobas an Dualchais/Kist o Riches Jon Boden's A Folk Song A Day Andy Turner's A Folk Song A Week The Max Hunter Folk Song Collection   Record labels promoting recordings of traditional singers: Topic Records Veteran Records Musical Traditions One Row Records     Other Folk Song/Music podcasts: The Old Songs Podcast Every Folk Song Folk On Foot Fire Draw Near

Greetings, listeners! Today on The SaaS CFO Podcast, we have an exciting episode lined up for you. Our host, Ben, sits down with Sam Oliver, the founder and CEO of OpenFi. Sam's entrepreneurial journey is nothing short of inspiring, having been involved in the startup world for over 14 years with both successes and lessons learned from failures. Notably, Sam grew his previous company, Lead Pro, into a market leader before exiting in a multi-million pound deal. In this episode, Sam shares his insight into the motivations behind selling Lead Pro, the driving forces behind his current venture OpenFi, and the fascinating potential of conversational AI to transform sales processes. OpenFi, an innovative company specializing in automating the Sales Development Representative (SDR) role, aims to leverage AI to enhance follow-up efficiency, manage leads, and improve customer engagement. Sam provides an in-depth look at how OpenFi is poised to revolutionize professional services using Salesforce integration. Whether you're a founder, an investor, or a tech enthusiast curious about the future of AI in professional services, this episode is packed with valuable takeaways. Tune in to hear Sam's perspectives on building value, managing risks, and the exciting opportunities that lie ahead for OpenFi. Don't miss it! Show Notes: 00:00 Started company to solve problems, built value. 05:04 Impressed by AI, overcame doubts, founded company. 07:42 AI builds knowledge base, codifies sales script. 13:32 Third-time founders benefit from network, credibility. 14:34 Focus on targeted niche using Salesforce outreach. 20:45 Prefer direct customer sales over fundraising. 23:11 Excited for robust technology launch and scalability. Links: SaaS Fundraising Stories: https://www.thesaasnews.com/news/openfi-closes-585k-in-pre-seed-round Sam Oliver's LinkedIn: https://www.linkedin.com/in/sam0liver/ OpenFi's LinkedIn: https://www.linkedin.com/company/openfi-tech/ OpenFi's Website: https://openfi.tech/ To learn more about Ben check out the links below: Subscribe to Ben's daily metrics newsletter: https://saasmetricsschool.beehiiv.com/subscribe Subscribe to Ben's SaaS newsletter: https://mailchi.mp/df1db6bf8bca/the-saas-cfo-sign-up-landing-page SaaS Metrics courses here: https://www.thesaasacademy.com/ Join Ben's SaaS community here: https://www.thesaasacademy.com/offers/ivNjwYDx/checkout Follow Ben on LinkedIn: https://www.linkedin.com/in/benrmurray

Roud 11 - THE BAFFLED KNIGHT Historical guest: Steve Roud Singer Guest: Vic Gammon   Email us: intheroud@singyonder.co.uk Follow us on: Facebook Twitter   Instagram     Your host: Matt Quinn Website:  Facebook  Twitter Instagram     Historical Guest: Steve Roud Steve's books on Amazon   Singer Guest: Vic Gammon Information about Vic   Traditional recordings played: Blow the Windy Morning by Emily Bishop  Clear Away the Morning Dew by Sam Larner (album - Cruising Down Yarmouth) Hail the Dewy Morning by Cyril Barber  Among the New Mown Hay by Alfred Edgell There was a Shepherd's Boy by John Campbell   Modern versions mentioned: The Baffled Knight by The City Waites The Baffled Knight by Lucy Ward  Blow the Windy Morning by Faustus Among the New Mown Hay by Martin Carthy & Dave Swarbrick Dew is on the Grass by Lisa Knapp Stroll Away the Morning Dew by Andy Turner Blow the Winds by Eliza Carthy   Folk song recourses: Sing Yonder The Vaughn Williams Memorial Library Sussex Traditions GlousTrad Tobas an Dualchais/Kist o Riches Jon Boden's A Folk Song A Day Andy Turner's A Folk Song A Week     Record labels promoting recordings of traditional singers: Topic Records Veteran Records Musical Traditions One Row Records     Other Folk Song/Music podcasts: The Old Songs Podcast Every Folk Song Folk On Foot Fire Draw Near

