Podcasts about Sandy Denny

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 first 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 twenty-seven-minute bonus episode available, on “Baby It’s You” by Smith. Tilt Araiza has assisted invaluably by doing a first-pass edit, 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/ (more…)

What's better than one unique voice? Do you have to ask? Here in Top Ten Unique Voices That Sound Great Together, our good friend and returning champion Gabe Scalone lays out his vision for an obvious but awesome topic. Here it is in a nutshell - 2 singers that have unmistakable flair and originality, combining forces like the finest chocolate and some amazing peanut butter to create a taste sensation. Two great tastes that taste great together, as Madison Avenue used to say. Picks 10-6 are revealed here in Part 1.We've lowered our prices, but not our standards over at the ATTT Patreon! Those who are kindly contributing $2 a month are receiving an exclusive monthly Emergency Pod episode featuring our favorite guests and utilizing our patent-pending improv format in which we miraculously pull a playlist out of thin air. The Old Boy Himself Ryan Blake joined for May's bonus episode.Find out more at https://www.patreon.com/c/alltimetoptenWe're having a blast chatting it up about music over on the ATTT Facebook Group. Join us and start a conversation!https://www.facebook.com/groups/940749894391295

Start Artist Song Time Album Year 0:01:25 Sandy Denny & The Strawbs Tell Me What You See In Me 3:33 All Our Own Work 1967 0:04:58 Sandy Denny & The Strawbs Two Weeks Last Summer (Bonus) 2:00 All Our Own Work 1967 0:07:34 Fotheringay Gypsy Davey 3:40 Fotheringay 2 1972 0:11:14 Sandy Denny Listen, Listen […]

This year's folk festival runs July 18th to 20th in Jericho Beach Park, and they announced the line-up on Thursday. I hope to broadcast LIVE from the park once again. Meanwhile tracks 3, 7, 8, 9, 10, 12, 17, 22, 24, 27, 28, 33, 34, 37, 39, 49, 50, and 55 are by artists performing this year. Some new Putumayo releases were also featured on today's show, as well as many new releases from around the planet, local concert previews.too, and a finale from Sandy Denny who passed away at the tender age of 31exactly 47 years ago this week

Songs for Mother Earth and The Easter Bunny, plus memories of Sandy Denny (who died April 21st 1978) and NL accordionist Frank Maher, who died last week. Plus more new releases and concert previews than you can shake a stick at. Spot the 420 hints, if you can...

The new programme by Mestizo Sounds focuses on folk music, mainly sixties and seventies. The idea for this programme is due to the new feature film “A Complete Unknown” about Bob Dylan's early days until he abandons the folk structures. The Folk scene was the catalyst for the most brilliant composers in the music revolution of the sixties. I hope the listener appreciates the selected music and agrees that Folk Music Matters! Soon, a new programme featuring more contemporary folk music will follow. Info  Website - www.jazzmattersuk.com For all social media links and more visit my Linkhub. https://www.jazzmattersuk.com/linkhub Jazz Matters Info - https://www.jazzmattersuk.com/about Email - jazzmattersuk@mail.com #OnDemand #FreeToStream https://pod.co/nudirections PLAYLIST 1- Ligh Flight - PENTANGLE (Great Britain) 2- April Rain - KAREN BETH (United States) 3- På Tredje Dagen Uppståndna - TURID (Sweden) 4- Who Knows Where the Time goes - Sandy Denny & The Strawbs (Great Britain) 5- The Dolphins - FRED NEIL (United States) 6- Something on your mind - KAREN DALTON (United States) 7- What are you going to do about me? - RICHIE HAVENS (United States) 8- Way before the times - HOYT AXTON (United States) 9- Northern Sky - NICK DRAKE (Great Britain) 10- La Canción- SILVIO RODRIGUEZ (Cuba) 11- Hummingbird - DAVY GRAHAM 12- Scarborough Fair - MARTIN CARTHY (Great Britain) 13- The Circle Game - JONI MITCHELL (United States) 14- Viola Fora de Moda - EDU LOBO (Brazil) 15- God Loves a Drunk - NORMA WATERSON (Great Britain) 16- Raggle Taggle Gypsy (Tabhair Dom Do Lamh) - PLANXTY (Ireland) 17- Seven Curses - BOB DYLAN (United States) 18- Love Will Tears Apart - JUNE TABOR & OYSTERBAND (Great Britain)

References JBC 2018. 1293: 2422-2437. Nat Metab. 2023 Aug 23;5(8):1275–1289 Page/Plant. 1971. 'Battle of Evermore" LZ IV. lp. w/Sandy Denny. https://open.spotify.com/track/6KCjY5kHvgWaWcAV6BBzxO?si=6f532f5bed624491

We begin every year with a programme of Sandy's music, near the time of her birthday

Holidays were hard for Roger Samples in 1975.He was living alone, just him and Josephine the Cat rattling around on Mount Union Road where he was house-sitting for Susan and David Peyton. (As reported earlier, the Peyton family had left town for six months in Lafayette, Louisiana, where Dave was researching Cajun culture for his Alicia Paterson Foundation fellowship project.)Nonetheless, that autumn was a fertile one for Roger and the fledgling Flood. That's because every few days, Joe Dobbs would come by to jam with Rog; when he didn't, Charlie Bowen did. In those waning days of the year, life-long friendships were formed.Holiday AdoptionAs the holidays rolled in, though, the pickings got slim. Busy with Dobbs family affairs, Joe couldn't drop by as frequently. As a result, Roger starting spending many of his evenings at the Bowen house with Charlie and Pamela.“Y'all take in strays?” Roger asked the first night he appeared on their doorstep.“Come on in, buddy! Pull up a chair.”A new routine developed. Getting home from a day of teaching at Mason County's Hannah High School in Apple Grove, Rog would have supper with Charlie and Pamela, then he and Charlie broke out the guitars.That year Roger was even there to help decorate the Bowens' Christmas tree, stringing lights and hanging tinsel while they listened to the new albums by Jackson Browne and David Bromberg, Steve Goodman and John Prine.Pamela usually was the only audience for the tunes Roger and Charlie worked out in those last weeks of 1975, songs like this one, which she recorded in the Bowen living room on Nov. 28, the night after Thanksgiving.About the SongOne of the first things Charlie and Roger learned about each other was their shared love for Bob Dylan songs. For nearly a decade by then, both had been listening to Dylan discs and working up their own versions of his songs.Quickly they found they each had a rendition of “Tomorrow Is a Long Time” which they had heard a few years earlier on the 1971 release of Bob Dylan's Greatest Hits Vol. II.Dylan wrote the song in 1962, including it as a demo for M. Witmark & Son, which became his publishing company at the time. (That particular track, incidentally, has long been available as a bootleg; so has an outtake from the June 1970 studio sessions for Bob's New Morning album.)Over the years, “Tomorrow Is a Long Time” has been covered by many Dylan friends and admirers. Most notably, Elvis Presley recorded it in the spring of 1966, appearing as a bonus track on his Spinout album.Elvis and OthersPresley was taken with the song after learning it from West Virginia's legendary harmonica player Charlie McCoy, who played it the previous year on Odetta's album Odetta Sings Dylan. Dylan has said Presley's cover of the song is "the one recording I treasure the most.”Besides Elvis and Odetta, others who have recorded the song include Joan Baez and Ian and Sylvia (1963), Judy Collins (1965), the Pozo-Seco Singers (1966), The Kingston Trio (1969), We Five and Glenn Yarbrough (1970), Rod Stewart (1971), Sandy Denny (1972).Stay TunedMeanwhile, if you enjoyed today's trek in the time machine, hang around. More of that late ‘75 vibe will be featured in a Flood Watch report next week, including a trio of Roger-and-Charlie originals and some vintage solos by fiddlin' Joe Dobbs. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

På opfordring kommer mit andet program om Duetter. Det kan enten være der bliver sunget skiftevis, eller en synger vers og den anden synger omkvædet eller to mænd eller to kvinder. Jeg giver mit bud på nogle lidt anderledes numre inden for genren den næste times tid. Lyt med til: Led Zeppelin & Sandy Denny, … Læs videre "Duetter 2"

Joe Boyd has had many job descriptions over the course of his nearly sixty-year career in music, and there was simply no way to cover everything in this conversation. That said, Paul and Joe focus on Boyd's important new book, And The Roots of Rhythm Remain: A Journey Through Global Music, and themes of cultural cross-pollination in music, the birth of hip hop and ska, the reason Hitler spared the life of virtuoso Roma guitarist Django Reinhardt, what happened with Nick Drake, and Boyd's phenomenal earlier book, the memoir, White Bicycles: Making Music in the 1960s.  As a music producer, Boyd has delivered records by Nick Drake, Pink Floyd, R.E.M., Taj Mahal, Fairport Convention, Richard and Linda Thompson, Sandy Denny. He tour-managed European dates for Muddy Waters, Sister Rosetta Tharpe, and was a production manager at the 1965 Newport Folk and Jazz Festivals, before flying off to open Elektra Records' UK office in London where he and John Hopkins opened the UFO club, giving a psychedelic home to Pink Floyd and others.  In 1971 he moved to Los Angeles to work for Warner Brothers Films (Deliverance, A Clockwork Orange, and the documentary Jimi Hendrix). In 1979, he worked for Lorne Michaels' film company, Broadway Pictures, and the following year, launched his own label, Hannibal Records, releasing works by John Cale, Richard Thompson and more, while bringing global artists such as ¡Cubanismo!, Toumani Diabaté, Ali Farka Touré, Trio Bulgarka, and Songhai, to western audiences. The Record Store Day Podcast is a weekly music chat show written, produced, engineered and hosted by Paul Myers, who also composed the theme music and selected interstitial music.  Executive Producers (for Record Store Day) Michael Kurtz and Carrie Colliton. For the most up-to-date news about all things RSD, visit RecordStoreDay.com)   Sponsored by Dogfish Head Craft Brewery (dogfish.com), Tito's Handmade Vodka (titosvodka.com), RSDMRKT.com, and Furnace Record Pressing, the official vinyl pressing plant of Record Store Day.   Please consider subscribing to our podcast wherever you get podcasts, and tell your friends, we're here every week and we love making new friends.   Rest in Peace, Phil Lesh: "A box of rain will ease the pain / And love will see you through" 

Iain Matthews was an early member of the pioneering British folk-rock band Fairport Convention, singing on its first two albums and leaving during the recording of the third one, Unhalfbricking. Since then this singer-songwriter has formed other bands — Matthews Southern Comfort, Plainsong — and released much solo work, including the just-released How Much Is Enough. He has scored some hits — Southern Comfort's cover of Joni Mitchell's “Woodstock,” his 1979 solo song “Shake It”—and says he has recorded about 70 albums total, all projects included. So he has many tales to tell —about the Fairport years with Richard Thompson, Judy Dyble and Sandy Denny and his break from the group; the many places he has lived and whether they had an impact on his music; his years as an A&R rep; and that vocal arrangement of his that the Eagles borrowed without credit. (Photo by Lisa Margolis.)

