Podcasts about Scientology

Send us a textMarc and Claire Headley share the behind-the-scenes story of how they self-published "Blown for Good," their exposé of Scientology's International Headquarters, despite the organization's history of blocking critical books.• Marc started posting stories online in 2006-2007 under the handle "blown for good"• Decided to self-publish in 2009 after learning how Scientology threatened publishers with costly litigation• Created their own publishing company to protect themselves from legal threats• Worked with former Scientology staff who had escaped, including editors and designers• Balanced Scientology terminology with explanations to make the book accessible to all readers• Created a 40-page glossary to explain Scientology's unique language• Cut the manuscript from 800+ pages to under 400 pages• Designed and included a detailed map of the International Headquarters• Initially printed 5,000 hardcover copies• Fulfilled orders from their living room while managing full-time jobs and raising young children• Later added a paperback edition and included the police report documenting Marc's escape• Book became a significant resource for understanding abuses at Scientology's secretive baseYou can purchase signed copies of "Blown for Good" directly from blownforgood.com, or find the Kindle and Audible versions on Amazon.Support the showBFG Store - http://blownforgood-shop.fourthwall.com/Blown For Good on Audible - https://www.amazon.com/Blown-for-Good-Marc-Headley-audiobook/dp/B07GC6ZKGQ/ref=tmm_aud_swatch_0?_encoding=UTF8&qid=&sr=Blown For Good Website: http://blownforgood.com/PODCAST INFO:Podcast website: https://www.buzzsprout.com/2131160 Apple Podcasts: https://podcasts.apple.com/us/podcast/blown-for-good-behind-the-iron-curtain-of-scientology/id1671284503 RSS: https://feeds.buzzsprout.com/2131160.rss YOUTUBE PLAYLISTS: Spy Files Playlist: https://www.youtube.com/playlist?list=PLWtJfniWLwq4cA-e...

Jack Parsons, the inspiration for Iron Man and devotee of Aleister Crowley, was a brilliant loner genius who revolutionized Jet Propulsion and Rocket Science. Without him, NASA would have never gotten off the ground. But without Magick and Thelema, Jack Parsons would never have come up with groundbreaking discoveries. Join the boys this week as they go out to the American Southwest and learn a thing or two about Rockets, Magick, Scientology and espionage. 

California Gov. Gavin Newsom announced his response to the plan from Texas Republicans to redraw the Lone Star state's congressional maps that will add several republican seats in Congress. We talk about the federal law enforcement presence outside his speech, and the takeover of DC.We also talk about Tom Cruise and whether it's permissible to look past his prominent role in Scientology.Rob's conversation with Bryce Greene on Pete Buttigieg's comments on Gaza is available here: https://www.insurgentspod.com/p/ep-397-americas-mayor-ft-bryce-greene This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.insurgentspod.com/subscribe

TAKEAWAYSCults tell their members never to ask questions or say anything bad about the groupCults also tell their members never to trust anyone outside the groupScientologists will sign “billion-year” contracts hinged on their belief that they will reincarnate for billions of yearsScientology teaches that humans are “thetans,” which means they migrate from body to body throughout millennia

TAKEAWAYSIn Scientology, those who leave or embarrass the church are considered “suppressives” or “enemies”Actress Elisabeth Moss may be the next up-and-coming Scientologist face of HollywoodLeah Remini released a documentary series about her escape from Scientology called Leah Remini: Scientology and the AftermathHardcore Scientologists truly believe that L. Ron Hubbard is the greatest human being who ever lived

* We apologize for the audio! Our mics didn't connect properly, and this was the best we could do in editing

Story Time with Dutch Mantell 144 A lot of news to discuss from the pro-wrestling world this week. WWE sign a huge deal with ESPN, Karrion Kross gone from WWE and Bret Hart tells everyone they'd be better of they copied him more often. Elsewhere, Drew McIntyre blasts young wrestlers for not asking for advice, Brooke Hogan fears Scientology and Danhausen pays the APA in Coke. PW Tees Store - https://www.prowrestlingtees.com/dutchmantell https://www.youtube.com/@StevieRichardsShow https://www.youtube.com/@WSI https://www.facebook.com/storytimewithdutchmantell Email questions to: questionsfordutch@gmail.com Email for signed merch: dirtydutchmantell@gmail.com  

TAKEAWAYSScientology appeals heavily to pride and conditions its followers to worship themselvesThere are only around 15,000 scientologists worldwide, yet the church is worth billions of dollarsBeing involved with Scientology is like being in a narcissistic relationshipScientology is not quirky - it's based upon witchcraft and demonic beliefs

Send us a textMarc and Claire Headley take a deep dive into Scientology's critical "Keeping Scientology Working" (KSW) policy, revealing how it creates a no-win situation where followers are trapped in a cycle of self-blame while protecting Scientology from criticism.• KSW establishes ten points that form Scientology's mental control system• The policy includes Hubbard's chilling statement: "We'd rather have you dead than incapable."• Every Scientology course begins with studying this policy, reinforcing the conditioning• KSW creates "fanatical Scientology" with no room for moderate practice or questioning• The policy uses apocalyptic language about saving the planet to justify extreme dedication• Scientology redefines words like "reasonable" to control members' thinking• The policy serves as the justification for disconnection and attacking critics• Hubbard portrays himself as uniquely able to "rise above the bank" unlike ordinary humans• When Scientology doesn't work, KSW ensures members blame their "misunderstood words" or application, never the technology itselfWe're excited to announce the launch of the "Foundation Feed" series on the Michael J. Rinder Aftermath Foundation YouTube channel, starting tomorrow at 2 PM Mountain Standard Time. Please subscribe to help us reach our goal of 10,000 subscribers so we can host YouTube fundraisers to support our work helping those escaping Scientology.Support the showBFG Store - http://blownforgood-shop.fourthwall.com/Blown For Good on Audible - https://www.amazon.com/Blown-for-Good-Marc-Headley-audiobook/dp/B07GC6ZKGQ/ref=tmm_aud_swatch_0?_encoding=UTF8&qid=&sr=Blown For Good Website: http://blownforgood.com/PODCAST INFO:Podcast website: https://www.buzzsprout.com/2131160 Apple Podcasts: https://podcasts.apple.com/us/podcast/blown-for-good-behind-the-iron-curtain-of-scientology/id1671284503 RSS: https://feeds.buzzsprout.com/2131160.rss YOUTUBE PLAYLISTS: Spy Files Playlist: https://www.youtube.com/playlist?list=PLWtJfniWLwq4cA-e...

TAKEAWAYSThe E-meter essentially utilizes emotions to manipulate reactions from those undergoing the testCults claim that they have a truth no one else has access toCults will also encourage you to cut off all of your family and friends who aren't willing to follow suitCelebrities are often unable to leave Scientology because of blackmail - usually information that comes out in auditing sessions

On today's Bible Answer Man broadcast, Hank says a few words about apologetics, which is the defense of the faith once for all delivered to the saints.Hank also answers the following questions:How dangerous is L. Ron Hubbard and Scientology? Jim - El Paso, TX (3:44)How can I witness to an atheist? How can we convince them that the Bible is authoritative? Jeremy - Ada, OK (6:54)Should we prepare for doomsday? Rick - Austin, TX (15:12)Who are the people who say, “Lord, Lord,” in Matthew 7:21-23? Bob - Nashville, TN (19:01)Do ghosts exist? Are they demons? Darren - St. Louis, MO (21:40)

Please, help tell the story of the Lost Children of Scientology by PRE-ORDERING Jamie's Story Child X, on Amazon:https://a.co/d/chDfIwtPREORDER Jamie's innovative graphic novel loosely based on his life in a future adjacent Sci-fi Los Angeles, HYBRED, on Amazon:https://www.amazon.com/Hybred-Graphic-Novel-Jamie-Mustard/dp/1951491432To contact Jamie, reach/follow him on Instagram: @jamie_mustard https://www.instagram.com/jamie_mustard/ Support this channel:https://www.paypal.me/benjaminboycehttps://cash.app/$benjaminaboycehttps://www.buymeacoffee.com/benjaminaboyce