Pink Floyd's Catalog Sale: A New EraIn this episode of the Deadhead Cannabis Show, Larry Michigan explores the rich history of the Grateful Dead's music, focusing on a specific concert from 1980. He discusses the significance of various songs, including 'Iko Iko' and 'Me and Bobby McGee', while also reflecting on the impact of Chris Christopherson's songwriting. The conversation shifts to current events in the music and cannabis industries, including Pink Floyd's catalog sale and the ongoing challenges faced by the hemp industry. Larry emphasizes the importance of medical marijuana legalization and shares insights on how cannabis enhances the music experience. He concludes with personal strain recommendations and highlights record sales in legal marijuana states. TakeawaysThe Grateful Dead's acoustic sets were a significant part of their live performances.Audience tapes capture the energy of live shows better than soundboard recordings.Chris Christopherson's 'Me and Bobby McGee' remains a classic, showcasing the intersection of music and storytelling.Pink Floyd's recent catalog sale reflects the changing dynamics in the music industry.The Betty Boards represent a pivotal moment in Grateful Dead tape trading history.The hemp industry faces legal challenges that could impact small businesses.A majority of chronic pain patients support the legalization of medical marijuana.Cannabis enhances the enjoyment of music, as confirmed by recent studies.Record sales in legal marijuana states are reaching new heights, indicating a thriving market.Personal strain recommendations can enhance the cannabis experience for users. Chapters00:00Introduction and Context of the Grateful Dead's Music04:50Exploring 'Iko Iko' and Audience Tapes10:42The Significance of 'Monkey and the Engineer'15:24Remembering Chris Christopherson and 'Me and Bobby McGee'22:31Pink Floyd's Catalog Sale to Sony Music28:15The Mystery of the Betty Boards54:16Current Issues in the Hemp Industry01:08:10Support for Medical Marijuana Legalization01:15:50The Impact of Marijuana on Music Enjoyment01:21:09Record Sales in Legal Marijuana States01:25:53Strain Recommendations and Personal Experiences Grateful DeadOctober 7, 1980 (44 years ago)Warfield TheaterSan Francisco, CAGrateful Dead Live at Warfield Theater on 1980-10-07 : Free Download, Borrow, and Streaming : Internet Archive Part of 23 show run in late September to the end of October, 1980 split between the Warfield (September 27th – October 14th) and Radio City Music Hall in NYC (October 22 – 31st)   Each show opened with an acoustic set followed by two full electric sets.  These were the last shows where the Dead played acoustic sets.  Songs from all of these concerts were pulled for the two related Dead double album releases, Reckoning (acoustic music, released April 1, 1981- the Band's sixth live album and 17th overall) and Dead Set (electric music, released August 26, 1981, the Band's seventh live album and 18th overall).  Today's episode is broken up into three acoustic numbers from this show and then three electric numbers. INTRO:                     Iko Iko                                    Track #1                                    0:00 – 1:37 "Iko Iko" (/ˈaɪkoʊˈaɪkoʊ/) is a much-coveredNew Orleans song that tells of a parade collision between two tribes of Mardi Gras Indians and the traditional confrontation. The song, under the original title "Jock-A-Mo", was written and released in 1953 as a single by James "Sugar Boy" Crawford and his Cane Cutters but it failed to make the charts. The song first became popular in 1965 by the girl groupthe Dixie Cups, who scored an international hit with "Iko Iko" released in March, 1965. In 1967, as part of a lawsuit settlement between Crawford and the Dixie Cups, the trio were given part songwriting credit for the song.  A permanent part of the Dead's  repertoire since first played in May, 1977 in St. Louis, almost by accident out of and back into a Not Fade Away.  The intro, one verse and back to NFA.  Overtime, became a tune that was not frequently played, usually once, maybe twice, a tour, but whenever it was played it created a party atmosphere out of whatever the mood had been prior to its playing.  Perfect song for Jerry with the call and response chorus that everyone joined in on.  The song that “fastened my seatbelt on the bus” when I saw it for the first time at my second show ever in Syracuse in 1982 with good buddy Mikey.  Once you hear it live, you are always looking for it at future shows. I love this song as do many Deadheads.  But getting to hear it played acoustically is a real treat and a great way to open this “hometown” show.  Jerry played it right up until the end. Played:  185 timesFirst:  May 15, 1977 at St. Louis Arena, St. Louis, MO, USALast:  July 5, 1995 at Riverport Amphitheatre, Maryland Heights, MO, USA SHOW No. 1:         Monkey And The Engineer                                    Track #4                                    0:48 – 2:25 Jesse Fuller tune Jesse Fuller (March 12, 1896 – January 29, 1976) was an American one-man band musician, best known for his song "San Francisco Bay Blues".  Starting in the 1950's after a number of non-music related jobs, Fuller began to compose songs, many of them based on his experiences on the railroads, and also reworked older pieces, playing them in his syncopated style. His one-man band act began when he had difficulty finding reliable musicians to work with: hence, he became known as "The Lone Cat". Starting locally, in clubs and bars in San Francisco and across the bay in Oakland and Berkeley, Fuller became more widely known when he performed on television in both the Bay Area and Los Angeles. In 1958, at the age of 62, he recorded an album, released by Good Time Jazz Records.[3] Fuller's instruments included 6-string guitar (an instrument which he had abandoned before the beginning of his one-man band career), 12-string guitar, harmonica, kazoo, cymbal (high-hat) and fotdella. He could play several instruments simultaneously, particularly with the use of a headpiece to hold a harmonica, kazoo, and microphone. In the summer of 1959 he was playing in the Exodus Gallery Bar in Denver. Bob Dylan spent several weeks in Denver that summer, and picked up his technique of playing the harmonica by using a neck-brace from Fuller.[ Monkey And The Engineer was played by the pre-Dead group Mother McCree's Uptown Jug Champions in 1964. The song was performed by the Grateful Dead in acoustic sets in 1969, 1970, 1980 and 1981. Also performed by Bob Weir with Kingfish. A fun tune that is perfect for kids as well.  Good one to get them hooked into the Dead on! Played:  38 timesFirst:  December 19, 1969 at Fillmore West, San Francisco, CA, USALast: February 12, 1989 at Great Western Forum, Inglewood, CA, USA  MUSIC NEWS:                         Intro Music:           Me and Bobby McGee                                                            Kris Kristofferson - Me And Bobby McGee (1979) (youtube.com)                                                            0:00 – 1:27 "Me and Bobby McGee" is a song written by American singer-songwriter Kris Kristofferson and originally performed by Roger Miller. Fred Foster shares the writing credit, as Kristofferson wrote the song based on a suggestion from Foster.[1] Foster had a bit of a crush on Barbara "Bobbie" McKee who was a secretary on Nashville's music row. When he pitched the title to Kristofferson, he misheard the name as "Me and Bobby McGee," and the name stuck. Kristofferson found inspiration for his lyrics from a film, 'La Strada,' by Fellini, and a scene where Anthony Quinn is going around on this motorcycle and Giulietta Masina is the feeble-minded girl with him, playing the trombone. He got to the point where he couldn't put up with her anymore and left her by the side of the road while she was sleeping," Kristofferson said.  A posthumously released version by Janis Joplin topped the Billboard Hot 100 in 1971, making the song the second posthumously released No. 1 single in U.S. chart history after "(Sittin' On) The Dock of the Bay" by Otis Redding. Gordon Lightfoot released a version that reached number 1 on the Canadian country charts in 1970. Jerry Lee Lewis released a version that was number 1 on the country charts in December 1971/January 1972 as the "B" side of "Would You Take Another Chance on Me". Billboard ranked Joplin's version as the No. 11 song for 1971. Janis Joplin recorded the song for inclusion on her Pearl album only a few days before her death in October 1970. Singer Bob Neuwirth taught it to her while Kristofferson was in Peru filming The Last Movie with Dennis Hopper.[5] Kristofferson did not know she had recorded the song until after her death. The first time he heard her recording of it was the day after she died.[6]Record World called it a "perfect matching of performer and material."[7] Joplin's version topped the charts to become her only number one single; her version was later ranked No. 148 on Rolling Stone's 2004 list of The 500 Greatest Songs of All Time. In 2002, the 1971 version of the song by Janis Joplin on Columbia Records was inducted into the Grammy Hall of Fame. The song is the story of two drifters, the narrator and Bobby McGee. The pair hitch a ride from a truck driver and sing as they drive through the American South before making their way westward. They visit California and then part ways, with the song's narrator expressing sadness afterwards. Due to the singer's name never being mentioned and the name "Bobby" being gender-neutral (especially in America), the song has been recorded by both male and female singers with only minor differences in the lyrical content. Me And Bobby McGee was first performed by the Grateful Dead in November 1970. It was then played well over 100 times through to October 1974. The song returned to the repertoire for three performances in 1981 after which it was dropped for good.  Sung by Weir.    RIP Kris Kristofferson Kris Kristofferson, the iconic country music singer-songwriter and accomplished Hollywood actor, passed away peacefully at his home in Maui, Hawaii, at the age of 88. The family has not disclosed the cause of death. It was confirmed that Kristofferson was surrounded by loved ones during his final moments. In a statement, the family shared: "It is with a heavy heart that we share the news our husband/father/grandfather, Kris Kristofferson, passed away peacefully on Saturday, Sept. 28 at home. We're all so blessed for our time with him. Thank you for loving him all these many years, and when you see a rainbow, know he's smiling down at us all." Tributes poured in from across the entertainment world and fans as the news of Kris Kristofferson's death spread. Barbra Streisand, his co-star in A Star Is Born, praised him as a "special” and “charming" in a post on X. Dolly Parton, who collaborated with Kristofferson, shared on X, "What a great loss. I will always love you, Dolly." Kristofferson's career was nothing short of extraordinary. He achieved stardom as both a country music artist and a successful actor. Throughout his prolific career, Kristofferson earned numerous accolades. These include three Grammy Awards and an induction into the Country Music Hall of Fame in 2004. Additionally, he was nominated for an Academy Award in 1985 for Best Original Song for Songwriter. In 1971, Janis Joplin, who had dated Kristofferson, had a number one hit with "Me and Bobby McGee" from her posthumous album Pearl. It stayed on the number-one spot on the charts for weeks.  In 2021, after releasing his final album, The Cedar Creek Sessions, in 2016, Kristofferson announced his retirement from music. His legacy as a musician, actor, and cultural icon leaves a profound impact on both industries. He is survived by his wife, Lisa, his children, and his grandchildren.  