This is a re-release of our original episode #311 on 9/4/23: Connecting with David Cousins of The Strawbs for this episode was a different experience for both of the Imbalanced Brothers. Ray was a fan of the band from the 1970s, when Markus was still a younger kid! So they each approached this interview, and the new album, differently. The result is a very exciting take on a classic band making their way back up the UK charts with The Magic Of It All, how they got there, as well as how South Africa now, and then, became central to the project. Dave shares some incredible stuff for guitar and banjo players regarding tunings, tells tales of Sandy Denny and Rick Wakeman, and capped the visit by revealing that a collaboration with members of Wu-Tang Clan is in motion. Find out more about The Strawbs, their new album, and more on their web site! Learn more about your ad choices. Visit megaphone.fm/adchoices

This is a re-release of our original episode #311 on 9/4/23: Connecting with David Cousins of The Strawbs for this episode was a different experience for both of the Imbalanced Brothers. Ray was a fan of the band from the 1970s, when Markus was still a younger kid! So they each approached this interview, and the new album, differently. The result is a very exciting take on a classic band making their way back up the UK charts with The Magic Of It All, how they got there, as well as how South Africa now, and then, became central to the project. Dave shares some incredible stuff for guitar and banjo players regarding tunings, tells tales of Sandy Denny and Rick Wakeman, and capped the visit by revealing that a collaboration with members of Wu-Tang Clan is in motion. Find out more about The Strawbs, their new album, and more on their web site! Learn more about your ad choices. Visit megaphone.fm/adchoices

“There was no Command-Zed back then!” John Wood engineered or produced some of the most magical, timeless and affecting records ever made - by Nick Drake, John Martyn, the McGarrigles, Fairport Convention, Sandy Denny, John Cale, Squeeze and many more. He's 85 now and looks back here at a luminous career that started with mastering singles at Decca and transferred to Sound Techniques, the mecca he co-founded in an old cowshed in Chelsea when takes were spontaneous and even the tape-op was part of the performance. He misses those days, when albums were organic and the labels had less control, and talks here about … … “the age when sound had perspective and seemed three-dimensional”. … Nick Drake's confidence and his guiding lights - eg the Beach Boys and Randy Newman (“who I'd never heard of”). And his final nighttime sessions. … the way Fairport recorded – “We're only going to do it once” – and why they could make three albums a year. …managing the girls in the Incredible String Band, “especially when Licorice played drums”. … John Cale in “maniac mode” and his sudden and unexpected friendship with Nick Drake. … Cale and Nico at the Chelsea Hotel. … and why ‘Geoff Muldaur Is Having A Wonderful Time' was the job he remembers the fondest. Also mentioned: the Downliners Sect, Judy Collins, The Marmalade, Graham Gouldman and Squeeze. John's got nothing to plug and just wanted to talk to us. Thanks, John, and bless your cotton socks.Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

“There was no Command-Zed back then!” John Wood engineered or produced some of the most magical, timeless and affecting records ever made - by Nick Drake, John Martyn, the McGarrigles, Fairport Convention, Sandy Denny, John Cale, Squeeze and many more. He's 85 now and looks back here at a luminous career that started with mastering singles at Decca and transferred to Sound Techniques, the mecca he co-founded in an old cowshed in Chelsea when takes were spontaneous and even the tape-op was part of the performance. He misses those days, when albums were organic and the labels had less control, and talks here about … … “the age when sound had perspective and seemed three-dimensional”. … Nick Drake's confidence and his guiding lights - eg the Beach Boys and Randy Newman (“who I'd never heard of”). And his final nighttime sessions. … the way Fairport recorded – “We're only going to do it once” – and why they could make three albums a year. …managing the girls in the Incredible String Band, “especially when Licorice played drums”. … John Cale in “maniac mode” and his sudden and unexpected friendship with Nick Drake. … Cale and Nico at the Chelsea Hotel. … and why ‘Geoff Muldaur Is Having A Wonderful Time' was the job he remembers the fondest. Also mentioned: the Downliners Sect, Judy Collins, The Marmalade, Graham Gouldman and Squeeze. John's got nothing to plug and just wanted to talk to us. Thanks, John, and bless your cotton socks.Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

“There was no Command-Zed back then!” John Wood engineered or produced some of the most magical, timeless and affecting records ever made - by Nick Drake, John Martyn, the McGarrigles, Fairport Convention, Sandy Denny, John Cale, Squeeze and many more. He's 85 now and looks back here at a luminous career that started with mastering singles at Decca and transferred to Sound Techniques, the mecca he co-founded in an old cowshed in Chelsea when takes were spontaneous and even the tape-op was part of the performance. He misses those days, when albums were organic and the labels had less control, and talks here about … … “the age when sound had perspective and seemed three-dimensional”. … Nick Drake's confidence and his guiding lights - eg the Beach Boys and Randy Newman (“who I'd never heard of”). And his final nighttime sessions. … the way Fairport recorded – “We're only going to do it once” – and why they could make three albums a year. …managing the girls in the Incredible String Band, “especially when Licorice played drums”. … John Cale in “maniac mode” and his sudden and unexpected friendship with Nick Drake. … Cale and Nico at the Chelsea Hotel. … and why ‘Geoff Muldaur Is Having A Wonderful Time' was the job he remembers the fondest. Also mentioned: the Downliners Sect, Judy Collins, The Marmalade, Graham Gouldman and Squeeze. John's got nothing to plug and just wanted to talk to us. Thanks, John, and bless your cotton socks.Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

This week on Transmissions, we're sitting down with a genuine legend: Joe Boyd, author of And The Roots of Rhythm Remain: A Journey Through Global Music, out September 24 from ZE Books. On the front cover of the book Brian Eno—a venerated saint in the Aquarium Drunkard canon—declares: “I doubt I'll ever read a better account of the history and sociology of popular music than this one.”  Joe Boyd's career is the stuff of myth. As a producer, he's worked with a murder's row of collaborators, including Pink Floyd, Nick Drake, Fairport Convention, R.E.M., Richard and Linda Thompson, Incredible String Band, Vashti Bunyan, 10,00 Maniacs, and many more. In 2006, Boyd released a memoir, White Bicycles – Making Music in the 1960s, which documented his time in the studio during that decade, but And the Roots of Rhythm Remain casts an even wider net, exploring the overlap of musical cultures and the complicated, human negotiations that undergird creative synthesis.  As you'll hear in the early part of our talk, Joe played a pivotal role Transmissions host Jason P. Woodbury's music writing journey. In 2008, Woodbury reviewed a Nick Drake box set for the sorely missed Tiny Mix Tapes. The piece also included an email interview with Boyd, whose responses were insightful and in-depth—an experience that inspired Woodbury to chase after interviews. So this conversation picks up the thread some decade and a half later, detailing not only Boyd's new book, but also his experiences with Nick Drake, Fairport Convention, Richard Thompson, Sandy Denny, Vashti Bunyan, and many more adventures. Aquarium Drunkard is supported by our subscribers. Head over and peruse our site, where you'll find nearly 20 years worth of playlists, recommendations, reviews, interviews, podcasts, essays, and more. Subscribe at Aquarium Drunkard.  Transmissions is a part of the Talkhouse Podcast Network. Visit the Talkhouse for more interviews, fascinating reads, and podcasts. This episode is brought to you by DistroKid. DistroKid makes music distribution fun and easy with unlimited uploads and artists keep 100% of their royalties and earnings. To learn more and get 30% off your first year's membership, visit: distrokid.com/vip/aquariumdrunkard

John Mayall1933 - 2024 Contact Us23. Toranzo Cannon / I Hate Love24. Robert Cray Band / The Forecast Calls for Pain 25. BB King / You Put It On Me 26. Johnny Adams / Love for Sale 27. Alex Harris / Something Gotta Change  28. Eddie Fontaine / Nothing Shakin' (But the Leaves on the Tree) 29. Aretha Franklin / Dr. Feelgood 30. Bobby Harden / One Night of the Week 31. Aynsley Lister / Made Up Mind 32. Albert Cummings / I Got You Covered33. John Mayall & the Blues Breakers / Parchman Farm 34. Sandy Denny & Fairport Convention / Who Knows Where the Time Goes 35. Joe Bonamassa & Train / Hang On Loosely (38 Special) 36. Orianthi / Ghost 37. Gary Moore / Separate Ways 38. Robin Trower / Find Me 