In this video, we dive into the similarities and differences between Scientology with  @GrowingUpInScientology  and Mormonism, exploring key Scientology concepts like Dianetics and auditing, and comparing them to Mormon beliefs and practices. We also discuss the controversial issue of family separation and disconnection within both groups, drawing from personal experiences and real-world examples. Whether you're curious about how these two religions operate or want to better understand the impact on families, this conversation offers a unique perspective from people who've lived it.#Scientology #Mormonism #ExMormon #ExScientology #Dianetics #Auditing #FamilySeparation #ReligiousTrauma #FaithTransition #CultSurvivor #religiouscontrol If you or someone you love has left polygamy and needs assistance, please reach out to "Holding Out HELP" at 801-548-3492 or visit their website at www.holdingouthelp.orgAt Growing Up In Polygamy our mission is to "Create compassion for communities that have been misunderstood, marginalized and/or abused by their leaders, and to empower those who have left by giving them a platform to share their stories with the world."If you would like to DONATE to this cause you can do so here: https://donorbox.org/growing-up-in-polygamyInsta: @growingupinpolygamyNew website is now up! www.growingupinpolygamy.comTheme Song created by @artcowles Please feel free to reach out to us!growingupinpolygamy@gmail.com

The Golden Crew is dreaming beyond Carnival! Join Trevor, Tom, and Jenn as they share which cruise lines are on their bucket lists (spoiler: Tom wants to try the Scientology ship for the "experience"). This week: Trevor's declining a bad book deal to self-publish his hockey romance "Second Shot," Tom's convinced he's been kicked out of the group chat (he hasn't), and we debate the merits of MSC's yacht club where you get your own butler named Jeeves. Plus, we discover Virgin's annual pass costs $120,000, Tom wants to bathe in champagne in a hot tub, and we explore Margaritaville's retirement communities where everyone goes "fins up!" We also thank our listeners for NOT getting us mentioned in John Heald's influencer post because we definitely don't want that responsibility. Fair warning: This episode contains dangerous levels of butler voice impressions and math that doesn't add up.

Heiße Nächte in Serino und kalter Nieselregen am Dammtor. Über emsländische Pragmatik, den toten Kirmesboxer Micky im Kofferraum seines Vaters, Rekommandeure im Schlafzimmer, Iron Maiden im Musikexpress, Deutsche Unsympathen beim Frühstück, Scientology und Polaks Möwe. Die einzige Liveshow der beiden, am 26. November in Hamburg, im sagenumwobenen "Übel & Gefährlich".Der Ticketlink zur Liveshow:https://www.eventim.de/artist/friendly-fire-podcast/ – oder einfach "Friendly Fire" bei Eventim ins Suchfeld zaubern.Executive Producer: Christoph Falke & Ruben Schulze-FröhlichProjektleitung: Annabell RühlemannSounddesign & Produktion: Carl von Gaisberg„Beisenherz und Polak – Friendly Fire“ ist ein Podcast aus den Wake Word Studios. Hosted on Acast. See acast.com/privacy for more information.

What connects Sabrina Carpenter, Scientology, Aleister Crowley, Jack Parsons, and MKUltra? In this explosive episode of Nephilim Death Squad LIVE, The Raven and Top Lobster sit down with researcher and musician Izzy N Griffin to uncover the occult blueprints hidden in Hollywood and the music industry.From the Babylon Working rituals to the rise of the Divine Feminine agenda, Izzy reveals how pop culture, celebrity worship, and esoteric symbolism are shaping society in ways most people never notice. We dig into the hidden history of Thelema, the influence of Crowley, and the manipulation of archetypes through modern media.This episode exposes the occult underpinnings of today's entertainment industry and shows how these forces are tied to spiritual warfare, cultural engineering, and the Nephilim agenda.Izzy N GriffinPatreon: Patreon.com/IzzyNGriffinInstagram: Instagram.com/IzzyNGriffinYouTube: YouTube.com/@IzzyNGriffinX (Twitter): X.com/IzzyNGriffin☠️ NEPHILIM DEATH SQUAD   Skip the ads. Get early access. Tap into the hive mind of dangerous RTRDs in our private Telegram channel — only on Patreon:

SPONSORS: Squeeze the most out of your Summer with Liquid I.V. Tear. Pour. Live More. Go to https://LIQUIDIV.com and get 20% off your first order with code YMH at checkout. Head to https://www.squarespace.com/MOM to save 10% off your first purchase of a website or domain using code MOM. This week, Tom's off filming a movie and Christina P hijacks the show, steering YMH straight into sun with cosmic warlock Duncan Trussell riding shotgun. What begins as a fart soundboard tutorial quickly devolves into a kaleidoscope of brain-melting nonsense: energy sex, threesomes with the sun, cult recruitment red flags, and why George Washington's preserved presidential jizz is secretly powering American democracy.Duncan opens up about his time with boner-shaman Will Blunderfield, explains why Scientology might be cheaper than therapy, and introduces us to Avery Blackwell—the brand new, possibly-nude, definitely-gay CEO of YMH Studios. Meanwhile, Christina wages war on National Pet-Your-Dog Day and investigates whether Sydney Sweeney is a genetically engineered eugenics queen sent to confuse Gen Z. This one has everything: conspiracy theories, cult dynamics, emotional nudity, the downfall of morning television, and a surprising amount of reverence for Daniel Day-Lewis. Come for the mommy energy, stay for the cum-powered U.S. government. Your Mom's House Ep. 822 https://tomsegura.com/tourhttps://christinap.com/https://store.ymhstudios.comhttps://www.reddit.com/r/yourmomshousepodcast Chapters 00:00:00 - Intro 00:04:54 - Opening Clip: Fell From Heaven 00:06:14 - Celebrating Women And Cults 00:17:31 - Scientology 00:27:21 - Morning Talk Shows 00:31:30 - A New CEO Of YMH? 00:43:07 - Clip: Latex Man 00:47:51 - George Washington's Baby Batter 00:52:56 - Palette Cleanser 00:55:22 - Sydney Sweeney 01:03:35 - The Macrons Vs Candace Owens 01:11:44 - Duncan's Final Thoughts 01:13:45 - Closing Song - "Push's Theme" by Eli Learn more about your ad choices. Visit megaphone.fm/adchoices

In this special crossover episode, we sit down with Aaron from @growingupinscientology to explore the fascinating (and sometimes shocking) parallels between Scientology and Mormonism. As former insiders from two very different high-demand religions, we compare our upbringings, teachings, authority structures, and how each religion handles questioning, doubt, and leaving the faith.This is Part 1 of our in-depth conversation—where we begin unpacking the similarities and differences between the groups we grew up in.Make sure you're subscribed so you don't miss Part 2, where we dive even deeper into the mechanics of control and the personal cost of leaving.

Jackie suspects she has been bugged by Scientology after her live show in Clearwater, discusses the real problem with Madi Prewett's husband, and the traumatic experience of visiting a public splash pad on a weekend.Thanks for supporting my sponsors:Magic Spoon: Get $5 off your next order at www.MagicSpoon.com/BITCHBIBLEHome Chef: For a limited time, get 50% off and free shipping on your first box, plus free dessert for life at www.HomeChef.com/BIBLEHers: Get a personalized, affordable plan today at www.forhers.com/BIBLEBetterHelp: Your well-being is worth it. Get 10% off your first month at www.BetterHelp.com/BITCHBIBLEHomes.com: Everything you need to know about buying a home all in one place at www.homes.comSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Why ‘Mandatory Reporting' Failed to Stop Devil's Den Killer-Teacher Welcome to the teaser episode of Classroom Coverup, a 10-part true crime podcast series that exposes the disturbing practice known as "passing the trash," where schools allow teachers accused of predatory behavior—such as grooming, inappropriate touching, or sexual comments toward students—to resign quietly without reporting to authorities or documenting issues in their records. Often, these educators receive neutral or even positive references, enabling them to move to new districts or states and continue endangering children. Drawing on court documents, survivor accounts, news reports, and verified statistics, this episode introduces the series by highlighting the most shocking cases and the systemic failures that allow them to persist. We cover cases like Andrew McGann, whose alleged favoritism toward young girls went unreported as he moved across states, culminating in a 2025 double murder; Gary Gregor's decades-long abuse spree across Utah, Montana, and New Mexico, ending in a 2022 conviction for child rape; and Jon White's horrific acts in Illinois, feeding semen-laced snacks to second-graders after a misleading reference. From impregnating a teen in California's elite schools to recent 2024-2025 cases involving cheer coaches and Scientology-linked cover-ups, the allegations are staggering: molestation, rape, and even murder tied to unchecked escalation. Why does this happen? Schools prioritize avoiding lawsuits, union pressures protect teachers, and administrators choose silence to preserve reputations. The impact is devastating: 10% of K-12 students face misconduct (Shakeshaft 2004), with Texas logging 4,300 unreported educator exits since 2017 against 2,500 charges. Victims suffer lifelong PTSD, while districts like LAUSD pay out $1.4 billion in settlements. Reforms like Texas' SB 571 and New Jersey's hush bans offer hope, but gaps remain. This teaser breaks down what happened, why it matters, and how to fight back with advocacy and awareness. On X, #EndPassingTheTrash is gaining traction. Listen, share, and join the movement—kids' safety depends on it! (Word count: 324) Hashtags: #ClassroomCoverup #PassingTheTrash #SchoolPredators #TrueCrimePodcast #ProtectOurKids #EducatorAbuse #SchoolScandals #MandatoryReporting #StopTheShuffle #VictimJustice Want to comment and watch this podcast as a video? Check out our YouTube Channel. https://www.youtube.com/@hiddenkillerspod Instagram https://www.instagram.com/hiddenkillerspod/ Facebook https://www.facebook.com/hiddenkillerspod/ Tik-Tok https://www.tiktok.com/@hiddenkillerspod X Twitter https://x.com/tonybpod Listen Ad-Free On Apple Podcasts Here: https://podcasts.apple.com/us/podcast/true-crime-today-premium-plus-ad-free-advance-episode/id1705422872