Pink Floyd sells song rights (Rolling Stone Magazine) After years of in-fighting and near-agreements, Pink Floyd have finally reached a deal to sell the rights to their recorded music catalog to Sony Music, according to the Financial Times.The deal is reported to be worth around $400 million and also includes the rights to the band's name and likenesses. That means, along with gaining full control over Pink Floyd's music, Sony will have the crucial rights for most things Pink Floyd-related, from merch to movies. A rep for Sony Music declined to comment. A source confirmed the veracity of the details to Rolling Stone. In an interview with Rolling Stone in August, Gilmour confirmed that the band was “in discussion” about a potential catalog sale, with the guitarist adding he was tired of the continued in-fighting and “veto system” that has resulted in animosity and delayed reissues over petty issues like liner notes.   “To be rid of the decision-making and the arguments that are involved with keeping it going is my dream,” Gilmour said of a catalog sale. “If things were different… and I am not interested in that from a financial standpoint. I'm only interested in it from getting out of the mud bath that it has been for quite a while.” With the Sony deal in place, the label — and not the band — will now bear the responsibility for the next Pink Floyd release, a 50th-anniversary edition of Wish You Were Here that is expected to arrive in 2025. The Sony deal comes 18 months after Pink Floyd made traction on a $500 million agreement to sell their music, only for more bickering between band mates to make the deal “basically dead,” as sources told Variety in March 2023. The Sony deal only includes Pink Floyd's recorded music catalog, which allows for the band to keep its largely Waters-penned publishing catalog and retain ownership of now-apropos lyrics like “Money/It's a crime/Share it fairly, but don't take a slice of my pie” and “We call it riding the gravy train.” What happened to the Betty Boards In May 1986, a storage auction took place in California's Marin County that would altogether change the nature of Grateful Dead tape trading, the group's distribution of its live recordings and, ultimately, the Dead's place in the Library of Congress' National Recording Registry. An advertisement in a local paper drew in a few dozen curious parties anticipating the range of memorabilia and household items that typically become available through the auction of lockers that had fallen into arrears due to lack of payments.  Among the items up for auction that day were hundreds of reel-to-reel soundboard tapes of the Grateful Dead originally recorded by Betty Cantor-Jackson during a golden age between 1971-80. The Betty Boards, as copies of these recordings became known, eventually found their way into the collections of longstanding Deadheads and newbies alike, ending some aspects of a tape-trading hierarchy by which certain individuals lorded over their collections, denying access to those who were unfamiliar with the secret handshake. The appearance and subsequent dissemination of these recordings became a source of fascination and speculation for Deadheads in 1986 and the questions have only compounded over the years: How did the tapes fall into the auction? Who won them? How and why were they initially distributed? Are there more recordings that have yet to make it into circulation? And jumping ahead to the present, where are those tapes today? Just what has become of the Bettys? What can be said with certainty is that a new cache of tapes has been unearthed and a plan is underway by Dark Star Orchestra guitarist Rob Eaton, who has painstakingly restored many of the boards, to complete the job and then facilitate their return to the band. Eaton hopes that a series of official releases might follow that will also yield a small royalty to the woman who recorded the reels and then lost them due to her own financial hardship, even if Deadheads owe her a debt of gratitude. Before the auction, before the boards, there was Betty. Betty Cantor was still in her teens when she began setting up mics and helping to record sound at San Francisco venues— first at the Avalon Ballroom and then, the Carousel (the latter during the Grateful Dead's brief stab at venue management in 1968). She worked alongside Bob Matthews, initially assisting with setups during the recording of the Dead's Anthem of the Sun. A true pioneer, as a woman staking her claim in a patriarchal business, she partnered with Matthews into the early 1970s to produce and engineer live multi- track recordings (she had a hand or two in Live/Dead) as well as studio efforts (Aoxomoxoa and Workingman's Dead). While she worked for other artists during this period, she maintained a close relationship with the Grateful Dead, catalyzed by her marriage to crew member Rex Jackson, who would die a few years later in an auto accident. (The philanthropic Rex Foundation is named in his honor.) “My late husband started recording on the road when he was on the equipment crew,” Cantor Jackson explains. “He and I purchased our own gear and tape. I recorded whenever I could get to the gigs. I recorded the Grateful Dead frequently when they were at home venues, I recorded any and all Jerry Garcia Band gigs I could get to for years, in all its configurations, as well as other bands I liked whenever I could. In those days, bands were cool and happy about me getting a feed. Rex was killed in a car accident in ‘76. In ‘77 and ‘78, I was put on Grateful Dead road crew salary, taping and handling Bobby's stage setup.” She later began a romantic relationship with Dead keyboardist Brent Mydland but, after that ended, she sensed that she had been frozen out. “Brent and I split up after a few years, with the last year spent in the studio working on his solo project. This put me in the category of the dreaded ‘ex.' I didn't think that could apply to me, but he was a band member. Everyone was paranoid of me being around, so I no longer had access to my studio or the vault.” Trying times followed. In 1986, she found herself in a dire financial predicament and forced out of her home. “All my things were moved to storage facilities. Unable to foot the bill at the storage center, Cantor-Jackson forfeited the rights to her worldly possessions. She remembers contacting the Grateful Dead office to inform them of the situation, but the group took no action, resulting in a public auction of Cantor-Jackson's personal assets, which included more than 1,000 reel-to-reel tapes—mostly Grateful Dead recordings, along with performances by Legion of Mary, Kingfish, Jerry Garcia Band, Old and In The Way, the Keith and Donna Band, and New Riders of The Purple Sage. The majority of the 1,000-plus reels that have come to be known as the Betty Boards were acquired by three principals, none of whom were fervid Deadheads at the time. The first of these individuals set his tapes aside in a storage locker where they remain to this day. A second, who was more interested in the road cases that held the tapes, left them to rot in his barn for a decade. The final party was a couple with a particular interest in progressive rock, who nonetheless held an appreciation for the performances captured on tape. So while some tapes unquestionably were scattered to the wind, following the four- hour event and a second auction for a final lot of tapes held a few weeks later, the three prime bidders each held hundreds of reels. While two of the winning bidders had no plans for the tapes, within a few months the couple decided that they would place the music in circulation. This was our way of getting new material into circulation and also breaking the hierarchy of those collectors who held on to prime shows for themselves. Initially, we started transferring the tapes to VHS Hi-Fi on our own, but soon realized what a daunting task this was going to be. So we reached out to one of our trading buddies who we knew had connections in the Dead trading community. From there, he gathered together what was later to become known as the ‘Unindicted Co-conspirators,' who put in a massive archiving effort to back up the tapes and distribute them.” The individual they selected as their point person was Ken Genetti, a friend and longtime Deadhead. “I went into their house, and I opened up this closet and they had all the stuff arranged on a shelf in order,” Genetti reflects. “For me, it was like King Tut's tomb. I knew immediately what they had when I looked in there. The first thing I saw was Port Chester, N.Y., Feb. 18, 1971, an incredible show which was Mickey [Hart]'s last concert for many years and I said, ‘You've got to be kidding me!' Then I saw Kezar Stadium, San Francisco, Calif., ‘73, my favorite concert I ever went to. I pulled it out and I went, ‘Holy shit!'” They explain: “We had sought to keep the operation as low key as possible because of the potential for a backlash. It wasn't until someone contacted the Grateful Dead office and offered them a copy of the tapes that we knew it was only a matter of time before we would be hearing from their lawyers. When we did hear from them, there was a bit of back and forth between their lawyers and our lawyer, but the bottom line was we had purchased the tapes legally and owned them but didn't own the rights to the music contained on them. Therefore, we could not sell the music on them, which was never our intent anyway. That pretty much left us at a stalemate and, not wanting to stir up any more issues with the Grateful Dead office, is also why we avoided re-digitizing the tapes.” In late 1995, Eaton received a call from a high-school teacher who had purchased one of the lots predominantly for the road cases that held the tapes. The teacher now hoped to sell the reels and wanted Eaton to assess them. In a cluttered barn, Eaton discovered a grimy, mold-infested collection. This might have been the end of the story, but the Betty Boards have proven to be the gift that keeps on giving. The teacher never found a buyer for the tapes—his asking price was a million dollars—and two years ago, facing monetary struggles and fearing that that the bank might foreclose on his home, he contacted Eaton once again to see if he would be willing to take custody of the tapes. The teacher also explained that he had discovered another 50 reels while cleaning out the barn. Emboldened by success with this latest batch, Eaton set a new goal for himself: “I had this dream to try to reclaim all of this music and archive it properly so that it's there for generations to come in the best possible form.” Emboldened by success with this latest batch, Eaton set a new goal for himself: “I had this dream to try to reclaim all of this music and archive it properly so that it's there for generations to come in the best possible form.” So through a chain of contacts, he eventually located the couple. While completing his work on the couple's reels, Eaton began researching the original auction, hoping to identify the third individual who had purchased the Bettys. He eventually found him, and in January 2014, the pair entered into discussions about this final batch of tapes, which Eaton hopes to restore. What then? Eaton has a plan that he already has set in motion. “What I'd love to see done—in a perfect world—is I think all the tapes need to go back to the vault,” he says. “I think the people that have purchased these tapes should be compensated. I don't think we're talking huge sums of money but enough to make them relinquish the tapes back to the Grateful Dead. They should be part of the collection. Another thing that's important is if these tapes do get back to the vault, Betty should get her production royalty on anything that gets released, which is completely reasonable. Those were her tapes; those weren't the Dead's tapes. I'd love to see Betty get her due.”  SHOW No. 2:         Heaven Help The Fool                                    Track #6                                    1:30 – 3:10Heaven Help the Fool is the second solo album by Grateful Deadrhythm guitaristBob Weir, released in 1978. It was recorded during time off from touring, in the summer of 1977, while Grateful Dead drummer Mickey Hart recovered from injuries sustained in a vehicular accident. Weir returned to the studio with Keith Olsen, having recorded Terrapin Station with the producer earlier in the year. Several well-known studio musicians were hired for the project, including widely used session player Waddy Wachtel and Toto members David Paich and Mike Porcaro. Only "Salt Lake City" and the title track were played live by the Grateful Dead, the former in its namesake location on February 21, 1995,[1] and the latter in an instrumental arrangement during their 1980 acoustic sets.