Sorry for this episode being a little late….I'd meant to get it out earlier, but who knows where the time goes????? If you've not deserted me…..Welcome to episode 177 of Love That Album. Carrying on with the Fairport Convention connection of episode 176, I welcome three wonderful guests to the podcast this time around – all connected to the great Sandy Denny. Firstly, there's a return visit from John Penhallow, the first manager of Fairport. He's done a lot of archival work in relation to Sandy's music over the years, and we discuss that. Then, there's Sandy's daughter, Georgia Rose Lucas and musician / composer Carla Fuchs. The two of them are behind an album released in 2023 called Songbird. Carla composed new music to lyrics written by Sandy in her journals that were never previously recorded. The two of them collaborated to make this project come to existence. Not on the show, but huge thanks as well go to Elizabeth Hurtt, wife of the late Trevor Lucas, who took the time to tell me about the journey of these lyrics in Sandy's journals. There had been a plan many years ago for many artists to utilise her words for new songs….that didn't happen, but we explain what DID in the show's discussion. Huge thanks to Elizabeth for filling me in. My gratitude to all these wonderful folk for taking the time to talk about the Songbird project, the Attic Tracks songs put out on cassette and then CD by John on Raven Records years ago, Redgum, and Sandy's life and music. If you wish to search out a copy of Carla's album, it's available on Bandcamp at: https://talkingelephantrecords.bandcamp.com/album/songbird Download this episode of LTA from your podcast app of choice (not Spotify). The wider back catalogue of episodes can also be found at https://lovethatalbumpodcast.blogspot.com Love That Album is proudly part of the Pantheon Podcast network. Go to https://pantheonpodcasts.com to check out all their great shows. You can send me feedback at rrrkitchen@yahoo.com.au (written or mp3 voicemail) or join the Facebook group at http://www.facebook.com/groups/lovethatalbum Proudly Pantheon. Learn more about your ad choices. Visit megaphone.fm/adchoices

Sorry for this episode being a little late….I'd meant to get it out earlier, but who knows where the time goes????? If you've not deserted me…..Welcome to episode 177 of Love That Album. Carrying on with the Fairport Convention connection of episode 176, I welcome three wonderful guests to the podcast this time around – all connected to the great Sandy Denny. Firstly, there's a return visit from John Penhallow, the first manager of Fairport. He's done a lot of archival work in relation to Sandy's music over the years, and we discuss that. Then, there's Sandy's daughter, Georgia Rose Lucas and musician / composer Carla Fuchs. The two of them are behind an album released in 2023 called Songbird. Carla composed new music to lyrics written by Sandy in her journals that were never previously recorded. The two of them collaborated to make this project come to existence. Not on the show, but huge thanks as well go to Elizabeth Hurtt, wife of the late Trevor Lucas, who took the time to tell me about the journey of these lyrics in Sandy's journals. There had been a plan many years ago for many artists to utilise her words for new songs….that didn't happen, but we explain what DID in the show's discussion. Huge thanks to Elizabeth for filling me in. My gratitude to all these wonderful folk for taking the time to talk about the Songbird project, the Attic Tracks songs put out on cassette and then CD by John on Raven Records years ago, Redgum, and Sandy's life and music. If you wish to search out a copy of Carla's album, it's available on Bandcamp at: https://talkingelephantrecords.bandcamp.com/album/songbird Download this episode of LTA from your podcast app of choice (not Spotify). The wider back catalogue of episodes can also be found at https://lovethatalbumpodcast.blogspot.com Love That Album is proudly part of the Pantheon Podcast network. Go to https://pantheonpodcasts.com to check out all their great shows. You can send me feedback at rrrkitchen@yahoo.com.au (written or mp3 voicemail) or join the Facebook group at http://www.facebook.com/groups/lovethatalbum Proudly Pantheon. Learn more about your ad choices. Visit megaphone.fm/adchoices

This week's show, after a 1951 Frankie Laine freakout: brand new Linda Lindas, +/-, Seablite, Mercury Rev, Beachwood Sparks, Ducks Ltd., and Susanna, plus Culture, Ringo Starr, Sandy Denny, Hollies, Orioles, Marvin Gaye, and Tony Bennett; and R.I.P. Th...

Richard Thompson began his career as a guitarist and a songwriter when he was still a teenager – and six decades on, his passion for making and sharing music is as strong as ever. In the late 1960s he co-founded the pioneering folk-rock band Fairport Convention. In 1969 alone, they released three albums. All featured the voice of Sandy Denny, and one - Liege and Lief - was later acclaimed as the most influential folk album of all time. In the early 1970s, Richard left the band to form a decade-long musical partnership with his then wife Linda. He's now spent over 30 years as a solo artist, winning an Ivor Novello Award for songwriting, a Lifetime Achievement Award from BBC Radio 2 and countless plaudits for his guitar playing. Richard's music choices include Beethoven, Purcell, Britten and Manuel de Falla.

Indie art-pop outfit The Pull of Autumn presents their new offering 'Lost Time'. Featuring San Francisco singer-songwriter Julius Manning, this echoes the hushed intimacy of Nick Drake, only with heightened dream-energy, A highlight of their fifth album 'Memory Tree', a vibrant yet reflective collection of poignant indie folk songs released by the Boston indie imprint RBM Records. Led by Rhode Island native Daniel Darrow of 80s post-punk group Johanna's House of Glamour, The Pull of Autumn is a dynamic collective - like a revolving door of collaborators whose other core members are Bruce MacLeod, Matthew Darrow, Luke Skyscraper James (I.R.S. recording artist Fashion), who also created the video for this new Julius Manning-led single. Each release involves notable and emerging artists, drawn from the local scene and further abroad. Julius Manning is a long-time Pull of Autumn collaborator, who earlier appeared on the 'Small Colors' and 'Beautiful Broken World' albums. A veteran of the Southern California music scene, Julius' music recalls the sixty's British folk music of Nick Drake, together with Sandy Denny's dreamy sound. Described as "a melancholy remembrance of moments in time and life", the 'Memory Tree' album features numerous outstanding artists, including Philip Parfitt (The Perfect Disaster), Ricky Humphrey (This Twisted Wreckage), San Francisco-based artist Leigh Gregory, Berkeley singer-songwriter Sophia Campbell, and Rhode Island Rock'n Roll Hall of Fame inductee Paul Everett.

Guitarist's guitarist and UK folk/rock legend Richard Thompson joins Paul to discuss his brand new album Ship to Shore (out now from New West Records), but also his early work with Sandy Denny in Fairport Convention, the great duo records with Linda Thompson, and his 90s solo work with Mitchell Froom. He also expounds on his memoir, the importance of Joe Boyd, and what Nick Drake was really like. The Record Store Day Podcast is a weekly music chat show written, produced, engineered and hosted by Paul Myers, who also composed the theme music and selected interstitial music.  Executive Producers (for Record Store Day) Michael Kurtz and Carrie Colliton. For the most up-to-date news about all things RSD, visit RecordStoreDay.com) Sponsored by Dogfish Head Craft Brewery (dogfish.com), Tito's Handmade Vodka (titosvodka.com), RSDMRKT.com, and Furnace Record Pressing, the official vinyl pressing plant of Record Store Day. Please consider subscribing to our podcast wherever you get podcasts, and tell your friends, we're here every week and we love making new friends.

"Don't seem right, I've been strung out here all nightI've been waiting for the taste you said you'd bring to meBiscayne Bay, where the Cuban Gentlemen sleep all dayAre you with me Doctor WuAre you really just a shadowOf the man that I once knewCan you hear me Doctor"Please join me and Doctor Wu on the Sunday Edition of Whole "Nuther Thing. Joining us are Nick Drake, The Byrds, Joan Baez, Sandy Denny, John Waite, Fleetwood Mac, Toto, Iain Matthews, Bob Dylan, Flo & Edie, Graham Nash, Bruce Springsteen, Richard Thompson, Peter Paul & Mary, The Wallflowers, Tom Petty & The Heartbreakers, John Mellencamp, Lovin' Spoonful, Barry McGuire, Bob Seger, Dire Straits, John Denver, Chris Isaak, Gregg Allman, Crosby Stills & Nash, We Five, The Turtles, Jaynetts, Tim Hardin, Mamas & Papas and Steely Dan.

Send us a Text Message.Musicians love to collaborate. We thought we'd have a look at some that are just great, some that are weird, and some that are simply awful! As usual, you'll know some, and some you won't.  This month, we farewell Graham Webb, an Australian pioneer of music videos – and Blind Date!  We also say goodbye to Ignatius Jones, of Jimmy and the Boys, along with a series of more conventional roles, and Steve Albini, producer of The Pixies, PJ Harvey and Nirvana. Vale! Our “Album You Must Hear Before You Die” is Pet Sounds, by The Beach Boys (1966). Long revered by musicians including The Rolling Stones and The Beatles, this album is a masterpiece of production and innovation.   How do we fit it all into an hour?  References:  Brian Wilson, Beach Boys, Pet Sounds, Capitol Records, Billboard, Sgt Pepper, Rubber Soul, LSD, “Good Vibrations”, Led Zeppelin, Sandy Denny, The Battle of Evermore, Aerosmith/Run-DMC, Walk This Way, Rick Rubin, Confessions of Dr Dream and other stories, Kevin Ayers, Nico, “Irreversible Neural Damage”, “With a Little Help From my Friends”, Joe Cocker, Jimmy Page, Matthew Sweet & Susanna Hoffs, Bing Crosby, David Bowie, “Little Drummer Boy”, Kylie Minogue, Nick Cave, “Where The Wild Roses Grow”, Robert Plant, Alison Krauss, “Raising Sand”, “Raise the Roof”, “Sentimental Hygiene”, Warren Zevon, Neil Young, The Party Boys, Peter Gabriel, “Don't give Up”, Kate Bush, “So”, Melt, “Games without Frontiers”, “Screaming Jets”, Johnny Warman, The Sex Pistols, Ronnie Biggs, “No One Is Innocent”, The Great Rock'N'Roll Swindle, Pink Floyd, Roy Harper, “Have A Cigar”, Wish You Were Here, Nick Cave & Shane McGowan, “What a Wonderful World”, Freddie Mercury, Montserrat Caballe, “Barcelona", U2, Brian Eno, The Joshua Tree, “Miss Sarajevo”, “Passengers”, Johnny Cash, “Under Pressure”, Queen, Vanilla Ice, “Dancing in the Street”, Mick Jagger, Mike Garson, Aladdin Sane, Pete Townshend, “Because You're Young”, Ann & Nancy Wilson (Heart) & Lisa Simpson, The Simpsons, REM, “End of the World”, Sesame Street, “Shiny Happy People”, Ozzy Osbourne & Miss Piggy, “Born to Be Wild”  Playlist - You'll really enjoy this one!!