Send us a textWe delve into the most important policy letter in Scientology, "Keeping Scientology Working," which forms the foundation of every Scientologist's mindset and is especially evident in Tom Cruise's infamous 2004 turtleneck video. This document reveals why Scientologists act with such intensity and how the organization uses it to extract millions in donations.• Explaining how the International Association of Scientologists (IAS) events function as major fundraising opportunities• Revealing how Tom Cruise influenced Scientology to create the "Ideal Org" program despite contradicting L. Ron Hubbard's policies• Detailing how Scientology shifted from selling services to straight fundraising despite Hubbard's prohibitions• Breaking down the 10 points of Keeping Scientology Working that every Scientologist must memorize• Sharing the behind-the-scenes story of Tom Cruise's Freedom Medal video that triggered Anonymous to target Scientology• Exposing how David Miscavige micromanaged the production of Battlefield Earth before disavowing it when it floppedVisit blownforgood.com to support the channel and check out our merchandise including Xenu and the Body Thetans concert tees.Support the showBFG Store - http://blownforgood-shop.fourthwall.com/Blown For Good on Audible - https://www.amazon.com/Blown-for-Good-Marc-Headley-audiobook/dp/B07GC6ZKGQ/ref=tmm_aud_swatch_0?_encoding=UTF8&qid=&sr=Blown For Good Website: http://blownforgood.com/PODCAST INFO:Podcast website: https://www.buzzsprout.com/2131160 Apple Podcasts: https://podcasts.apple.com/us/podcast/blown-for-good-behind-the-iron-curtain-of-scientology/id1671284503 RSS: https://feeds.buzzsprout.com/2131160.rss YOUTUBE PLAYLISTS: Spy Files Playlist: https://www.youtube.com/playlist?list=PLWtJfniWLwq4cA-e...

Why ‘Mandatory Reporting' Failed to Stop Devil's Den Killer-Teacher Welcome to the teaser episode of Classroom Coverup, a 10-part true crime podcast series that exposes the disturbing practice known as "passing the trash," where schools allow teachers accused of predatory behavior—such as grooming, inappropriate touching, or sexual comments toward students—to resign quietly without reporting to authorities or documenting issues in their records. Often, these educators receive neutral or even positive references, enabling them to move to new districts or states and continue endangering children. Drawing on court documents, survivor accounts, news reports, and verified statistics, this episode introduces the series by highlighting the most shocking cases and the systemic failures that allow them to persist. We cover cases like Andrew McGann, whose alleged favoritism toward young girls went unreported as he moved across states, culminating in a 2025 double murder; Gary Gregor's decades-long abuse spree across Utah, Montana, and New Mexico, ending in a 2022 conviction for child rape; and Jon White's horrific acts in Illinois, feeding semen-laced snacks to second-graders after a misleading reference. From impregnating a teen in California's elite schools to recent 2024-2025 cases involving cheer coaches and Scientology-linked cover-ups, the allegations are staggering: molestation, rape, and even murder tied to unchecked escalation. Why does this happen? Schools prioritize avoiding lawsuits, union pressures protect teachers, and administrators choose silence to preserve reputations. The impact is devastating: 10% of K-12 students face misconduct (Shakeshaft 2004), with Texas logging 4,300 unreported educator exits since 2017 against 2,500 charges. Victims suffer lifelong PTSD, while districts like LAUSD pay out $1.4 billion in settlements. Reforms like Texas' SB 571 and New Jersey's hush bans offer hope, but gaps remain. This teaser breaks down what happened, why it matters, and how to fight back with advocacy and awareness. On X, #EndPassingTheTrash is gaining traction. Listen, share, and join the movement—kids' safety depends on it! (Word count: 324) Hashtags: #ClassroomCoverup #PassingTheTrash #SchoolPredators #TrueCrimePodcast #ProtectOurKids #EducatorAbuse #SchoolScandals #MandatoryReporting #StopTheShuffle #VictimJustice Want to comment and watch this podcast as a video? Check out our YouTube Channel. https://www.youtube.com/@hiddenkillerspod Instagram https://www.instagram.com/hiddenkillerspod/ Facebook https://www.facebook.com/hiddenkillerspod/ Tik-Tok https://www.tiktok.com/@hiddenkillerspod X Twitter https://x.com/tonybpod Listen Ad-Free On Apple Podcasts Here: https://podcasts.apple.com/us/podcast/true-crime-today-premium-plus-ad-free-advance-episode/id1705422872

Why ‘Mandatory Reporting' Failed to Stop Devil's Den Killer-Teacher Welcome to the teaser episode of Classroom Coverup, a 10-part true crime podcast series that exposes the disturbing practice known as "passing the trash," where schools allow teachers accused of predatory behavior—such as grooming, inappropriate touching, or sexual comments toward students—to resign quietly without reporting to authorities or documenting issues in their records. Often, these educators receive neutral or even positive references, enabling them to move to new districts or states and continue endangering children. Drawing on court documents, survivor accounts, news reports, and verified statistics, this episode introduces the series by highlighting the most shocking cases and the systemic failures that allow them to persist. We cover cases like Andrew McGann, whose alleged favoritism toward young girls went unreported as he moved across states, culminating in a 2025 double murder; Gary Gregor's decades-long abuse spree across Utah, Montana, and New Mexico, ending in a 2022 conviction for child rape; and Jon White's horrific acts in Illinois, feeding semen-laced snacks to second-graders after a misleading reference. From impregnating a teen in California's elite schools to recent 2024-2025 cases involving cheer coaches and Scientology-linked cover-ups, the allegations are staggering: molestation, rape, and even murder tied to unchecked escalation. Why does this happen? Schools prioritize avoiding lawsuits, union pressures protect teachers, and administrators choose silence to preserve reputations. The impact is devastating: 10% of K-12 students face misconduct (Shakeshaft 2004), with Texas logging 4,300 unreported educator exits since 2017 against 2,500 charges. Victims suffer lifelong PTSD, while districts like LAUSD pay out $1.4 billion in settlements. Reforms like Texas' SB 571 and New Jersey's hush bans offer hope, but gaps remain. This teaser breaks down what happened, why it matters, and how to fight back with advocacy and awareness. On X, #EndPassingTheTrash is gaining traction. Listen, share, and join the movement—kids' safety depends on it! (Word count: 324) Hashtags: #ClassroomCoverup #PassingTheTrash #SchoolPredators #TrueCrimePodcast #ProtectOurKids #EducatorAbuse #SchoolScandals #MandatoryReporting #StopTheShuffle #VictimJustice Want to comment and watch this podcast as a video? Check out our YouTube Channel. https://www.youtube.com/@hiddenkillerspod Instagram https://www.instagram.com/hiddenkillerspod/ Facebook https://www.facebook.com/hiddenkillerspod/ Tik-Tok https://www.tiktok.com/@hiddenkillerspod X Twitter https://x.com/tonybpod Listen Ad-Free On Apple Podcasts Here: https://podcasts.apple.com/us/podcast/true-crime-today-premium-plus-ad-free-advance-episode/id1705422872

It's Andrew's Birthday!

cientology has been around since the 1950's yet to this day it is an organization shrouded in controversy. Join Dave and Greg as they tackle it's origins and approach the topic of what separates a religion from a cult.