[2] Despite this, Weir has continued to consistently play tracks from the album with other bands of his, including RatDog and Bobby Weir & Wolf Bros. "Bombs Away" was released as a single and peaked at number 70 on the Billboard Hot 100, becoming his only solo song to make the chart.[3] The album itself stalled at number 69, one spot behind his previous album, Ace. The title track was written by Bobby and John Barlow.  While a staple at Bob shows with the Midnights, Rob Wasserman, Rat Dog, Wolf Bros., etc., the Dead only played it during these Warfield/Radio City and only as an instrumental arrangement. Played:  17 timesFirst:  September 29, 1980 at The Warfield, San Francisco, CA, USALast:  October 31, 1980 at Radio City Music Hall, New York, NY, USA Now the electric tunes from today's show: SHOW No. 3:         Cold, Rain & Snow                                    Track #10                                    0:00 – 1:30 "Rain and Snow", also known as "Cold Rain and Snow" (Roud 3634),[1] is an American folksong and in some variants a murder ballad.[2] The song first appeared in print in Olive Dame Campbell and Cecil Sharp's 1917 compilation English Folk Songs from the Southern Appalachians, which relates that it was collected from Mrs. Tom Rice in Big Laurel, North Carolina in 1916. The melody is pentatonic. Campbell and Sharp's version collected only a single verse: Lord, I married me a wife,She gave me trouble all my life,Made me work in the cold rain and snow.Rain and snow, rain and snow,Made me work in the cold rain and snow.  In 1965, Dillard Chandler recorded a graphic murder ballad version of the song that ends with the wife being shot by the husband. According to the liner notes on Chandler's album, Chandler learned the song from Berzilla Wallin, who said that the song related to a murder that had occurred in Madison County, North Carolina: Well, I learned it from an old lady which says she was at the hanging of – which was supposed to be the hanging, but they didn't hang him. They give him 99 long years for the killing of his wife... I heard the song from her in 1911. She was in her 50s at that time. It did happen in her girlhood... when she was a young girl... She lived right here around in Madison County. It happened here between Marshall and Burnsville; that's where they did their hanging at that time – at Burnsville, North Carolina. That's all I know, except they didn't hang the man.'[2] Subsequent performances have elaborated a variety of additional verses and variants beyond the single verse presented by Campbell and Sharp. Several verses consistently appear. Some sources for lyrics that appear in some later versions may be from Dock Boggs's 1927 song "Sugar Baby" (Roud 5731),[1] another lament of a henpecked husband, which may have contributed a line about "red apple juice".[4] A British folksong, The Sporting Bachelors (Roud 5556),[1] contains similar themes, but was collected in the 1950s.[2][5] Earlier possible precursors include a series of broadside ballads on the general subject of "Woeful Marriage"; one frequently reprinted nineteenth-century example begins with the words "On Monday night I married a wife", (Roud 1692).[1][6] These British antecedents mostly share common themes and inspirations; the song originated in the local tradition of Big Laurel, Madison County, and relate to a nameless murderer who committed the crime at some time between the end of the Civil War and the end of the nineteenth century. A recent origin is also suggested by the relatively limited number of variations on the tune; most performances use the Campbell-Sharp melody as written.[2] Despite the apparent violence of the lyrics, women feature prominently in the oral tradition of the song. It was collected from "Mrs. Tom Rice", and sung by Berzilla Wallin, who learned it from "an old lady" who remembered the murder trial the song was about. The song is closely associated with the Grateful Dead; a studio version appeared on their first album The Grateful Dead (1967), and the song was a standard part of the Dead's repertoire throughout their career. They would often open with the song, or perform it early in the first set.[2] Unlike Chandler's recording, in the Dead's version of the lyrics the husband generally laments his mistreatment at his greedy wife's hands, but does not kill her. The lyrics from the Grateful Dead's version were adapted from an earlier recording by Obray Ramsey. Played:  249 timesFirst:  May 5, 1965 at Magoo's Pizza Parlor, Menlo Park, CA, USALast:  June 19, 1995 at Giants Stadium, East Rutherford, NJ, USA  MJ NEWS:  Hemp Industry Advocates Ask Court To Halt California's Ban On Products With Any ‘Detectable Amount' Of THC Amid Legal Challenge2.      Most Pain Patients And Doctors Support Legalizing Medical Marijuana And Having Insurance Companies Cover The Cost, AMA Study Shows3.      Marijuana Enhances Enjoyment Of Music, New Study Finds, Confirming What Every Stoner Already Knows4.      Six U.S. States Report Setting New Monthly Marijuana Sales Records M.J. Strains:           Blackwater – an indica marijuana strain made by crossing Mendo Purps with San Fernando Valley OG Kush.  The strain offers effects that start out mellow but will eventually melt down through your entire body for a classic head to toe euphoric high.  A sweet grape aroma that blends well with subtle undertones of lemon and pine.  MMJ uses include for relieving symptoms associated with chronic pain, appetite loss and MS.  Recommended for late night consumption as it can cause mental cloudiness and detract from productivity.                      NYSD – this classic strain is sativa leaning, created by Soma Seeds in Amsterdam, a staple for stoners since its inception in 1997.  Its name is inspired by the tragic events in NYC on September 11, 2001.  It is a product of crossbreeding Mexican sativa and Afghani landrace strains.  Has a unique aroma and taste that sets it apart from the crowd.                       Pure Gas - a hybrid cross of E85 and OG Kush. The parent strains are carefully chosen for their complex terpene profiles and effects. The OG Kush is known for its lemon-pine-fuel taste and an aroma of fuel, skunk, and spice. Additionally, its high-THC content provides a potentially heavy-hitting experience that shines through in the Pure Gas strain. As far as THC level in Pure Gas, it is one of our higher testers and definitely a high-potency strain. Smoking Pure Gas might bring effects similar to that of the OG Kush. The strain may be a creeper, meaning its effects may sneak up on you, so we recommend trying a little at a time, especially if you're new to smoking. Users may experience a deep body relaxation and cerebral high. The strain is definitely one that might activate your munchies, so make sure you have your favorite snack on hand. The overall effects of the Pure Gas strain might make it perfect for a movie night with friends, pre-dinner smoke sessions, and just hanging out. For users who suffer from appetite loss, the strain may help stimulate your hunger.  SHOW No. 4:         Loser                                    Track #12                                    4:13 – 6:13 David Dodd:  The song seems covered in the Americana dust of so many songs from this period of Hunter's and Garcia's songwriting partnership. Abilene, whether in Texas or Kansas, is a dusty cowtown—at the time in which the song seems to be set, the cattle outnumbered the human inhabitants by a factor of tens. It's easy to see the scene Hunter so casually sets, of a broken-down gambler in a saloon, with a dirt street outside full of armed cowpokes. Appearing, as it does, on Garcia, the song seems to pair naturally with the other gambling song on the album, “Deal.” It could be sung by the same character on a different day, in fact. And it fits in, as I mentioned, with a whole suite of songs that might be set in the same generic America of the late 19th or early 20th centuries: “Brown-Eyed Women,” “Jack Straw,” “Mister Charlie,” “Tennessee Jed,” “Cumberland Blues,” “Candyman,” and others, as well as certain selected covers, such as “Me and My Uncle,” and “El Paso.” Those songs share certain motifs, and among them are the various accoutrements of a gambler's trade, whether dice or cards. Money plays a role—and, in the case of “Loser,” the particular money mentioned helps place the song chronologically. Gold dollar coins were minted from 1849 (the Gold Rush!) to 1889. They were tiny little coins. I have one, and it is amazingly small—between 13 and 15 mm in diameter. “All that I am asking for is ten gold dollars…” C'mon! They're tiny little things. In fact, originally, the line was “one gold dollar,” but that changed at some point to the “ten” The crowning glory of the song, as in many other Garcia/Hunter compositions, is the bridge.The song culminates in this cry of hopefulness: “Last fair deal in the country, Sweet Susie, last fair deal in the town. Put your gold money where your love is, baby, before you let my deal go down—go down.” (It's noted that “Sweet Susie” was dropped at some point, but then, occasionally, brought back. I think it was an optional decoration to the line. Alex Allan, in his Grateful Dead Lyric and Song Finder site, notes that “Sweet Susie” rarely appears after 1972, but that it's sung in performances in 1974 and 1979.) Almost always played as a first set Jerry ballad. This version might have been the high point of this show.  So nicely played and sung by Jerry. Played:  353First:  February 18, 1971 at Capitol Theatre, Port Chester, NY, USALast:  June 28, 1995 at the Palace of Auburn Hills, MI  OUTRO:                   Good Lovin'                                    Track #27                                    3:25 – 5:04 "Good Lovin'" is a song written by Rudy Clark and Arthur Resnick that was a #1 hit single for the Young Rascals in 1966. The song was first recorded by Lemme B. Good (stage name of singer Limmie Snell) in March 1965 and written by Rudy Clark. The following month it was recorded with different lyrics by R&B artists The Olympics, produced by Jerry Ragovoy; this version reached #81 on the Billboard Pop Singles chart. The tale has been told that Rascal Felix Cavaliere heard The Olympics' recording on a New York City radio station and the group added it to their concert repertoire, using the same lyrics and virtually the same arrangement as The Olympics' version. Co-producer Tom Dowd captured this live feel on their 1966 recording, even though the group did not think the performance held together well. "Good Lovin'" rose to the top of the Billboard Pop Singles chart in the spring of 1966 and represented the Young Rascals' first real hit. "Good Lovin'" is one of The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll, and was ranked #333 on Rolling Stone's 500 Greatest Songs of All Time list.[4] Writer Dave Marsh placed it at #108 in his 1989 book The Heart of Rock and Soul: The 1001 Greatest Singles Ever Made, saying it is "the greatest example ever of a remake surpassing the quality of an original without changing a thing about the arrangement." A popular version was by the Grateful Dead, who made it a workhorse of their concert rotation, appearing almost every year from 1969 on.[6] It was sung in their early years during the 1960s and early 1970s by Ron "Pigpen" McKernan and later by Bob Weir. The Weir rendition was recorded for the group's 1978 Shakedown Street album and came in for a good amount of criticism: Rolling Stone said it "feature[d] aimless ensemble work and vocals that Bob Weir should never have attempted."[7] On November 11, 1978, the Grateful Dead performed it on Saturday Night Live. Typically, at least by the time I started seeing them, usually played as a second set closer or late in the second set. As good buddy AWell always said, “if they play Good Lovin, everyone leaves with a smile on their face.”  Can't argue with that. Played:  442First:  May 5, 1965 at Magoo's Pizza Parlor, Menlo Park, CA, USALast:  June 28, 1995 at The Palace of Auburn Hills, Auburn Hills, MI, USA Easy fast on Yom Kippur .Produced by PodConx Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on Squadcast