Folk singer and teacher, Anna Tabbush joins Alexa to share insights into the world of folk music, its historical context, lyrical content, vocal techniques, and teaching methods. The pair discuss the origins of folk music, its storytelling function, and the distinction between folk and pop music. Anna also explores vocal qualities, rhythmic elements, and the influence of folk music on other genres. She provides valuable advice for singers and teachers, emphasising the importance of authentic storytelling and vocal health.   KEY TAKEAWAYS Anna describes folk music as a universal phenomenon present in every culture, serving to communicate stories, feelings, and celebrations, and to encourage dancing. It often includes work songs, like sea shanties. In England and the British Isles, folk music has a rich storytelling history. Anna notes that folk songs frequently address timeless, relatable themes, such as a mother's frustration in "Bonnie at Mourn." Folk songs differ from pop songs based on structure, rhythm, melody, instrumentation, vocal quality, lyrical content, and rhythmic flexibility. Folk songs typically have simpler forms and focus on storytelling with vocals that can be sung a cappella. They use treble-heavy instruments like fiddles and accordions. Pop songs have more complex structures, catchier melodies, broader instrumentation, and grounded rhythms. Folk music emphasises natural speech patterns and deep narratives. Anna advises singers to approach folk music authentically by focusing on key aspects: Relaxation and Authenticity, where singers relax the body and find their unique voice by letting go of tension; Connection to the Story, immersing in the song's narrative to convey it effectively; Vocal Health and Technique, understanding vocal health for safe, comfortable singing; Community and Practice, joining choirs or open mics to build confidence and explore styles; Exploration and Imitation, learning from other singers for inspiration; Dynamic Range and Expression, choosing songs that suit one's voice and using dynamics to maintain interest; and Movement and Expression, using gestures and movement to stay relaxed and tell the story.   BEST MOMENTS "Folk music is rooted in storytelling and serves as a means of communication, celebration, and social change." "Authentic folk singing involves relaxed vocal techniques, storytelling through song delivery, and a focus on the song rather than the singer." "Teaching folk music requires an understanding of vocal health, relaxation, and the importance of finding one's authentic voice."   EPISODE RESOURCES Guest Website: annatabbush.com singfest.org.uk guildfordvox.org.uk horsellsings.org.uk   Social Media: @anna_tabbush   Relevant Links & Mentions: Artists/songs/shows mentioned: Ben & Dom; Jackie Oates; Carolyn Robson; Sandy Denny; Phoebe Bridgers; Joni Mitchell; Bob Dylan; Taylor Swift; Sea shanties; What Should We Do With a Drunken Sailor; Bonny at Morn; Harbour; Hadestown; Once the Musical Singing for Musicals by Millie Taylor Chris Johnson Vocal Coach: Chris Johnson Vocal Coach Teach Voice: Teach Voice     BAST Book A Call   ABOUT THE GUEST   Anna Tabbush is a composer, choir conductor, singer, and multi-instrumentalist based in West Sussex, renowned for her socially conscious songwriting. Her 2020 song "Harbour" supports refugees and has been sung worldwide. Active on the folk scene for over twenty years, Anna performs as a singer-songwriter and with the a cappella quartet Oaken. She teaches singing techniques that relax the body and highlight individual voices, empowering everyone to sing to their full potential.   ABOUT THE PODCAST   BAST Training is here to help singers gain the knowledge, skills and understanding required to be a great singing teacher. We can help you whether you are getting started or just have some knowledge gaps to fill through our courses and educational events. basttraining.com Updates from BAST Training

"Ain't it just like the night to play tricks when you're tryin' to be so quiet ?We sit here stranded, though we're all doing our best to deny it  And Louise holds a handful of rain, tempting you to defy itLights flicker from the opposite loftIn this room the heat pipes just coughThe country music station plays softBut there's nothing really nothing to turn offJust Louise and her lover so entwinedAnd these visions of Johanna that conquer my mind."Please join me and perhaps a glimpse of Johanna on the Saturday Edition of Whole 'Nuther Thing live from Laguna Beach California.Joining us are Renaissance, Sandy Denny, Bruce Springsteen, Procol Harum, Joan Osborne, Ian Matthews, Elton John, Coldplay, Moody Blues, Mountain, Jefferson Airplane, Pink Floyd, Ben Folds, Justin Hayward, Porcupine Tree, King Crimson and Bob Dylan.

Vocalist and songwriter Lizz Wright is usually referred to as a jazz or gospel singer, and she certainly does sing both of those styles. But she's also comfortable with blues and R&B and the Great American Songbook. Her latest album is called Shadow, and it features striking versions of songs by Cole Porter, Sandy Denny, and others. The record also includes a number of Lizz Wright's own songs, which draw inspiration from her Southern upbringing in Georgia, and wander freely among the many styles of American music. “Shadow” happens to be Wright's studio debut under her label, Blues & Greens Records, a new step in her artistic freedom, and without the genre constraints imposed by record labels. Lizz Wright and her band perform some of these acoustic songs, in-studio.  Set list: 1. Sparrow 2. Circling 3. Your Love

Dulcet-toned vocalist Lizz Wright celebrates 20 years as a recording artist with a new career-defining album, Shadow. Wright drafts five new songs to showcase alongside some of the great classic songwriters, including Cole Porter, Sandy Denny, and Candi Staton, and enlists friends like Angelique Kidjo and, on Today's Top Tune, Meshell Ndegeocello on bass and Brandee Younger on harp for “Your Love.” 

"Can you imagine us years from todaySharing a park bench quietly?How terribly strange to be seventyOld friends, memory brushes the same yearsSilently sharing the same fearTime it wasAnd what a time it wasIt was . . ."Please join me as we share a virtual Park Bench on this week's Red Eye Edition of Whole 'Nuther Thing. Joining us are Leonard Cohen, Minnie Ripperton, Richie Havens, Dire Straits, Lizz Wright, Steely Dan, Buffalo Springfield, Jimi Hendrix Eperience, Genesis, Laurence Juber, Fleetwood Mac, Gerry Rafferty, Neil Diamond, Phoebe Snow, Bob Dylan, Roxy Music, Sandy Denny, Bruce Springsteen, Renaissance, Procol Harum, Traffic, U2, Paul Simon, Circus Maximus and Simon & Garfunkel.

Tenor saxophonist Sonny Rollins' practise notebooks, pianist Stephen Hough's account of tackling Tchaikovsky's First Piano Concerto, the voice of Fairport Convention's Sandy Denny in the words of Scottish poet Don Paterson, and E. M. Forster's evocation of Beethoven's 5th Symphony in Howard's End: just some of the texts we'll hear on tonight's celebration of writing about music.Ian's joined by four Radio 3 presenters to discuss the challenges of all sorts of music writing, from concert reviews to programme notes, memoirs, poetry, fiction, and scripts for radio. His guests are Essential Classics Georgia Mann who pored over Oasis reviews in the N.M.E. in her teens, Hannah French from The Early Music Show who once read a biography of Pablo Casals in a day, Composer of the Week's Kate Molleson who started out writing concert reviews at University in Montreal, and Corey Mwamba who presents Freeness and immersed himself in jazz books at Southampton library whilst doing his A-Levels. Producer: Ruth Thomson

There was a crippling blizzard in Iowa in April of 1973. Over a foot of snow fell, coupled with 50-70 mph winds. But, inside my dormitory at U of I, I was warmed by the eternal sunshine of Pentangle's evocation of the 12th century. The plangent voice of Jacqui McShee, accompanied by John Renbourn and Bert Jansch's jazz infused “baroque folk” sustained me throughout that challenging season. Not usually one to subscribe to any woo-woo, New Ageist practices, I nonetheless became convinced that I had lived before as a medieval troubadour - a sensation that recently resurfaced when I was introduced to the Witcher saga, because I strongly identified with Dandelion, that narrative's ironic balladeer. Ms. McShee was my gateway drug to the time-traveling vocal intoxications of Anne Briggs, Shirley Collins, Maddy Prior, June Tabor, Sandy Denny, Kate Rusby, and others. A.L. Lloyd and Richard Thompson became my “spirit guides” through the library of Child ballads; a path which eventually led me back home to the USA via Alan Lomax and Pete Seeger. Song research became my professional passion and mission. Willy O Winsbury (Child 100), a traditional Scottish ballad, has many variations and possible derivations, one of which originates in the recounting of James V's courtship and marriage to Madeleine de Valois of France. In Pentangle's deft retelling, Willy and Janet's love triumphs over shame and death. You cannot ask for more than that. 