Tonight, we dive back into the shadowy world of cults, and on this evening in particular, Scientology takes center stage. We'll be exploring the organization's dark history with @ChrisSheltonMsc, who once reached the highest levels of membership within the organization. We'll also discuss the courageous journeys of those who have escaped and the paths to recovery from such intense control. Unleash Your Brain w/ Keto Brainz Nootropic Promo code FRANKLY: https://tinyurl.com/2cess6y7 Sponsor The Show and Get VIP Perks: https://www.quitefrankly.tv/sponsor One-Time Tip: http://www.paypal.me/QuiteFranklyLive Read July Newsletter: https://tinyurl.com/y4yvuxff Elevation Blend Coffee & Official QF Mugs: https://www.coffeerevolution.shop/category/quite-frankly Official QF Apparel: https://tinyurl.com/f3kbkr4s Send Holiday cards, Letters, and other small gifts, to the Quite Frankly P.O. Box! Quite Frankly 222 Purchase Street, #105 Rye, NY, 10580 Send Crypto: BTC: 1EafWUDPHY6y6HQNBjZ4kLWzQJFnE5k9PK Leave a Voice Mail: https://www.speakpipe.com/QuiteFrankly Quite Frankly Socials: Twitter/X: @QuiteFranklyTV Instagram: @QuiteFranklyOfficial Discord Chat: https://discord.gg/KCdh92Fn GUILDED Chat: https://tinyurl.com/kzrk6nxa Official Forum: https://tinyurl.com/k89p88s8 Telegram: https://t.me/quitefranklytv Truth: https://tinyurl.com/5n8x9s6f GETTR: https://tinyurl.com/2fprkyn4 MINDS: https://tinyurl.com/4p84d3cx Gab: https://tinyurl.com/mr42m2au Streaming Live On: QuiteFrankly.tv (Powered by Foxhole) Youtube: https://tinyurl.com/yc2cn395 BitChute: https://tinyurl.com/46dfca5c Rumble: https://tinyurl.com/yeytwwyz Kick: https://kick.com/quitefranklytv Audio On Demand: Spotify: https://spoti.fi/301gcES iTunes: http://apple.co/2dMURMq Amazon: https://amzn.to/3afgEXZ SoundCloud: https://tinyurl.com/yc44m474

In Episode 17 of Quite Frankly, Frankie Val welcomes guest Chris Shelton for a deep dive into the psychology of cults, starting with Shelton's personal experience as a former Scientologist. Together, they explore how authoritarian control structures are built, maintained, and disguised, whether in religious movements or broader societal institutions. Shelton breaks down the emotional manipulation and coercive tactics used within Scientology and explains how those same patterns appear in politics, media, and culture today. The conversation touches on mass formation, psychological warfare, and the challenge of helping others recognize when they're trapped in a system designed to think for them. With sharp insight and mutual respect, Frankie and Chris unpack what it means to truly deprogram, and how awakening starts with asking the right questions.

On today's Bible Answer Man broadcast (07/31/25), Hank says a few words about apologetics, which is the defense of the faith once for all delivered to the saints.Hank also answers the following questions:How dangerous is L. Ron Hubbard and Scientology? Jim - El Paso, TX (3:44)How can I witness to an atheist? How can we convince them that the Bible is authoritative? Jeremy - Ada, OK (6:54)Are abuse and alcoholism grounds for a divorce? Kay - Lincoln, NE (15:11)What is the origin of all the races? Donna - Sharpsburg, GA (17:17)What are your thoughts on Judas concerning John 17:12? Was he predestined to betray Christ? Brian - Oakdale, CA (19:43)Was Job a real person? Howard - Everett, WA (22:17)Does original sin still exist? Didn't Jesus abolish this by His death on the cross? Judy - Springfield, MO (22:48)What does it mean to rest on the Sabbath? Ryan - Nashville, TN (24:46)

Cowboys training camp is heating up-literally-with reports of fights breaking out and preseason confidence spewing. We dive into the wildest Scientology rumors making the rounds, assess Blake Fisher's rocky fit on the Texans O-line, and go position-by-position with early impressions. Meanwhile, Paul is hanging on by a thread as the final hours of the MLB trade deadline tick away. 

In this video, we react to Season 1, Episode 2 of Scientology and the Aftermath, which dives deep into the emotional and psychological toll that comes with leaving the Church of Scientology—specifically through the powerful story of Mike Rinder.Once a top executive within Scientology, Mike left the church and has since been labeled a “suppressive person.” We discuss how the church's disconnection policy tore his family apart, how surveillance and harassment became part of his new reality, and how these tactics echo similar experiences in other high-control religions we've witnessed or lived through ourselves.#Scientology #MikeRinder #LeahRemini #ScientologyAftermath #ReligiousTrauma #Disconnection #ExCult #HighDemandReligion #ReactionVideoIf you or someone you love has left polygamy and needs assistance, please reach out to "Holding Out HELP" at 801-548-3492 or visit their website at www.holdingouthelp.orgAt Growing Up In Polygamy our mission is to "Create compassion for communities that have been misunderstood, marginalized and/or abused by their leaders, and to empower those who have left by giving them a platform to share their stories with the world."If you would like to DONATE to this cause you can do so here: https://donorbox.org/growing-up-in-polygamyInsta: @growingupinpolygamyNew website is now up! www.growingupinpolygamy.comTheme Song created by @artcowles Please feel free to reach out to us!growingupinpolygamy@gmail.com

Send us a textJoy Villa shares her harrowing journey from growing up in a Christian household to spending a decade in Scientology before finding her way to freedom through faith. Her story reveals how vulnerabilities from childhood trauma and artistic ambitions made her susceptible to Scientology's recruitment at Celebrity Center.• Raised Christian with a minister father and gospel singer mother who suffered from paranoid schizophrenia• Experienced sexual abuse between ages 3-5 and significant trauma when her mother kidnapped her at age 8• Moved to Hollywood at 22 to pursue artistic dreams but encountered exploitation and abuse• Recruited at Celebrity Center International through promises of spiritual technology and community• Joined the Sea Organization but left after a month due to her psychiatric history• Married a wealthy Scientologist and donated over $1 million to the organization• Experienced fame after wearing a Trump dress at the Grammy Awards while doing Scientology's "Superpower" rundown• Endured increasingly controlling behavior when she attempted to maintain her Christian faith• Reached breaking point during COVID-19 while training at Saint Hill Manor in England• Found freedom through prayer when Scientology offered no help for her depression• Released her book "From Scientology to Christ: The Escape They Never Wanted Me to Make"If you're struggling with similar issues or know someone trapped in a high-control group, reach out for support. Freedom is possible.An article about Joy leaving:https://libertyaffair.com/2025/06/06/exclusive-i-wasnt-just-in-a-cult-scientology-bewitched-me/ Pre-Order Joy's Book:https://a.co/d/deExAE2Support the showBFG Store - http://blownforgood-shop.fourthwall.com/Blown For Good on Audible - https://www.amazon.com/Blown-for-Good-Marc-Headley-audiobook/dp/B07GC6ZKGQ/ref=tmm_aud_swatch_0?_encoding=UTF8&qid=&sr=Blown For Good Website: http://blownforgood.com/PODCAST INFO:Podcast website: https://www.buzzsprout.com/2131160 Apple Podcasts: https://podcasts.apple.com/us/podcast/blown-for-good-behind-the-iron-curtain-of-scientology/id1671284503 RSS: https://feeds.buzzsprout.com/2131160.rss YOUTUBE PLAYLISTS: Spy Files Playlist: https://www.youtube.com/playlist?list=PLWtJfniWLwq4cA-e...