Interview with Michael Roud! ►https://michaelroud.com ►https://www.instagram.com/michaelroud/ ►https://www.facebook.com/michaelroudphotography/ ►https://www.linkedin.com/in/michael-roud-3248127/ ► Subscribe to My Channel Here: http://www.youtube.com/c/RafalWegiel​​​ ►Website: http://www.rafalwegiel.com​​​ ►Facebook: https://www.facebook.com/rafalwegiel​​​ ►Twitter: https://twitter.com/rafalwegiel​​​ ►Instagram: http://instagram.com/rafalwegiel​​​ ►Linkedin: https://www.linkedin.com/in/rafalwegiel Seminars: ►https://www.rafalwegiel.com/aimasterclass Tutorials: Business Tutorial: ►https://www.rafalwegiel.com/business-headshot-tutorial

Roud 10 - LORD RANDAL Historical guest: Martin Nail Singer Guest: Holly Clarke   Email us: intheroud@singyonder.co.uk Follow us on: Facebook Twitter   Instagram     Your host: Matt Quinn Website:  Facebook  Twitter Instagram     Historical Guest: Martin Nail Website   Singer Guest: Holly Clarke Website Facebook Twitter Instagram   Traditional recordings played: Lord Randal by Gordon Hall (album - Good Things Enough) Buried in Kilkenny by Mary Delaney Lord Donald by Jeannie Robertson   Henry My Son by Fred Jordan (album - The Birds Upon The Tree)  Henry, My Son by George Spicer (album - Up in the North, Down in the South) Lord Randall by Isla Cameron   Modern versions mentioned: Green and Yeller by Wounded Scott Cree Lord Randall by Peter Bellamy Lord Randall by Reg Meuross with Harbottle and Jonas Lord Randall by Martin Carthy King Henry by Pete Coe Lord Randall by Brian Peters Lord Randall by Pete Morton/Roger Wilson/Simon Edwards (album - Urban Folk)   Folk song recourses: Sing Yonder The Vaughn Williams Memorial Library Sussex Traditions GlousTrad Tobas an Dualchais/Kist o Riches Jon Boden's A Folk Song A Day Andy Turner's A Folk Song A Week     Record labels promoting recordings of traditional singers: Topic Records Veteran Records Musical Traditions One Row Records     Other Folk Song/Music podcasts: The Old Songs Podcast Every Folk Song Folk On Foot Fire Draw Near