On this week's show, Slate culture writer Nadira Goffe and Sam Sanders, host of Vibe Check fill in for Dana Stevens and Julia Turner. The hosts begin with a subversively brilliant Oscar contender, American Fiction, which is Cord Jefferson's adaptation of Percival Everett's 2001 novel Erasure. The filmmaker's debut racked up five Oscar nominations, including Best Picture, and stars Jeffrey Wright as Thelonius “Monk” Ellis, a frustrated writer, in this heartfelt family melodrama encased in biting satire. (Catch Sam's conversation with Cord Jefferson here.) Then, the three tread into familiar territory and dissect In the Know, Mike Judge's (Beavis and Butthead, Silicon Valley, King of the Hill) latest show on Peacock which satirizes the world of public radio, specifically NPR, through the stop-motion animated lens of its third most-popular host, Lauren Caspian (voiced by Zach Woods). Finally, Oscar season is officially upon us, and with Oscar nominations, comes invariably, Oscar snubs. The panel explores this year's nominees, and who may or may not have gotten the short end of the stick.  In the exclusive Slate Plus segment, the panel discusses a fun interactive from The New York Times, “The Menu Trends That Define Dining Right Now.”  Email us at culturefest@slate.com.  Outro music: “Bloody Hunter” by Paisley Pink Endorsements: Sam: An album he loves and owns on vinyl, Chameleon (1976) by the American singing trio Labelle. It's pure R&B funk dazzle.  Nadira: A threefold music endorsement: Midnight Dancer (1979) by the Philly soul group Silk, Spotify's “create radio” function, and a compilation of Barbara Ackland's greatest hits.  Steve: A gorgeous, lofi home recording of Sandy Denny singing her classic, “Who Knows Where the Time Goes.”  Podcast production by Cameron Drews. Production assistance by Kat Hong.  If you enjoy this show, please consider signing up for Slate Plus. Slate Plus members get an ad-free experience across the network and exclusive content on many shows. You'll also be supporting the work we do here on the Culture Gabfest. Sign up now at Slate.com/cultureplus to help support our work. Learn more about your ad choices. Visit megaphone.fm/adchoices

On this week's show, Slate culture writer Nadira Goffe and Sam Sanders, host of Vibe Check fill in for Dana Stevens and Julia Turner. The hosts begin with a subversively brilliant Oscar contender, American Fiction, which is Cord Jefferson's adaptation of Percival Everett's 2001 novel Erasure. The filmmaker's debut racked up five Oscar nominations, including Best Picture, and stars Jeffrey Wright as Thelonius “Monk” Ellis, a frustrated writer, in this heartfelt family melodrama encased in biting satire. (Catch Sam's conversation with Cord Jefferson here.) Then, the three tread into familiar territory and dissect In the Know, Mike Judge's (Beavis and Butthead, Silicon Valley, King of the Hill) latest show on Peacock which satirizes the world of public radio, specifically NPR, through the stop-motion animated lens of its third most-popular host, Lauren Caspian (voiced by Zach Woods). Finally, Oscar season is officially upon us, and with Oscar nominations, comes invariably, Oscar snubs. The panel explores this year's nominees, and who may or may not have gotten the short end of the stick.  In the exclusive Slate Plus segment, the panel discusses a fun interactive from The New York Times, “The Menu Trends That Define Dining Right Now.”  Email us at culturefest@slate.com.  Outro music: “Bloody Hunter” by Paisley Pink Endorsements: Sam: An album he loves and owns on vinyl, Chameleon (1976) by the American singing trio Labelle. It's pure R&B funk dazzle.  Nadira: A threefold music endorsement: Midnight Dancer (1979) by the Philly soul group Silk, Spotify's “create radio” function, and a compilation of Barbara Ackland's greatest hits.  Steve: A gorgeous, lofi home recording of Sandy Denny singing her classic, “Who Knows Where the Time Goes.”  Podcast production by Cameron Drews. Production assistance by Kat Hong.  If you enjoy this show, please consider signing up for Slate Plus. Slate Plus members get an ad-free experience across the network and exclusive content on many shows. You'll also be supporting the work we do here on the Culture Gabfest. Sign up now at Slate.com/cultureplus to help support our work. Learn more about your ad choices. Visit megaphone.fm/adchoices

'De vrijheid om niet alleen een soort te zijn, maar ook een individu, is toch het allerleukst' schrijft Josephine Rombouts in haar boek Opmerkelijke vrouwen. In Schotland stuitte ze op de vraag wat vrouwen met ambities de afgelopen eeuwen hebben moeten doorstaan om te kunnen doen waar ze goed in zijn. Bij Wat blijft spreekt Lara Billie Rense met Rombouts over de levens van drie verschillende vrouwen. Alledrie hebben ze op hun eigen manier door muren van vooroordelen en belemmeringen moeten vechten. Verder in Wat blijft: Dichter Sytse Jansma over zijn bundel Rozige maanvissen, en leven en werk van muzikant Sandy Denny. In het tweede uur en de podcastaflevering van Wat blijft aandacht voor het leven van Pierre Kartner: Pierre Kartner, alias Vader Abraham, was altijd op zoek naar de volgende hit. Het kleine café aan de haven en Het Smurfenlied brachten hem wereldfaam. Veel minder mensen weten dat hij aan het begin van zijn carrière schunnige nummers maakte als onderdeel van het duo Venus en Penis. Kartner had twee kanten: de serieuze songwriter én de carnavaleske artiest. Ondanks zijn succes bleef hij een leven lang zoeken naar erkenning. Annette van Soest volgt zijn spoor terug met muziekjournalist Jan Vollaard, met zanger Jacques Herb, voor wie Kartner de hit Manuela schreef, en met Corry Konings, die op haar zestiende door hem werd ontdekt.  -------- Redactie radio: Laura Iwuchukwu, Nina Ramkisoen, Geerte Verduijn, Nienke Spaan. Eindredactie: Bram Vollaers

We begin another fab year of folk in the usual way, remembering the all-too-short career of Sandy Denny