rWotD Episode 3005: Return to Forever Welcome to random Wiki of the Day, your journey through Wikipedia's vast and varied content, one random article at a time.The random article for Saturday, 26 July 2025, is Return to Forever.Return to Forever was an American jazz fusion band that was founded by pianist Chick Corea in 1972. The band has had many members, with the only consistent bandmate of Corea's being bassist Stanley Clarke. Along with Weather Report, The Headhunters, and Mahavishnu Orchestra, Return to Forever is often cited as one of the core groups of the jazz-fusion movement of the 1970s. Several musicians, including Clarke, Flora Purim, Airto Moreira and Al Di Meola, came to prominence through their performances on Return to Forever albums.After playing on Miles Davis's jazz-fusion albums In a Silent Way (1969) and Bitches Brew (1970), Corea formed an avant-garde jazz band called Circle with Dave Holland, Anthony Braxton and Barry Altschul. In 1972, after converting to Scientology, Corea decided he wanted to communicate better with his audience. This meant performing a more accessible style of music than avant-garde jazz.Return to Forever first disbanded in 1977 after five years and seven studio albums. The band never released another studio album, but occasionally reunited for live performances until Corea's death in 2021.This recording reflects the Wikipedia text as of 00:05 UTC on Saturday, 26 July 2025.For the full current version of the article, see Return to Forever on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm neural Niamh.

Today on The Dog Walk, we are joined by Brad Bradley, the brother of Amy Bradley, whose story went viral in Netflix's documentary “Amy Bradley is Missing.” We start things off by learning about what Netflix left out of the documentary, from Scientology to Amy's relationship status (4:33). Next, Brad debunks the drowning theory (18:43) and talks about Yellow, one of the cruise ship's band members who Amy was last seen with (26:17). We then get into what the search was like for Amy and who helped them along the way, (29:09) and discuss the escort theory (32:00). We get into the details of the morning Amy went missing (34:16) and recent discoveries with IP Addresses (43:56). Lastly, we get into Brad's feelings towards the cruise director (46:10).You can find every episode of this show on Apple Podcasts, Spotify or YouTube. Prime Members can listen ad-free on Amazon Music. For more, visit barstool.link/thedogwalk

Todays episode we talk about Chicharito's latest message, Pedro Pescal's anxiety, and this man was cursed on purpose! Follow I.E In Friends here:https://linktr.ee/IEinFriends Take The Mic!https://forms.gle/nSf7f2YKqSgxRBur8 Subscribe to us Patreon for exclusive episodes!https://www.patreon.com/ieinfriends Get 10% OFF on TasteSalud Products with code IEFRIENDS at tastesalud.com Follow Us!  Saul V GomezInstagram - https://www.instagram.com/saulvgomez/Twitter - https://twitter.com/Saulvgomez_ Aaron CaraveoInstagram - https://www.instagram.com/airbear_ie

On this episode, Kimberly and, author, artist, and researcher, Jamie Mustard dive deep into Jamie's childhood in Scientology and his healing and research quest to understand his complex childhood PTSI (Post-Traumatic Stress Injury). This conversation moves between Mustard's autobiographical story, which features heavily in his upcoming novel Child X and graphic novel Hybred, in addition to his previous research into trauma that stemmed from a transformative experience with Stellate Ganglion Block (SGB) treatment. After benefitting so deeply from the treatment, Jamie spent years researching The Invisible Machine, the book he co-wrote with Dr. Eugen Lipov, the doctor who developed the treatment, and which features input from many leaders across the trauma field. Jamie emphasizes the importance of addressing trauma as a biological injury rather than a disorder. He goes into detail about his work across victims of trauma from soldiers to sexual assault survivors to former gang members who all benefited from SGB treatment that resets the sympathetic nervous system, significantly reducing trauma symptoms. Jamie also discusses the role of brain health in trauma recovery and the potential of alternative therapies like ketamine and psilocybin. In the second half of the conversation, Jamie details his harrowing experiences as a baby in Scientology's notorious Sea Org's, and the effects of severe neglect, medical issues, and emotional abuse on his adulthood. Jamie highlights the systemic destruction of empathy and the mind-body connection within Scientology. He emphasizes the importance of his book in raising awareness about the lost children of Scientology, as well as the intersection of race and his family's history, framing his story as a quest for humanism and resilience.  You can best support Jamie's work by pre-ordering the Child X and Hybred at the links below!   Bio Jamie Mustard was born into one of the most influential fringe movements in the 1970s: Scientology. Raised on a mythos of spaceships and made to believe that it was his life's purpose to help save the world, he was determined to survive — not only unsurvivable neglect but also the impossible physical and psychological gauntlet of extreme poverty and illiteracy. Child X (BenBella Books) is a dark existential journey into a deepest hole of human existence and the road back. The unbelievable story of a lost generation of children, Child X takes readers through Mustard's childhood and adolescence in “the movement,” his daring escape, and his rise into self-possession. With wit and vulnerability, Mustard sheds light on one of the untold, but not uncommon, accounts of a powerful Black family that rose from the ashes of slavery to prominence and wealth, and how the counterculture of the 1960s and 70s caused that rise to crumble. This deeply personal true story gives a child's-eye view of one of the most notorious American religious movements in history. Despite his family's success, Jamie would be born a slave and then reborn an artist. Through extraordinary encounters with celebrity, icons, and historical figures, it also powerfully places Black American history in the larger context of world events. A universal story of resilience in the face of overwhelming odds, Child X celebrates yet transcends race — and is ultimately an uplifting, impossible-to-believe story of rising out of adversity and building a life full of meaning and connection. With this book, Mustard continues working to restore his family's legacy and provides a salient saga of the road to humanity and self-possession.   What You'll Hear: Why Jamie hesitates to call himself a survivor Why Jamie doesn't refer to Scientology as a cult How an artist and art director dove headlong into trauma research The ins and outs of Stellate Ganglion Block (SGB) treatment for PTSD/PTSI Jamie's extensive research on PTSD/PTSI treatment modalities Jamie's encounters with Stephen Porges, Gabor Maté, Peter Lavine, and Daniel Amen, and military psychologists on Fort Bragg. How Scientology's Mission translates to severe childhood neglect The consequences of Medical neglect for infants The justifications savior-complex-driven parents use to emotionally separate from their child The way that Scientology's ideology treats feelings and ailments The impact of hiding health issues The power of self-blame How Child X focuses more on the emotional effects than the sensationalist events What are the retaliation tactics of Scientology for speaking out? Jamie's African-American family history including the Tuskegee Airmen and generations of doctors   Links Website: iconist.ltd IG: @jamie_mustard (Jamie encourages you to direct any questions to him over DM) Pre-Order Child X here Pre-Order Hybred here

In this video, we react to Season 1, Episode 1 of Scientology and the Aftermath—the powerful docuseries by Leah Remini that exposes the inner workings of Scientology. As former members of high-demand religious communities ourselves, we couldn't help but notice the similarities between Scientology and the FLDS.From the heartbreaking practice of disconnection and shunning to the pressure to stay silent and loyal, this episode hits close to home. We share our personal experience growing up in an FLDS environment, where leaving often meant losing your entire community—including your own family.Join us as we break down the parallels, react to Leah's journey, and reflect on what it really means to walk away from a controlling religion.