Roud 9 - THE CRUEL MOTHER Historical guest: Steve Gardham Singer Guest: Fay Hield   Email us: intheroud@singyonder.co.uk Follow us on: Facebook Twitter   Instagram     Your host: Matt Quinn Website:  Facebook  Twitter Instagram     Historical Guest: Brian Peters About Steve   Singer Guest: Fay Hield Website Facebook Twitter Instagram   Traditional recordings played: Cruel Mother by Cecilia Costello (album - Old Fashioned Songs)  The Cruel Mother by Lizzie Higgins Cruel Mother by Jock Duncan  Cruel Mother by Stanley Robertson  Down by the Greenwood Sidie O by Lucy Stewart   Modern versions mentioned: The Cruel Mother by Rosie Hood Cruel Mother by Pete Coe Greenwood Side by Bellowhead Greenwood Sidey by Anna & Elizabeth The Cruel Mother by Shirley Collins   Folk song recourses: Sing Yonder The Vaughn Williams Memorial Library Sussex Traditions GlousTrad Tobas an Dualchais/Kist o Riches Jon Boden's A Folk Song A Day Andy Turner's A Folk Song A Week     Record labels promoting recordings of traditional singers: Topic Records Veteran Records Musical Traditions One Row Records     Other Folk Song/Music podcasts: The Old Songs Podcast Every Folk Song Folk On Foot Fire Draw Near