Ha sido un año en el que los cambios se han reflejado con claridad en las propuestas de nuestros artistas favoritos, siendo en cierta forma el espejo de una sociedad como la norteamericana, con cambios constantes y una polarización evidente en la que los compositores y los músicos toman partido como nunca antes había ocurrido dando cuenta de todo aquello que ocurre cotidianamente a su alrededor, como ocurría en los comienzos de la historia de la música tradicional. Es un regreso a las raíces en toda regla. En este último podcast del año queremos compartir una docena de canciones que significan a la perfección el espíritu de RADIO CON BOTAS y que han tomado el pulso a la Americana a lo largo de este 2023 que se acaba. 01-ISRAEL NASH “Ozarker” (Nash) Soundly Israel Nash es un músico capaz de que el término “cinematográfico” sirva para describir a la perfección buena parte de sus canciones y de su forma de interpretarlas. Nacido y criado en Missouri, pasó por Nueva York y en 2011 se mudó a Texas, construyendo un estudio de grabación en Dripping Springs. Pero para construir las canciones de este nuevo trabajo se trasladó a un pueblo cercano donde realizó las primeras maquetas con una guitarra, un viejo teclado Casio y una grabadora de cuatro pistas. En 10 días lo modeló en su estudio y viajó a Los Angeles para completarlo. Como indica su título, Ozarker, el décimo segundo de su recorrido, Israel Nash rinde homenaje a sus raíces en Ozark, una ciudad del estado de Missouri de poco más de 20.000 habitantes cuyo nombre tiene que ver con las Ozark mountains, en las que encuentra refugio para compartir historias impregnadas de los íntimos sentimientos de sus paisanos y de sus familiares más cercanos, lo que supone un cierto regreso a casa. Así lo hace en su tema central, contando la historia de su bisabuelo, un trabajador migrante que se enamoró de la hija del dueño de un huerto en el que trabajaba. Cumplió su promesa de regresar para casarse con ella y le estaba esperando sentada allí, en las escaleras de la entrada, con un vestido que guardo en la maleta para irse. Todo ello con una fuerte influencia de los modos de Springsteen para envolver sus historias. De hecho, en esta colección de diez canciones muy personales, Israel Nash hace evidentes guiños al Boss, Bob Seger y Tom Petty, sin olvidar a su siempre reverenciado Neil Young. El resultado es una especie de homenaje a las melodías que hemos escuchado en grandes himnos del rock, que podremos escuchar en la segunda mitad de febrero en su gira por seis ciudades españolas. 02-CHRIS STAPLETON “The Bottom” (Stapleton) Mercury Nashville La edad y la experiencia suelen proporcionar sabiduría y en el caso de Chris Stapleton es mucho más que evidente. Hace ocho años editó su álbum de debut álbum titulado Traveller, después de recorrer distintos caminos, desde ser escritor de canciones en Nashville durante décadas, formar parte de un grupo fundamental dentro del bluegrass como los Steeldrivers y, por fin, aventurarse a iniciar una carrera en solitario. En la actualidad nadie duda que el músico de Kentucky ha hecho que la country music esté recuperando carácter y, sobre todo, alma. Esa que había perdido por culpa de la industria afincada en Nashville. Además, lo ha conseguido desde dentro, ganando ocho Grammys y una tonelada de premios, entre los que destacan los de la Country Music Association y la Academy of Country Music. Su carrera tiene mucho de redención para un género construido desde la tradición y las raíces, y desnortado por las manos que mandan en Music Row. Su omnipresencia en muy diversos proyectos en los últimos años daba muestras de estar en gran forma, pero iba creciendo la casi necesidad de un nuevo álbum que diera continuación al contundente Starting Over de 2020. Cuando recibimos los primeros anticipos entendimos que Chris Stapleton sigue siendo un artista imprescindible, con una capacidad narrativa impecable. Chris Stapleton acaba de lanzar su nuevo álbum, Higher, un profundo disco de country soul que ha producido junto a su mujer Morgane y Dave Cobb, con la exquisitez de la que siempre han hecho gala. Está hecho a mano, con el cuidado y la entrega necesaria para que la espera haya merecido, y mucho, la pena. La característica fundamental de este trabajo es reafirmarse, por si alguien pudiera tener alguna duda, de la importancia que Morgane tiene en su vida. Hay quien ha dicho que son los Johnny & June del presente y no parece que se haya equivocado. Comparten un amor inquebrantable, una tranquila confianza y seguridad además de una admiración mutua que se manifiesta en una poderosa energía creativa. Stapleton ha querido ir más alla del estereotipo que relaciona el country y el alcohol en las zonas rurales de Estados Unidos y de forma muy especial tras una ruptura amorosa llegando a la angustia que destila, nunca mejor dicho, “The Bottom”. 03-TURNPIKE TROUBADOURS “Chipping Mill” (Edwards/Roark) Bossier City En mayo de 2019 Turnpike Troubadours se habían tomado una pausa mientras Evan Felker, su líder, se recuperaba de su adicción al alcohol y a otros problemas personales. La banda de Oklahoma nos había dejados huérfanos de un sonido esplendoroso desde que el álbum A Long Way From Your Heart, se lanzó en el 17. Producido por el legendario Shooter Jennings en los míticos estudios FAME de Muscle Shoals y rematado en Los Ángeles, A Cat in the Rain, apareció también el pasado verano con una colección de diez canciones nuevas y dos versiones inesperadas que nos reencontraba con el mejor sonido de la Red Dirt Music. “Chipping Mill”, que compusieron R.C. Edwards, bajista y socio fundador de los Troubadours, y Lance Roark, colaborador habitual del grupo, es uno de los momentos magistrales en los que se hace notar el protagonismo del fiddle de Kyle Nix respaldando esa voz siempre reconocible de Evan Felker. Es el recuerdo de una relación rota que deja para la interpretación el cómo y el por qué, con el sentimiento mantenido de que “Siempre guardé lo mejor para ti". 04-OLD CROW MEDICINE SHOW feat. WILLIE WATSON “Miles Away” (Secor/Tuttle) ATO Si te encuentras con algún amigo o amante perdido Y solo ves restos de reticencia Agarra el cuerno de la silla de montar y estira tu cuerpo No dejes que el pasado tome las riendas Aprovecha la oportunidad de decir te quiero Incluso si sientes que es algo tarde. Porque antes de que te des cuenta, justo al final, el camino girará a millas de distancia Old Crow Medicine Show publicaron en el verano un nuevo trabajo, Jubilee, donde mantienen su sonido tradicional para contar el presente del mundo en que vivimos, con sus problemas, sus enfrentamientos y su cariño por las tierras del Sur. En él pudieron contar con colaboraciones tan sobresalientes como las de Mavis Staples, Sierra Hull y Willie Watson. La canción que destacó desde su primera escucha fue “Miles Away”, que Ketch Secor creó junto a la siempre brillante Molly Tuttle y en la que ha contado con la voz de Willie Watson, que fuera cofundador de los Crow allá por 1998. Es una mirada por el retrovisor donde, como dice el texto que suele figurar en él, todo está más cerca de lo que parece. Ha pasado un cuarto de siglo desde que Old Crow Medicine Show se creó en Nashville como una banda de cuerda que hacía old-time, folk y un country alternativo con cierta estética punk. Y para mirar atrás era preciso recuperar a Willie Watson más de 10 años después de su marcha. 05-TYLER CHILDERS “In Your Love” (Seale/Childers) Hickman Holler/RCA Desde la publicación de Can I Take My Hounds to Heaven?, un disco triple con diferentes remixes de ocho canciones de góspel, estábamos esperando nuevas noticias de Tyler Childers, un tipo de Lawrence County, en Kentucky, que siempre sorprende. A primeros de septiembre llegó Rustin' In The Rain, grabado con los Food Stamos en el estudio casero del guitarrista de este sexteto de apoyo, James Barker. Son principalmente canciones de amor entre las que hay algunas versiones, algún tema co-escrito y una sensación de libertad y disfrute con las actividades habituales de su granja. En una canción del nivel de “In Your Love”, que debería ser un éxito radiofónico en un mundo perfecto, está acompañado por un espléndido vídeo protagonizado por los actores Colton Haynes y James Scully en los papeles de dos mineros del carbón de los años 50 que se enamoran. Hay que recordar que Tyler Childers escribe frecuentemente sobre las minas del carbón, que fue la ocupación de su padre. Y que, disco a disco, consolida su reputación como una de las voces más importantes de estos tiempos. 06-ZACH BRYAN “Pain, Sweet, Pain” (Bryan) Belting Bronco/Warner Artistas como Zach Bryan están poniendo un enorme signo de interrogación a la industria musical que se refugia en el bunker monolítico de una escena obsoleta, casi siempre asentada en Nashville, con las mismas lentejuelas que criticaba Johnny Cash hace décadas. Los datos son irrefutables: Este chaval de 27 años nacido en Oklahoma ha metido las 16 canciones de su último álbum, de título homónimo, entre las primeras 50 de las listas. Su musical preseva las raíces, oscilando entre el country, el folk y el rock con una naturalidad apabullante. No desdeña invitar a The War and Treaty, Sierra Ferrell, los Lumineers o Kacey Musgraves a sus grabaciones, ni lanzar un simple EP de cinco canciones menos de un mes después de publicar su último álbum que ha llamdo Boys of Faith y que es el resultado de encerrarse durante una semana en el estudio, componer y compartir el tiempo con las gentes y los paisajes que tiene una significación especial en su vida. En dos de los temas ha contado con Bon Iver y Noah Kahan. Es como una mirada nostálgica al pasado representada a la perfección con eñ tema de cierre, que llevaba mucho tiempo interpretado en sus conciertos pero que no había llegado a grabar. Se trata de “Pain, Sweet Pain”. 07-MOLLY TUTTLE & GOLDEN HIGHWAY “El Dorado” (Tuttle/Secor) Nonesuch Hace siete años que asistimos al debut de Molly Tuttle y su progresión ha corroborado las expectativas desde que escuchamos su primer EP, gracias al cual la International Bluegrass Music Association la premió como Guitarrista del Año, siendo la primera mujer en conseguirlo y repitiendo al año siguiente, cuando editaba el primero de los cuatro álbumes que la han llevado a ampliar horizontes. El último de esos registros, City of Gold, lo acaba de editar junto a Golden Highway y es la continuación de Crooked Tree, por el que se llevó un Grammy al mejor disco de bluegrass. Molly Tuttle tiene el género de Kentucky impreso en la piel gracias a ser hija de Jack Tuttle, con cuya banda tocó con tan solo 15 años. Sin embargo, ella es californiana y Molly Tuttle en esta nueva entrega ha vuelto a dejarse atrapar por esas influencias de la Costa Oeste que abarcan de la psicodelia al folk pasando por los contadores de historias. El tema de apertura, compuesto con Ketch Secor de Old Crow Medicine Show, es “El Dorado”, inspirado en la fiebre del oro, que ella establece como un sentimiento parecido al de la música que la sedujo desde niña. La producción de Jerry Douglas vuelve a resaltar la emotividad de cada nota. 08-MARGO CILKER “Mother Told Her Mother Told Me” (Cilker) Fluff and Gravy Uno de los mejores ejemplos de la resiliencia de las mujeres es el de Margo Cilker, a quien conocimos por su visita a Euskadi en 2016 y de quien hablamos hace un par de años cuendo editó su álbum Pohorylle (POJORIL), convertido en uno de nuestros favoritos de entonces. Su continuación es Valley of Heart's Delight, que tiene que ver con que ella es la quinta generación familiar nacida en ese Valle de Santa Clara, en California, que todos conocemos como Sillicon Valley. Son once canciones con la familia y la naturaleza como protagonistas de historias personales que unen buena parte de los paisajes que su alma viajera ha recorrido y que son casi siempre la inspiración de sus composiciones y el contar con su mentora, la productora, baterista, compositora y veterana de la escena indie Sera Cahoone, como apoyo inigualable. La variedad emocional es una de las características más evidentes de esta nueva propuesta, hablando de lo común y cotidiano. Así ocurre en "Lowland Trail" donde mantiene un arrope sonoro bastante austero, aunque todo suena con una brillantez natural que recuerda el ambiente de los patios traseros de los hogares. "Lowland Trail", es un tema que parece bañado por el sol y tiene que ver con las labores en un rancho de ganado, donde nos encontramos a Margo Cilker rodeada de los paisajes del noroeste, meditando sobre su propio sentido de pertenencia y transportándonos a una época anterior al boom tecnológico. 09-MARGO PRICE “Unoriginal Sin” (Price/Campbell) Loma Vista/Concord Strays, el más completo y sugerente álbum de la carrera de Margo Price, es una fusión de country, rock, folk y música americana que la artista de Aledo, en Illinois, decidió entregar en dos tomas y, además dividir a su vez la segunda en tres. El segundo capítulo de la segunda parte de este proyecto, Act II: Mind Travel, nos dejo algunos momentos sublimes como es el caso de “Unoriginal Sin”, donde se acompaña por la guitarra de texturas “harrisonianas” de Mike Campbell, que ha compuesto la canción con ella. Producida por Jonathan Wilson, es una pieza que inspirada también en las experiencias con los hongos, sigue escarbando en los rincones oscuros del tiempo y el espacio a modo de viaje psicodélico, con la musicalidad de la vieja escuela. Margo decidió hace tiempo que quiere que la gente la tome en serio como compositora y sabe que siendo mujer tiene que trabajar mucho más duro para demostrar una valía innegable. 10-KASSI VALAZZA “Room In The City” (Valazza/Sigler) Fluff And Gravy Kassi Valazza es nativa de Chino Valley, la que fuera primera capital territorial de Arizona, y la música del desierto tiene una lenta tonalidad propia de los indios que aún perduran en aquellos parajes. Aunque ella se haya trasladado hasta Portland, en Oregon, mantiene viva la naturalidad de ese mundo, combinada con un sonido que toma prestado del folk inglés de Sandy Denny y el country and western, al que añade toques de psicodelia en sus márgenes. Manteniendo esa sensación de quietud en la envoltura de las canciones de su segundo álbum, Knows Nothing, que da continuación a su debut de 2019 Dear Dead Days, las letras sí que parecen ir ahora a una velocidad casi endiablada. Los versos dan la impresión de haber sido escritos a mano por su inmediatez y franqueza, poniendo en primer plano las realidades de las relaciones sentimentales, a veces tan contradictorias como difíciles de describir y más aún de compartir. Kassy Valazza grabó todo este nuevo disco en vivo, con el respaldo de TK and The Holy Know-Nothings, un quinteto liderado por Taylor Kingman con sede en Portland que no deberías dejar pasar. La banda escuchó las canciones por primera vez en el estudio y eso permitió que apareciera la magia y sucediera lo inesperado, como ocurre en como enfrentarse a las emociones del final de una relación en “Room In The City”, una delicia que nos animó a soñar con una posible visita, que se hizo realidad el pasado mes de noviembre y que no podremos olvidar. 11-DYLAN LEBLANC “Coyote” (LeBlanc) ATO Barre mis cenizas No soy del tipo que envejece Me voy a una nueva tierra Voy a robar el oro de un hombre rico. Voy a tomar lo que es mío Que la Santa Muerte se lleve mi alma. Así es “Coyote”, el tema central del último álbum de Dylan LeBlanc, que supuso un nuevo paso en el ascenso de un músico de amplios horizontes y profundas convicciones sonoras y personales. Con una tonalidad vocal que siempre nos recuerda a un juvenil Neil Young, Dylan LeBlanc nos regalará a finales de octubre un disco conceptual con tintes autobiográficos que narra la crónica de un hombre que vive siempre al límite. El músico de Shreveport (shriport), Louisiana, visitó ocho ciudades españolas en noviembre siendo el protagonista de los mejores conciertos en pequeño formato de este 2023, donde estuvo acompañado por su padre, James LeBlanc, de quien ha tomado buena parte de sus enseñanzas. Dylan tomó el camino del romanticismo a la hora de estrenarse en este mundillo y su espíritu nómada y vagabundo es lo que parece haberle relacionado ahora con la figura del coyote, confiado a su instinto para sobrevivir. El álbum se enfrenta a la naturaleza humana y al materialismo con el arrepentimiento de una vida desperdiciada, más interesado en representar lo que existe que en juzgarlo. En él se manifiesta que LeBlanc comprende, por experiencia propia, lo que significa vivir en el mundo de hoy. 12-JASON ISBELL AND THE 400 UNIT “Cast Iron Skilett” (Isbell) Southeastern/Thirty Tigers Si Crazy Horse o los Heartbreakers han sido imprescindibles para Neil Young o Tom Petty, 400 Unit lo es para Jason Isbell, uno de los más revelantes compositores de la Americana en cualquiera de sus sentidos. Acompañado por ellos, el músico de Green Hill, en Alabama, ha tomado el papel de contador de historias en la forma más clásica del término y cuenta, por ejemplo, que si romantizamos el pasado no podremos aprender de él. Esa es una buena parte de la filosofía que envuelve su último álbum, Weathervanes, con una docena de composiones grabadas en el Blackbird Studio de Nashville, que interiorizan el tiempo vivido y el aprendizaje, procurando superar lo peor del Sur, incluyendo sus mitos y leyendas, e intentando construir algo nuevo y mejor . En "Cast Iron Skillet", uno de los momentos más destacados del mismo, realata como fue su aprendizaje de la vida mientras creció en la zona rural de Alabama. Jason Isbell ha hecho a l largo de este año su debut como actor en Killers of the Flower Moon de Martin Scorsese, protagonizada por Leonardo Dicaprio y Robert De Niro y absolutamente recomendable. SIERRA FERRELL “The Garden” (Ferrell/ Craven) Geffen La hemos escuchado abarcar casi todas las propuestas de la Americana y colaborar con algunos de sus grandes nombres, como Margo Price, Brooks Forsyth o Zach Bryan. Es Sierra Ferrell, un prodigio a la hora de ensamblar las distintas propuestas de la tradición sonora y de la que esperamos un nuevo álbum en el inminente 2024. El violín y la guitarra son sus aliados naturales para envolver una voz de altísimas prestaciones y dejar canciones de la talla de “The Garden”, que forma parte de la banda sonora de la precuela de Los Juegos del Hambre. Se trata de un tema que viene interpretando desde hace tiempo y que, a diferencia de los demás incluidos en la película, ha sido producido por Eddie Spear y Gary Paczosa.