Send us a textTwenty years after escaping Scientology's Sea Organization, we continue to experience the cult's relentless "Fair Game" policy firsthand. Last Thursday, we received a threatening email from Freedom Magazine—Scientology's propaganda arm—attempting to intimidate us over a business we closed in 2014. This intrusion marks just the latest chapter in their decades-long campaign to silence former members who speak truth about David Miscavige's abusive regime.The email exemplifies how Scientology operates: they monitor former members indefinitely, collect information through sophisticated skip-tracing software, and deploy intimidation tactics targeting livelihoods and relationships. We've witnessed friends being shown "dossiers" about us and given ultimatums—cut ties with the Headleys or lose access to Scientologist family members. This emotional blackmail keeps many former members silent, while others like us continue documenting these harassment campaigns.During our combined 29 years inside, we observed how Scientology transforms members into productive "machines" while isolating them within an ecosystem of control. Upon leaving, we discovered how the organization plants spies, dispatches private investigators to follow former members, and interferes with businesses to create economic hardship. Most chillingly, we've confirmed that nothing happens within the Office of Special Affairs without David Miscavige's direct approval—making him personally responsible for these ongoing tactics.Despite their efforts to discredit and silence us, we continue speaking out because the truth matters. Their desperation reveals their vulnerability—a multi-billion dollar organization still threatened by former members simply telling their stories. If you're considering Scientology, know that your family relationships, privacy, and freedom will become leverage should you ever wish to leave. For those already trapped inside, organizations like the Aftermath Foundation offer resources and support when you're ready to escape.Support the showBFG Store - http://blownforgood-shop.fourthwall.com/Blown For Good on Audible - https://www.amazon.com/Blown-for-Good-Marc-Headley-audiobook/dp/B07GC6ZKGQ/ref=tmm_aud_swatch_0?_encoding=UTF8&qid=&sr=Blown For Good Website: http://blownforgood.com/PODCAST INFO:Podcast website: https://www.buzzsprout.com/2131160 Apple Podcasts: https://podcasts.apple.com/us/podcast/blown-for-good-behind-the-iron-curtain-of-scientology/id1671284503 RSS: https://feeds.buzzsprout.com/2131160.rss YOUTUBE PLAYLISTS: Spy Files Playlist: https://www.youtube.com/playlist?list=PLWtJfniWLwq4cA-e...

Visit RENEW.org for great resources on Disciple Making and Theology.  Today's episode will help us understand the core beliefs and common misconceptions about Scientology, while fostering interfaith dialogue and cooperation between Scientologists and Christians. Exploring Scientology: An Interview with Susanna Johansson. Join Daniel McCoy, editorial director at Renew.org, and Dyron a World Religions professor at Pepperdine University, as they engage in a fascinating conversation with Susanna Kane, Director of Public Affairs for the Church of Scientology in Western United States. This episode delves into various aspects of Scientology, including its history, beliefs, misconceptions, and similarities and differences with Christianity. Susanna shares her experiences and insights, emphasizing the importance of interfaith dialogue and understanding. Don't miss this insightful discussion aimed at fostering mutual respect and cooperation across different faiths. Key Takeaways  00:00 Introduction and Malibu Life 02:43 Exploring Scientology: An Overview 08:31 Scientology vs. Christianity: Key Differences and Similarities 13:50 Interview with Susanna Kane: Insights from a Scientologist 24:31 Persecution and Misunderstanding of New Religions 25:09 The Evolution of Religious Movements 28:02 Understanding Christianity's Branches 31:06 Christianity's Cultural Integration 34:15 Personal Reflections on Religion 40:57 Interfaith Collaboration and Humanitarian Efforts Sure, I'd be happy to provide a summary of this episode titled "Conversation About Scientology."

This week we conclude our coverage on the Son of Sam, David Berkowitz, as we explore the popular conspiracy theory  that Berkowitz did not act alone. The Conspiracy states that not only did David Berkowtiz NOT act alone but he was actually a part of a Satanic doomsday Cult with ties to Scientology and Charles Manson.     WILD stuff I know! But we're going to skim over the details that author and investigative journalist, Maury Terry , POURED over for YEARS and chronicled in his book "The Ultimate Evil". As always follow us on the stuff Merch Store- http://tee.pub/lic/doEoXMI_oPI Patreon- https://www.patreon.com/Artandjacobdoamerica Website- https://artandjacobdoamerica.com/ Network- https://podbelly.com/ Instagram- https://www.instagram.com/artandjacobdoamerica YouTube Channel- https://www.youtube.com/channel/UC0rT6h3N2pWtlkxaqgIvaZw?view_as=subscriber Twitter- https://twitter.com/ArtandJacobDoA1 Facebook- https://www.facebook.com/artandjacobdoamerica/  

In this video, we react to the 60 Minutes Australia segment titled “Being Scientologist,” which takes a deep dive into the world of Scientology—its beliefs, practices, and the people who live within it. As former members of high-demand religious communities ourselves, we reflect on the similarities, differences, and emotional weight of what's shared in the interview.From public image to private control, this episode raises big questions about power, faith, and personal freedom. Join us as we break it all down and share our honest thoughts.

From the back cover: The snake stuffed in attorney Paul Morantz s mailbox by acolytes of Synanon, a once-hailed drug rehabilitation center that had devolved into a paranoid, militaristic cult, was an early strike in what would become a 35-year war with nearly every major cult movement this country has ever known. Mr. Morantz has been involved under frequently bizarre circumstances--with such infamous sects as the Charles Manson family, Patty Hearst and the SLA, Jim Jones and the People s Temple, the Moonies and the strange world of Scientology. His efforts have helped many escape from lives of torment and contributed to a sea change in how courts deal with the little-understood issues of brainwashing and cults. Now, in this important and compelling book, Mr. Morantz offers a comprehensive account of the origins and activities of cults and how they prey on society s most vulnerable elements. It also recounts the very intimate tale of how these confrontations with threatening and often, violent forces cost him the woman he loved and nearly, life itself.https://amzn.to/4m04DYjBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-opperman-report--1198501/support.

Fantastic Four #164 (1975)There's a new Fantastic Four movie about to show up in a few weeks so let's catch back up with Marvel's first family as we check out the debut (return?) of the Crusader! Crusader is back from space and he's SHAKING WITH ANGER to the point that he's flinging middle-aged men across Washington Square. Also, Johnny Storm's first date with a debuting Frankie Raye gets ruined and NOT because of his terrible outfit. Plus, we got flaky skin, Sue about to get spanked, Mel Brooks and the Fantastic Four takes on…Scientology?!?*** PROPER COMIC BOOK DISCUSSION STARTS AT 00:13:30 ***Plus, Jen and Shawn share their thoughts on the SUPERMAN movie. Please be aware that there will be MINOR SPOILERS so feel free to jump ahead to the comic conversation if you haven't seen the film yet.Promo: THE FANTASTIC POUR (https://fireandwaterpodcast.com/show/the-fantastic-pour/)Continue the conversation with Shawn and Jen on Twitter / Instagram / Facebook / Threads / Bluesky or email the show at worstcollectionever@gmail.comAlso, get hip to all of our episodes on YouTube in its own playlist! https://bit.ly/WorstCollectionEverYTDownload the podcast on Spotify, Apple Podcasts and wherever you get your favorite shows. Please rate, review, subscribe and tell a friend!

They operate in encrypted channels, recruit via gaming platforms, and use AI to psychologically profile targets. Group 764 isn't just a cult—it's a digital hive mind conducting mass behavioral experiments. We infiltrate their hierarchy: from "Neuro-Layers" brainwashing streams to their manifesto predicting societal collapse by 2027. Why do ex-members vanish? How are Silicon Valley execs linked to their funding? Discover the darknet suicides, predictive programming in viral memes, and their terrifying endgame: replacing human will with algorithmic control. This is Anonymous meets Scientology—on cyber-steroids.

Send us a textMarc and Claire Headley share their 20-year journey of relentless harassment from Scientology since escaping the Sea Organization in January 2005. They detail the elaborate surveillance, infiltration tactics, legal threats, and family disconnection policies the Church employs to silence former members who speak out.• Left Scientology's Sea Org in January 2005 after 15 years inside• Received "Suppressive Person declares" without their knowledge• Scientology demanded $163,000 in "freeloader fees" for their freedom• Private investigators constantly surveilled their home and businesses• Phone records illegally accessed, trash collected, family connections exploited• Scientology infiltrated their businesses and attempted to frame them• Became FBI confidential informants in 2010 investigating human trafficking• Considered witness protection due to severity of harassment• Moved to Colorado in 2011 to escape intensity of Los Angeles surveillance• Continue to face online attacks, hate websites, and periodic surveillance• Have contributed to major documentaries, books, and legal cases against Scientology• Despite attacks, they've raised three children while running successful businessesThe more you expose Scientology, the more they will attack you, but these attacks can be weathered. If you're considering leaving Scientology, focus first on rebuilding your life before speaking out.Support the showBFG Store - http://blownforgood-shop.fourthwall.com/Blown For Good on Audible - https://www.amazon.com/Blown-for-Good-Marc-Headley-audiobook/dp/B07GC6ZKGQ/ref=tmm_aud_swatch_0?_encoding=UTF8&qid=&sr=Blown For Good Website: http://blownforgood.com/PODCAST INFO:Podcast website: https://www.buzzsprout.com/2131160 Apple Podcasts: https://podcasts.apple.com/us/podcast/blown-for-good-behind-the-iron-curtain-of-scientology/id1671284503 RSS: https://feeds.buzzsprout.com/2131160.rss YOUTUBE PLAYLISTS: Spy Files Playlist: https://www.youtube.com/playlist?list=PLWtJfniWLwq4cA-e...