Get out your sunscreen and Mr Whippy's as we consider what July has in store for us in the heavens and hedgerows, including talk of St Swithin's Day and Sirius, plus Thomas Hardy and some early Irish verse.

Roud 8 - THE TWO SISTERS Historical guest: Brian Peters Singer Guest: Hazel Askew   Email us: intheroud@singyonder.co.uk Follow us on: Facebook Twitter   Instagram     Your host: Matt Quinn Website:  Facebook  Twitter Instagram     Historical Guest: Brian Peters Brian's Website   Singer Guest: Hazel Askew Website Facebook Twitter Instagram   Traditional recordings played: Two Sisters by George Fradley Binnorie, O Binnorie by John Strachan Bow and Balance by Horton Barker Two Sisters by Lee Monroe Presnell Wind and Rain by Dan Tate   Modern versions mentioned: Two Sisters by Tim Erikson Two Sisters by The Witches of Elswick Two Sisters by Kerfuffle Two Sisters by Pete & Chris Coe (full album) Two Sisters by Emily Portman Two Sisters by Tom Waits   Folk song recourses: Sing Yonder The Vaughn Williams Memorial Library Sussex Traditions GlousTrad Tobas an Dualchais/Kist o Riches Jon Boden's A Folk Song A Day Andy Turner's A Folk Song A Week     Record labels promoting recordings of traditional singers: Topic Records Veteran Records Musical Traditions One Row Records     Other Folk Song/Music podcasts: The Old Songs Podcast Every Folk Song Folk On Foot Fire Draw Near

Roud 7 - THE FEMALE HIGHWAYMAN Historical guest: Steve Roud Singer Guest: Laura Smyth   Email us: intheroud@singyonder.co.uk Follow us on: Facebook Twitter   Instagram     Your host: Matt Quinn Website:  Facebook  Twitter Instagram     Historical Guest: Steve Roud About Steve   Singer Guest: Laura Smyth Website   Traditional recordings played:  The Female Highwayman by George Dunn (album - Chainmaker) Sylvia The Female Highwayman by Paddy Walsh Cecilia by Gordon Hall Cecilia by Mabs Hall Cecilia by Gordon Hall (version 2)   Modern versions mentioned: Sovay by Pentangle Long Lankin by Martin Carthy & Dave Swarbrick Sovay by James Yorkston Sovay by Owen Ralph Cecilia by Rubus Sovay by Martin Carthy & Dave Swarbrick Sovay by Brass Monkey Pretty Sylvia by Jeff Davis   Folk song recourses: Sing Yonder The Vaughn Williams Memorial Library Sussex Traditions GlousTrad Tobas an Dualchais/Kist o Riches Jon Boden's A Folk Song A Day Andy Turner's A Folk Song A Week     Record labels promoting recordings of traditional singers: Topic Records Veteran Records Musical Traditions One Row Records     Other Folk Song/Music podcasts: The Old Songs Podcast Every Folk Song Folk On Foot Fire Draw Near

It's been a while, hasn't it? But, like buses, you wait ages for an Old Songs Podcast episode and then two come along in quick succession. Because this edition is the first in a two-part thing. Today, we're chatting to Jim Moray about passing the two-decade mark as a professional musician, about one of my favourite of his traditional arrangements, the ballad 'Lord Douglas' [Roud 23], about a new album coming soon, and about an upcoming festival in his name. The second part to this podcast is going to be recorded live, in front of an audience - possibly even you, dear listener - at the Jim Moray festival on Jun 17th at Cecil Sharp House in Camden, North London, where we'll be joined by Jim, Nick Hart and a number of other guests. I'll stick the tickets link on the page accompanying this episode. We're focusing this episode loosely around the song, 'Lord Douglas', which Jim originally released 10 years ago, winning Best Traditional Track at the BBC Radio 2 Folk Awards in the process. We're also using it as an opportunity to talk to Jim about his career so far. Listen out for tales about the time Amy Winehouse mistook him for a photographer's assistant, his relationship with folk music and gadgetry, and his theories on how arranging traditional ballads is like writing a week's worth of Eastenders.  And, as an extra special treat, listen out for the final track in the podcast - usually an unaccompanied ballad, but this time an exclusive - a recording of 'Lord Douglas' from the Abbey Road sessions that make up his new album. Once again, our thanks to the English Folk Dance and Song Society for their ongoing support, and we hope to see some of you at JimFest on June 17th. Tickets for the Jim Moray Festival are available now from this link. The Old Songs Podcast is supported by the English Folk Dance and Song Society.‘Lord Douglas' podcast notesThis article is accompanied by a partial transcript of the sections that discuss Jim's career. You can find that in our Jim Moray interview.LinksThe English Folk Dance and Song SocietyThe Vaughan Williams Memorial LibraryThe Jim Moray FestivalTrack listing‘Lord Douglas', Jim Moray, taken from the album Skulk (2012)‘Lucy Wan', Frankie Archer, taken from the single Lucy Wan (2022)‘Earl Brand', Gigspanner, taken from the album Natural Invention (2020)‘The Douglas Tragedy', Ewan MacColl, taken from the album The English & Scottish Popular Ballads (The Child Ballads) Vol​.​5 (1956)‘Lord Douglas', Moonaroon, taken from the EP Seeds

What is a myth and how is it created? The word myth derives from the Greek mythos, which has a range of meanings from “word,” through “saying” and “story,” to “fiction”; the unquestioned validity of mythos can be contrasted with logos, the word whose validity or truth can be argued and demonstrated.https://www.britannica.com/topic/mythmyth (n.)1830, from French mythe (1818) and directly from Modern Latin mythus, from Greek mythos "speech, thought, word, discourse, conversation; story, saga, tale, myth, anything delivered by word of mouth," a word of unknown origin. Beekes finds it "quite possibly Pre-Greek."Myths are "stories about divine beings, generally arranged in a coherent system; they are revered as true and sacred; they are endorsed by rulers and priests; and closely linked to religion. Once this link is broken, and the actors in the story are not regarded as gods but as human heroes, giants or fairies, it is no longer a myth but a folktale. Where the central actor is divine but the story is trivial ... the result is religious legend, not myth." [J. Simpson & S. Roud, "Dictionary of English Folklore," Oxford, 2000, p.254]General sense of "untrue story, rumor, imaginary or fictitious object or individual" is from 1840.https://www.etymonline.com/word/myth The making of a myth is a process through which a story, idea, or belief is created and widely accepted as true, even if it may not be entirely accurate or based on factual evidence. Myths are often created to explain natural phenomena, historical events, or societal norms and beliefs.The process of making a myth involves several key steps:1.      Creation of the story: A myth begins with the creation of a story that captures the imagination of people. The story may be based on real events or people, but often involves supernatural or magical elements that make it more compelling.2.      Spread of the story: Once a myth is created, it needs to be spread widely to gain acceptance. This can happen through oral tradition, written texts, art, or other means of communication.3.      Reinforcement of the story: As the myth is spread, it becomes reinforced through repetition and acceptance by a wider audience. People begin to believe the story is true and it becomes part of the cultural identity.4.      Integration into society: The myth becomes integrated into the social fabric and is used to explain or justify beliefs, practices, or social norms.5.      Evolution of the myth: Over time, the myth may evolve or change to fit changing cultural norms or to explain new events.Making a myth can be a powerful tool for shaping beliefs and behaviors, but it can also be used to manipulate people and perpetuate harmful or false beliefs. It is important to critically examine myths and seek out evidence-based explanations to understand the world around us.  Support the showYou can support this show via the link below;https://www.buzzsprout.com/1718587/supporters/new