"A winter's day in a deep and dark December,  I am aloneGazing from my window to the streets belowOn a freshly fallen, silent shroud of snowI am a rock, I am an islandAnd a rock feels no painAnd an island never cries"Here in SoCal it doesn't feel like Winter and I'm not an Island or a Rock so we can all enjoy the music together. Joining us are Graham Parker, Lonnie Mack, Linda Ronstadt, Sandy Denny, Dave Mason, Dire Straits, Seals & Crofts, Frank Sinatra, Booker T & The MG's, Steve Miller Band, Elvis Presley, John Coltrane, Jackson Browne w Bonnie Raitt, Stevie Ray Vaughn, Billy Stewart, Billie Holiday, George Benson, The Four Tops, Wayne Fontana & The Mindbenders, Chuck Berry, The McCoys, Joe Jackson, Herbie Mann, The Supremes, Everly Bothers and Simon & Garfunkel...

Del raises the red flag over an invasion of "Canadian "Super Pigs" who have somehow gotten across the border with passports forged by AI. Canadians fear this will crash the export market for Canadian bacon.Bucks and co-host Judith discuss their Thanksgiving holidays. Tell us about yours.Judith and Del discuss seeing US presidents Kennedy and Carter but Dave has not yet had a sighting.   Listeners tell us where they were on November 22, 1963.A discussion of the Anne Lamott piece Dave read last week leads to Judith and Dave fessing up to senior moments. Del can't remember if he had any.Sports Illustrated gets caught using AI to write stories.  Next week we talk to Stan Gordon, UFO researcher for over fifty years.  Bonus track today is Sandy Denny singing Who Knows Where the Time GoesGive us your thoughts: BUCKSTWOOLD@GMAIL.COM Find us on Twitter: @twooldbucks1Leave a Voice message - click HERE

Esta semana, en Islas de Robinson, nos movemos entre 1967 y 1970. Suenan: GENE CLARK - "THE SAME ONE" ("GENE CLARK WITH THE GOSDIN BROTHERS, 1967) / HEARTS & FLOWERS - "SECOND-HAND SUNDOWN QUEEN" ("OF HORSES, KIDS AND FORGOTTEN WOMEN", 1968) / THORINSHIELD - "THE BEST OF IT" ("THORINSHIELD", 1967) / GALE GARNETT & THE GENTLE REIGN - "YOU COULD HAVE BEEN ANYONE" (AN AUDIENCE WITH THE KING OF WANDS", 1968) / JERRY JEFF WALKER - "LITTLE BIRD" ("MR. BOJANGLES", 1968) / DIANE HILDEBRAND - "EARLY MORNING BLUES & GREENS" ("EARLY MORNING BLUES & GREENS", 1968)/ SANDY DENNY & THE STRAWBS - "STAY AWHILE" ("ALL OUR OWN WORK", 1968/73) / BILLY NICHOLLS - "COME AGAIN" ("WOULD YOU BELIEVE", 1968) / EUPHORIA - "LADY BEDFORD" ("A GIFT FROM EUPHORIA", 1969) / APPALOOSA - "YESTERDAY'S ROADS" ("APPALOOSA", 1969) / RON ELLIOTT - "DEEP RIVER RUNS BLUE" ("THE CANDLESTICKMAKER", 1969) / AMORY KANE - "THE INBETWEEN MAN" ("JUST TO BE THERE", 1970) / KAREN BETH - "NOTHING LASTS" ("THE JOYS OF LIFE", 1969) / LINDISFARNE - "WINTER SONG" ("NICELY OUT OF TUNE", 1970) / Escuchar audio

Abrimos número 45.2023 con el descubrimiento del progresivo de los suecos Agusa, de los que escuchamos su nuevo álbum, Prima Materia, publicado este 2023. Después escuchamos la inclasificable música de Yang, a través de su último trabajo hasta la fecha, de 2022, Designed for Disaster. Volvimos a escuchar a los norteamericanos Fatso Jetson, esta vez con su séptimo álbum de estudio, Flames For All, publicado en 1999. Nuestra primera pincelada de rock clásico vino de la mano de la gran Sandy Denny y sus Fotheringay, proyecto cuasi en paralelo a Fairport Convention, que debutaron en 1970 con su estupendo álbum homónimo. Continue reading La Ruleta Rusa 45.2023. Agusa. Yang. Fatso Jetson. Fotheringay. Birthday Ass. Friends of Dean Martinez. Lynyrd Synyrd. at La Ruleta Rusa Radio Rock.

Connecting with David Cousins of The Strawbs for this episode was a different experience for both of the Imbalanced Brothers. Ray was a fan of the band from the 1970s, when Markus was still a younger kid! So they each approached this interview, and the new album, differently. The result is a very exciting take on a classic band making their way back up the UK charts with The Magic Of It All, how they got there, as well as how South Africa now, and then, became central to the project. Dave shares some incredible stuff for guitar and banjo players regarding tunings, tells tales of Sandy Denny and Rick Wakeman, and capped the visit by revealing that a collaboration with members of Wu-Tang Clan is in motion. Find out more about The Strawbs, their new album, and more on their web site! Learn more about your ad choices. Visit megaphone.fm/adchoices

Connecting with David Cousins of The Strawbs for this episode was a different experience for both of the Imbalanced Brothers. Ray was a fan of the band from the 1970s, when Markus was still a younger kid! So they each approached this interview, and the new album, differently. The result is a very exciting take on a classic band making their way back up the UK charts with The Magic Of It All, how they got there, as well as how South Africa now, and then, became central to the project. Dave shares some incredible stuff for guitar and banjo players regarding tunings, tells tales of Sandy Denny and Rick Wakeman, and capped the visit by revealing that a collaboration with members of Wu-Tang Clan is in motion. Find out more about The Strawbs, their new album, and more on their web site! Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome. Dave Pegg is the longest serving member of Fairport Convention. Fairport are one of those bands who are a subculture unto themselves. They were formed in 1967 with Dave joining the band in 1969. Fairport split in 1979 but reformed in 1985 and have been active since then. They're still a very hardworking touring band here in the UK. They came through my hometown of Southend earlier this year and I saw my first Fairport show. Frankly, I was shocked how good it was. The band on record tend to be a bit defined by a run of albums they did in the late 60s when Richard Thompson and the late Sandy Denny were in the band. I think a bit of line-up snobbery had contributed to my not having seen them sooner, but alongside Dave, the band still features founding member Simon Nicol. Multi-instrumentalists Ric Sanders and Chris Leslie have been in the band since 1985 and 1996 respectively. The tour I caught them on also saw them reunite with drummer Dave Mattacks who originally joined in 1969 and has had several spells in the band.   A big part of the Fairport culture is their annual music festival Cropredy which is taking place in August this year, so we discuss preparations for this year's event. In addition to Fairport Convention, Dave played with Jethro Tull for a long time, as well as working with Nick Drake on his wonderful “Bryter Later” album. Hope you enjoy our conversation. Instagram: @sendingsignalspodcastTwitter: @signalspodcast

Tributes to Harry Belafonte (died this week) and Sandy Denny (died 45 years ago this week), plus new rmusic from Michael Jerome Browne, Imar, and Natalie Merchant. Concert previews of Scots trad band Daimh and Get Back-Unplugged, Vancouver band celebrating The Rogue's 36th Anniversary next weekend with their own spin on classic Beatles songs. So a bit of a nostalgia trip down the Rogue history with some favourite musical memories. Also a new anti-gun song from Old Crow Medicine Show, and a whole lot more besides.