Send us a textTwenty-five years ago, on June 25, 2000, Stacy Moxon Meyer took her own life at Scientology's secretive Gold Base in Gilman Hot Springs, California. She was just 20 years old. In this powerful and emotional conversation, Claire Headley is joined by former high-ranking Scientology executive Tom DeVocht to uncover the truth behind this tragedy and expose the organization's elaborate cover-up.Claire and Tom take listeners deep inside the oppressive world of Scientology's Sea Organization, where Stacy had been separated from her husband for nearly two years, forced to work at a location so secretive her own spouse wasn't permitted to know where she was. The night before her death, Stacy had desperately sought permission to visit her husband in Los Angeles but was denied – a routine occurrence in an organization that systematically restricted members' movements and personal freedoms.What followed was a calculated deception. Scientology officials, including Warren McShane (described by David Miscavige himself as "a professional liar"), concocted a story that Stacy had been electrocuted while chasing a squirrel into an electrical vault. Claire and Tom methodically dismantle this narrative using police reports and firsthand knowledge, revealing how statements to law enforcement changed throughout the day as the cover-up was coordinated.Both hosts share their personal connections to the case – Claire was on the property that day and witnessed the aftermath, while Tom observed David Miscavige's cold reaction to the news while on a yacht trip. Their insider perspectives illuminate how Scientology's leadership, particularly David Miscavige, maintains absolute control over every aspect of the organization, from who could leave the property to how tragedies are hidden from public view.This episode stands as a memorial to Stacy and a powerful indictment of the conditions that led to her death. Through their testimony, Claire and Tom ensure that Stacy's story won't be forgotten and continue their mission to expose the abuses that persist behind Scientology's walls to this day.Support the showBFG Store - http://blownforgood-shop.fourthwall.com/Blown For Good on Audible - https://www.amazon.com/Blown-for-Good-Marc-Headley-audiobook/dp/B07GC6ZKGQ/ref=tmm_aud_swatch_0?_encoding=UTF8&qid=&sr=Blown For Good Website: http://blownforgood.com/PODCAST INFO:Podcast website: https://www.buzzsprout.com/2131160 Apple Podcasts: https://podcasts.apple.com/us/podcast/blown-for-good-behind-the-iron-curtain-of-scientology/id1671284503 RSS: https://feeds.buzzsprout.com/2131160.rss YOUTUBE PLAYLISTS: Spy Files Playlist: https://www.youtube.com/playlist?list=PLWtJfniWLwq4cA-e...

Aaron Smith-Levin is a former Scientologist, Vice President of the Aftermath Foundation, and host of the Growing Up In Scientology YouTube channel.https://www.youtube.com/@GrowingUpInScientology Get your Free Credit Lettershttps://www.mattcoxcourses.com/signupFollow me on all socials!Instagram: https://www.instagram.com/insidetruecrime/TikTok: https://www.tiktok.com/@matthewcoxtruecrimeDo you want to be a guest? Fill out the form https://forms.gle/5H7FnhvMHKtUnq7k7Send me an email here: insidetruecrime@gmail.comDo you want a custom "con man" painting to shown up at your doorstep every month? Subscribe to my Patreon: https: //www.patreon.com/insidetruecrimeDo you want a custom painting done by me? Check out my Etsy Store: https://www.etsy.com/shop/coxpopartListen to my True Crime Podcasts anywhere: https://anchor.fm/mattcox Check out my true crime books! Shark in the Housing Pool: https://www.amazon.com/dp/B0851KBYCFBent: https://www.amazon.com/dp/B0BV4GC7TMIt's Insanity: https://www.amazon.com/dp/B08KFYXKK8Devil Exposed: https://www.amazon.com/dp/B08TH1WT5GDevil Exposed (The Abridgment): https://www.amazon.com/dp/1070682438The Program: https://www.amazon.com/dp/B0858W4G3KBailout: https://www.barnesandnoble.com/w/bailout-matthew-cox/1142275402Dude, Where's My Hand-Grenade?: https://www.amazon.com/dp/B0BXNFHBDF/ref=tmm_pap_swatch_0?_encoding=UTF8&qid=1678623676&sr=1-1Checkout my disturbingly twisted satiric novel!Stranger Danger: https://www.amazon.com/dp/B0BSWQP3WXIf you would like to support me directly, I accept donations here:Paypal: https://www.paypal.me/MattCox69Cashapp: $coxcon69