How do I download this mp3? mp3: Bold Archer – Click To Play Known in Scotland as “Archie O’ Cawfield” this song tells the story of an outlaw who is aided in escaping prison in the late 1700s and has a very happy ending! It has been well documented: [ Roud 83 ; Child 188 … Continue reading "Bold Archer"

This Christmassy episode of the Old Songs Podcast turns the tables slightly, as Nick Hart interviews Jon Wilks about a traditional folk song of wintery note, 'The Gloucestershire Wassail' [Roud 209]. The pair chat about the history of the song, where it was collected, where it travelled to, what the lyrics might refer to, the definition of wassailing, and its connection to Britpop (or all things). Everything you ever wanted to know about 'The Wassailing Song' is right here in this episode, so strap your ear-goggles on and summon your wassailing bowl. ‘The Gloucestershire Wassail' podcast notesLinksOver the course of the episode, Nick Hart and Jon Wilks mention the following things:The English Folk Dance and Song Society'The Gloucestershire Wassail' on the Vaughan Williams Memorial Library websiteNick Hart's yellow handkerchiefsGwilym Davies online collectionThe Prince Albert Carol Consort, StroudNotes on Blur's version of 'The Wassailing Song'Nick Hart's photo in 'A Christmas Carol'Track listing‘The Wassailing Song', performed by The Grizzly Folk'The Gloucestershire Wassail', performed by Magpie Lane'The Kentucky Wassail', performed by John Jacob Niles'The Wassailing Song', performed by Blur'Wassail', arranged by Ralph Vaughan Williams'The Halsway Carol', performed by Jackie Oates'The Gloucestershire Wassail', performed exclusively by Jon WilksFor more info on Jon Wilks, head to jonwilks.online.

Roud 2 goes under so many titles, it might be easier just to stick with 'Roud 2' and be done with it. Whether you know it as 'When I was on Horseback' or 'The Unfortunate Rake', or any of the other titles you may find, it's a grizzly old song with a fascinating history. And who better to discuss it with than Debbie Armour of Burd Ellen, always a fun person to chat with, not to mention an absolute font of folk knowledge. Debbie discusses the fact that it appears to be more than one song, the golf course approach to traditional song, as well as the ways she went about interpreting it... and the ways in which her daughter responded. It's a funny conversation, in spite of the misery that the song brings. Dig in, why don't you?Over the course of the episode, Debbie Armour and Jon Wilks mention the following things:The English Folk Dance and Song Society'When I was on Horseback / The Unfortunate Rake' on the Vaughan Williams Memorial Library website'The Unfortunate Rake: A Study in the Evolution of a Ballad' album (Folkways FS 3805)St James Infirmary, San FranciscoIan Lynch, Fire Draw Near podcast'Lucy Wan', as discussed by Nick HartTrack listing‘When I was on Horseback', performed by Mary Doran'When I was on Horseback', performed by Steeleye Span'Katie Cruel', performed by Bert Jansch, Beth Orton & Devendra Banhart'St James Hospital', performed by Martin Simpson'The Girl who was Poorly Clad', performed by Bryony Griffith and Alice Jones'St James Infirmary Blues', performed by Louis Armstrong'Adieu Adieu', performed by The Watersons'The Chariot', performed by Burd Ellen'When I was on Horseback', performed by Susan McKeown'The Trooper Cut Down in his Prime', performed by Laura Smyth & Ted Kemp'When I was on Horseback', performed exclusively for the Old Songs Podcast by Debbie ArmourFor more info on Debbie Armour and Burd Ellen, including the new album, head to burdellen.bandcamp.com.

Emily Portman, Rob Harbron and Jon Wilks discuss the traditional ballad, ‘The Trees They Do Grow High' [Roud 31], a song that Emily and Rob have recorded for their new album, Time Was Away. Subjects covered include the duo's first encounter with traditional folk music, their work with the English Folk Dance and Song Society, Emily's interpretations of the song's themes, its history, the source singer that Emily learned the song from, the modes and the melody, and how Rob goes about creating accompaniments for traditional songs. They also chat about the album itself and the forthcoming tour to support it. The Old Songs Podcast can be found on all decent streaming platforms.The Old Songs Podcast is supported by the English Folk Dance and Song Society.‘The Trees The Do Grow High' podcast notesLinksOver the course of the episode, Emily Portman, Rob Harbron and Jon Wilks mention the following things:The English Folk Dance and Song Society‘The Trees They Do Grow High' [Roud 31] on the Vaughan Williams Memorial Library websiteFolkWorksMonday Folk Singers OnlineThe Vaughan William Memorial Library archiveFind Emily Portman and Rob Harbron gigs on the Tradfolk Events CalendarThe initial songs released from Time Was Away on SpotifyTrack listing‘The Trees They Do Grow High', as performed by Martin Carthy‘Long-A-Growing', as performed by Steeleye Span‘Growing (The Trees They Do Grow High)', as performed by Eliza Carthy & Nancy Kerr‘Long A-Growing', as performed by Mary Ann Haynes‘Long a-Growing', as performed by Emily Portman and Rob Harbron‘Long a-Growing', as performed by Emily Portman exclusively for The Old Songs PodcastPhoto Credit: Camilla Greenwell

'Shallow Brown' [Roud 2621] is a much-loved and rather mysterious traditional folk song. Collected on both coasts of the United States, as well as the South coast of England, Scotland, Wales, Ireland and Canada, the most common versions of this mesmerising sea shanty hint at heart-breaking experiences of the transatlantic slave trade. In this, the fourth episode of the second series of The Old Songs Podcast, folk singers Angeline Morrison and Jon Wilks discuss the song's known history, the singers and collectors involved with it, and their own experiences of first hearing and performing the song. LinksOver the course of the episode, Angeline Morrison and Jon Wilks mention the following links:The English Folk Dance and Song Society‘Shallow Brown' [Roud 2621] on the Vaughan Williams Memorial Library websiteThe Souls of Black Folk by W. E. B. Du BoisShanties from the Seven Seas by Stan HugillTrack listing‘Shallow Brown', performed by Jimmy Aldridge & Sid Goldsmith'Shallow Brown', performed by Norma Waterson, Eliza Carthy & the Gift Band'Shallow Brown', performed by John Francis Flynn'Shallow Brown', performed by June Tabor'Shallow Brown', performed by Sting'Shallow Brown', performed by Angeline Morrison exclusively for The Old Songs PodcastFor more info on Angeline Morrison, head to angelinemorrisonmusic.bandcamp.com

Welcome to the second episode in our series The Otherworld. Part 3: The Adventures of Cherry of Zennor.

Welcome to the second episode in our series The Otherworld. Part 2: Places Between Places.

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