It's been a long time since Bill and Tony have rock and rolled.  After episodes on Christmas music and Taylor Swift, let us get it back, let us get it back to where we come from as we return to classic rock with Led Zeppelin IV.  Join us as we battle over  "The Battle of Evermore".  We have so many somethings you might not know, the leavee's goin' to break. But not to worry -  we're buying a stairway to classic rock and getting the Led out! Song Draft Poll: click here Email Us:  bill@bntexcellent.com tony@bntexcellent.com Social Media: Instagram: billandtonypod Twitter: @billandtonypod Facebook: https://www.facebook.com/bntexcellent Interesting Links How Led Zeppelin Won Over Critics: click here How Led Zeppelin IV Was Made: click here How Robert Plant Nearly Joined The Who: click here Why Led Zeppelin Brought in Sandy Denny: click here Album Links Apple Music: click here Spotify: click here Amazon Music: click here

EPISODE 81: Sonja Kristina is a singer, actress and songwriter known has a member of the original cast of the musical "Hair" and as the lead singer for the progressive rock group, Curved Air. Kristina was born in Brentwood, England as Sonja Christina Shaw, daughter of a criminologist and granddaughter of Swedish actress Gerda Lundequist. Kristina first appeared on stage at the Swan Folk Club in Romford at the age of thirteen. Her first professional gig was at a Folk Festival in Southgate, London a year or so later. By 1968, while studying at the New College of Speech and Drama, Kristina was helping to run, and performing at, the Wednesday evening sessions at London's Troubadour Folk Club. She was generally known on the folk scene as "Sonja" having previously appeared several times on the British children's TV show Song and Story under that name. Her first manager was Roy Guest of Folk Directions. In 1968, Kristina auditioned for and won the part of "Crissy" in the London stage production of the stage musical Hair. She features on the original cast album singing the song "Frank Mills", also released as a single. She also briefly sang with The Strawbs, following the departure of Sandy Denny. sonjakristina.comContact us: makingsoundpodcast.comFollow on Instagram: @makingsoundpodcastFollow on Twitter: @JannKloseBandJoin our Facebook GroupPlease support the show with a donation, thank you for listening!

This episode is part of Pledge Week 2022. Every day this week, I'll be posting old Patreon bonus episodes of the podcast which will have this short intro. These are short, ten- to twenty-minute bonus podcasts which get posted to Patreon for my paying backers every time I post a new main episode -- there are well over a hundred of these in the archive now. If you like the sound of these episodes, then go to patreon.com/andrewhickey and subscribe for as little as a dollar a month or ten dollars a year to get access to all those bonus episodes, plus new ones as they appear. Click below for the transcript Transcript Before I start, a warning. Even though this episode is short it deals with many, many, upsetting subjects. If you're likely to be upset by a story dealing with the death and disfigurement of small children, disability, mental illness, gun violence and eye injuries, you're probably best off skipping this episode altogether, as it deals with these subjects right from after the first excerpt of music until the end. It's not a happy story. In this week's main episode we talk briefly about a record that Paul Simon produced while he was in Britain, before "The Sound of Silence" became a big hit. The performer whose record he produced only released that one album in his lifetime, but it's a record that had an outsized influence on the British folk-music scene. So today, we're going to have a look at the tragic life of Jackson C Frank, and at "Blues Run the Game": [Excerpt: Jackson C Frank, "Blues Run the Game"] Jackson C Frank's life started to go badly, irrevocably, wrong, when he was just eleven years old. His family lived in Buffalo, New York, where the winters are long and cold, and Jackson was a Baby Boomer. Because of the tremendous number of new children going through the school system, the brick schoolhouse at the school he attended had been augmented with an annexe, made out of wood, and he was in that annexe, in a music lesson, when the boiler exploded and set fire to it. Jackson was one of the lucky ones. That fire took the life of fifteen of his classmates, and spurred a national movement towards banning timber buildings for schools and the institution of fire drills, which up to that point had not been a thing. Jackson got thrown out of a window by a teacher, and the snow put out the flames on his back, meaning he "only" suffered burns over sixty percent of his body, scarring him for life. He had to spend a year in hospital, have a tracheotomy, and have a metal plate put in his head. He developed thyroid problems, got calcium deposits that built up over the years and frequently left him in agony, and always walked with a limp and only had limited movement in his arms. Many celebrities did things to comfort the children, who became nationally known. Kirk Douglas came to the hospital to visit them, and later in his childhood Jackson was able to go and meet Elvis, who became a big inspiration for the young man. He spent his teenage years going around the local music scene, including spending a long time with a friend who later became known as John Kay of Steppenwolf, but then when he turned twenty-one he got a massive insurance payout that had been held in trust for him. I've seen different numbers for this -- it was either fifty or a hundred thousand dollars, and in modern terms that would be about ten times that much. Being a young man, he didn't want to invest it, he wanted to buy expensive cars. He wanted an Aston Martin and a Bentley, and Britain was where they made Aston Martins and Bentleys, so he caught a boat to England, and on the trip over started writing songs, including the one that would become his best known: [Excerpt: Jackson C Frank, "Blues Run the Game"] Once he was in the UK, Frank moved into Judith Piepe's flat, where he started a relationship with an eighteen-year-old nurse, who was also trying to be a singer. Frank encouraged her to follow her dreams and become a professional, and Sandy Denny would later record some of his songs, and wrote the song "Next Time Around" about him: [Excerpt: Sandy Denny, "Next Time Around"] While he was in London, he became well known on the folk circuit, regularly playing Les Cousins, and as Ralph McTell put it, "EVERYONE" sang 'Blues Run the Game'". Over the years, the song has been performed by everyone from Bert Jansch: [Excerpt: Bert Jansch, "Blues Run the Game"] to Counting Crows: [Excerpt: Counting Crows, "Blues Run the Game"] Frank's own version of the song was recorded on his one and only album,  which was produced by Paul Simon, as we heard in the main episode. That album also included songs like "Carnival", which has now possibly become the song of Frank's that has been heard by most people, as it was featured both on the soundtrack and in the dialogue of the 2019 film Joker: [Excerpt: Jackson C Frank, "Carnival"] The album didn't sell, and Frank returned to the US, after marrying Elaine Sedgwick, the cousin of Edie Sedgwick. He was missed when he left, and Roy Harper, another folk musician who played the same circuit, wrote "My Friend" about his departure: [Excerpt: Roy Harper, "My Friend"] When he came back in 1968 to do a couple of shows, though, his depression, which had always been bad since the fire, had worsened. Al Stewart said "He proceeded to fall apart before our very eyes. His style that everyone loved was melancholy, very tuneful things. He started doing things that were completely impenetrable. They were basically about psychological angst, played at full volume with lots of thrashing. I don't remember a single word of them – it just did not work. There was one review that said he belonged on a psychologist's couch." He was withdrawn, and wouldn't speak to people, and he had writer's block. To make matters worse, his home life was also going awfully. His insurance money had all run out, but Paul Simon had given him a loan of three thousand dollars, with Simon taking Frank's publishing as surety, so he could start a business, but the business failed and Simon kept the publishing. In 1971, when Art Garfunkel was recording his first solo album, he asked Frank if he had a song that might be suitable. Frank had actually written a new song, "Juliette": [Excerpt: Jackson C Frank, "Juliette"] Unfortunately, when he turned up to see Garfunkel, he brought along a few hippy friends, who all made fun of Garfunkel for being a sell-out, and so Garfunkel didn't record the song, though he did give Frank a new guitar. By the early seventies, Frank was in a very bad way. He and his wife had had two children, but one had died of cystic fibrosis, and the marriage had ended. He spent periods of time in psychiatric hospitals, and was diagnosed with paranoid schizophrenia, though he always said himself that he wasn't schizophrenic, he was suffering from depression because of the loss of his son. He was living off handouts from friends, even as his songs were inspiring new artists like Nick Drake, who recorded four of his songs: [Excerpt: Nick Drake, "Here Comes the Blues"] In the early eighties he was living with his parents, but then in 1984 while his mother was in hospital he got an idea -- he could go to New York and find his old friend Paul, and ask him for his publishing back, or maybe just for some money. He didn't leave a note, and his parents had no idea where he'd gone. He did go to New York, but he couldn't find his friend, and he ended up homeless, living on the streets, and in and out of psychiatric institutions. In the early nineties, a fan tracked him down and helped sort out some accommodation for him in Woodstock, where he'd lived in his twenties. By this time he was in an awful physical and mental state, and the fan described him as looking like the Elephant man because of the bloating from his thyroid problems and his joint issues affecting his posture (though I have to say that from the couple of photos I've seen of him at this time, that's quite an exaggeration). But just to rub salt in the wound, after the accommodation had been arranged, but before he'd had a chance to move, he was sat on a park bench in Queens, and some kids, shooting randomly with a pellet gun, hit him in his left eye, permanently blinding him in that eye. His rediscovery got a bit of publicity, and led to his album being reissued on CD. He also started writing again, and recorded some demos on a cheap cassette recorder in 1997, many of which have since been released on various compilations: [Excerpt: Jackson C Frank, "(Tumble) in the Wind"] But 1997 was also the year that Frank moved into a care home, and he wouldn't record any more after that. In 1998, Paul Simon finally returned his publishing to him, presumably having given up on ever getting his three thousand dollars back. And on March the third, 1999, one day after his fifty-sixth birthday, Jackson C Frank died of pneumonia. His game had finally run to its end.