For those who haven't heard the announcement I posted, songs from this point on will sometimes be split among multiple episodes, so this is the second part of a two-episode look at the song “Who Knows Where The Time Goes?” by Fairport Convention, and the intertwining careers of Joe Boyd, Sandy Denny, and Richard Thompson. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a forty-one-minute bonus episode available, on Judy Collins’ version of this song. Tilt Araiza has assisted invaluably by editing, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Erratum For about an hour this was uploaded with the wrong Elton John clip in place of “Saturday Sun”. This has now been fixed. Resources Because of the increasing problems with Mixcloud’s restrictions, I have decided to start sharing streaming playlists of the songs used in episodes instead of Mixcloud ones. This Tunemymusic link will let you listen to the playlist I created on your streaming platform of choice — however please note that not all the songs excerpted are currently available on streaming. The songs missing from the Tidal version are “Shanten Bells” by the Ian Campbell Folk Group, “Tom’s Gone to Hilo” by A.L. Lloyd, two by Paul McNeill and Linda Peters, three by Elton John & Linda Peters, “What Will I Do With Tomorrow” by Sandy Denny and “You Never Know” by Charlie Drake, but the other fifty-nine are there. Other songs may be missing from other services. The main books I used on Fairport Convention as a whole were Patrick Humphries' Meet On The Ledge, Clinton Heylin's What We Did Instead of Holidays, and Kevan Furbank's Fairport Convention on Track. Rob Young's Electric Eden is the most important book on the British folk-rock movement. Information on Richard Thompson comes from Patrick Humphries' Richard Thompson: Strange Affair and Thompson's own autobiography Beeswing.  Information on Sandy Denny comes from Clinton Heylin's No More Sad Refrains and Mick Houghton's I've Always Kept a Unicorn. I also used Joe Boyd's autobiography White Bicycles and Chris Blackwell's The Islander.  And this three-CD set is the best introduction to Fairport's music currently in print. Transcript Before we begin, this episode contains reference to alcohol and cocaine abuse and medical neglect leading to death. It also starts with some discussion of the fatal car accident that ended last episode. There’s also some mention of child neglect and spousal violence. If that’s likely to upset you, you might want to skip this episode or read the transcript. One of the inspirations for this podcast when I started it back in 2018 was a project by Richard Thompson, which appears (like many things in Thompson’s life) to have started out of sheer bloody-mindedness. In 1999 Playboy magazine asked various people to list their “songs of the Millennium”, and most of them, understanding the brief, chose a handful of songs from the latter half of the twentieth century. But Thompson determined that he was going to list his favourite songs *of the millennium*. He didn’t quite manage that, but he did cover seven hundred and forty years, and when Playboy chose not to publish it, he decided to turn it into a touring show, in which he covered all his favourite songs from “Sumer Is Icumen In” from 1260: [Excerpt: Richard Thompson, “Sumer is Icumen In”] Through numerous traditional folk songs, union songs like “Blackleg Miner”, pieces by early-modern composers, Victorian and Edwardian music hall songs, and songs by the Beatles, the Ink Spots, the Kinks, and the Who, all the way to “Oops! I Did It Again”: [Excerpt: Richard Thompson, “Oops! I Did it Again”] And to finish the show, and to show how all this music actually ties together, he would play what he described as a “medieval tune from Brittany”, “Marry, Ageyn Hic Hev Donne Yt”: [Excerpt: Richard Thompson, “Marry, Ageyn Hic Hev Donne Yt”] We have said many times in this podcast that there is no first anything, but there’s a reason that Liege and Lief, Fairport Convention’s third album of 1969, and the album other than Unhalfbricking on which their reputation largely rests, was advertised with the slogan “The first (literally) British folk rock album ever”. Folk-rock, as the term had come to be known, and as it is still usually used today, had very little to do with traditional folk music. Rather, the records of bands like The Byrds or Simon and Garfunkel were essentially taking the sounds of British beat groups of the early sixties, particularly the Searchers, and applying those sounds to material by contemporary singer-songwriters. People like Paul Simon and Bob Dylan had come up through folk clubs, and their songs were called folk music because of that, but they weren’t what folk music had meant up to that point — songs that had been collected after being handed down through the folk process, changed by each individual singer, with no single identifiable author. They were authored songs by very idiosyncratic writers. But over their last few albums, Fairport Convention had done one or two tracks per album that weren’t like that, that were instead recordings of traditional folk songs, but arranged with rock instrumentation. They were not necessarily the first band to try traditional folk music with electric instruments — around the same time that Fairport started experimenting with the idea, so did an Irish band named Sweeney’s Men, who brought in a young electric guitarist named Henry McCullough briefly. But they do seem to have been the first to have fully embraced the idea. They had done so to an extent with “A Sailor’s Life” on Unhalfbricking, but now they were going to go much further: [Excerpt: Fairport Convention, “Matty Groves” (from about 4:30)] There had been some doubt as to whether Fairport Convention would even continue to exist — by the time Unhalfbricking, their second album of the year, was released, they had been through the terrible car accident that had killed Martin Lamble, the band’s drummer, and Jeannie Franklyn, Richard Thompson’s girlfriend. Most of the rest of the band had been seriously injured, and they had made a conscious decision not to discuss the future of the band until they were all out of hospital. Ashley Hutchings was hospitalised the longest, and Simon Nicol, Richard Thompson, and Sandy Denny, the other three surviving members of the band, flew over to LA with their producer and manager, Joe Boyd, to recuperate there and get to know the American music scene. When they came back, the group all met up in the flat belonging to Denny’s boyfriend Trevor Lucas, and decided that they were going to continue the band. They made a few decisions then — they needed a new drummer, and as well as a drummer they wanted to get in Dave Swarbrick. Swarbrick had played violin on several tracks on Unhalfbricking as a session player, and they had all been thrilled to work with him. Swarbrick was one of the most experienced musicians on the British folk circuit. He had started out in the fifties playing guitar with Beryl Marriott’s Ceilidh Band before switching to fiddle, and in 1963, long before Fairport had formed, he had already appeared on TV with the Ian Campbell Folk Group, led by Ian Campbell, the father of Ali and Robin Campbell, later of UB40: [Excerpt: The Ian Campbell Folk Group, “Shanten Bells (medley on Hullaballoo!)”] He’d sung with Ewan MacColl and A.L. Lloyd: [Excerpt: A.L. Lloyd, “Tom’s Gone to Hilo” ] And he’d formed his hugely successful duo with Martin Carthy, releasing records like “Byker Hill” which are often considered among the best British folk music of all time: [Excerpt: Martin Carthy and Dave Swarbrick, “Byker Hill”] By the time Fairport had invited him to play on Unhalfbricking, Swarbrick had already performed on twenty albums as a core band member, plus dozens more EPs, singles, and odd tracks on compilations. They had no reason to think they could actually get him to join their band. But they had three advantages. The first was that Swarbrick was sick of the traditional folk scene at the time, saying later “I didn’t like seven-eighths of the people involved in it, and it was extremely opportune to leave. I was suddenly presented with the possibilities of exploring the dramatic content of the songs to the full.” The second was that he was hugely excited to be playing with Richard Thompson, who was one of the most innovative guitarists of his generation, and Martin Carthy remembers him raving about Thompson after their initial sessions. (Carthy himself was and is no slouch on the guitar of course, and there was even talk of getting him to join the band at this point, though they decided against it — much to the relief of rhythm guitarist Simon Nicol, who is a perfectly fine player himself but didn’t want to be outclassed by *two* of the best guitarists in Britain at the same time). And the third was that Joe Boyd told him that Fairport were doing so well — they had a single just about to hit the charts with “Si Tu Dois Partir” — that he would only have to play a dozen gigs with Fairport in order to retire. As it turned out, Swarbrick would play with the group for a decade, and would never retire — I saw him on his last tour in 2015, only eight months before he died. The drummer the group picked was also a far more experienced musician than any of the rest, though in a very different genre. Dave Mattacks had no knowledge at all of the kind of music they played, having previously been a player in dance bands. When asked by Hutchings if he wanted to join the band, Mattacks’ response was “I don’t know anything about the music. I don’t understand it… I can’t tell one tune from another, they all sound the same… but if you want me to join the group, fine, because I really like it. I’m enjoying myself musically.” Mattacks brought a new level of professionalism to the band, thanks to his different background. Nicol said of him later “He was dilligent, clean, used to taking three white shirts to a gig… The application he could bring to his playing was amazing. With us, you only played well when you were feeling well.” This distinction applied to his playing as well. Nicol would later describe the difference between Mattacks’ drumming and Lamble’s by saying “Martin’s strength was as an imaginative drummer. DM came in with a strongly developed sense of rhythm, through keeping a big band of drunken saxophone players in order. A great time-keeper.” With this new line-up and a new sense of purpose, the group did as many of their contemporaries were doing and “got their heads together in the country”. Joe Boyd rented the group a mansion, Farley House, in Farley Chamberlayne, Hampshire, and they stayed there together for three months. At the start, the group seem to have thought that they were going to make another record like Unhalfbricking, with some originals, some songs by American songwriters, and a few traditional songs. Even after their stay in Farley Chamberlayne, in fact, they recorded a few of the American songs they’d rehearsed at the start of the process, Richard Farina’s “Quiet Joys of Brotherhood” and Bob Dylan and Roger McGuinn’s “Ballad of Easy Rider”: [Excerpt: Fairport Convention, “Ballad of Easy Rider”] Indeed, the whole idea of “getting our heads together in the country” (as the cliche quickly became in the late sixties as half of the bands in Britain went through much the same kind of process as Fairport were doing — but usually for reasons more to do with drug burnout or trend following than recovering from serious life-changing trauma) seems to have been inspired by Bob Dylan and the Band getting together in Big Pink. But very quickly they decided to follow the lead of Ashley Hutchings, who had had something of a Damascene conversion to the cause of traditional English folk music. They were listening mostly to Music From Big Pink by the Band, and to the first album by Sweeney’s Men: [Excerpt: Sweeney’s Men, “The Handsome Cabin Boy”] And they decided that they were going to make something that was as English as those records were North American and Irish (though in the event there were also a few Scottish songs included on the record). Hutchings in particular was becoming something of a scholar of traditional music, regularly visiting Cecil Sharp House and having long conversations with A.L. Lloyd, discovering versions of different traditional songs he’d never encountered before. This was both amusing and bemusing Sandy Denny, who had joined a rock group in part to get away from traditional music; but she was comfortable singing the material, and knew a lot of it and could make a lot of suggestions herself. Swarbrick obviously knew the repertoire intimately, and Nicol was amenable, while Mattacks was utterly clueless about the folk tradition at this point but knew this was the music he wanted to make. Thompson knew very little about traditional music, and of all the band members except Denny he was the one who has shown the least interest in the genre in his subsequent career — but as we heard at the beginning, showing the least interest in the genre is a relative thing, and while Thompson was not hugely familiar with the genre, he *was* able to work with it, and was also more than capable of writing songs that fit in with the genre. Of the eleven songs on the album, which was titled Liege and Lief (which means, roughly, Lord and Loyalty), there were no cover versions of singer-songwriters. Eight were traditional songs, and three were originals, all written in the style of traditional songs. The album opened with “Come All Ye”, an introduction written by Denny and Hutchings (the only time the two would ever write together): [Excerpt: Fairport Convention, “Come All Ye”] The other two originals were songs where Thompson had written new lyrics to traditional melodies. On “Crazy Man Michael”, Swarbrick had said to Thompson that the tune to which he had set his new words was weaker than the lyrics, to which Thompson had replied that if Swarbrick felt that way he should feel free to write a new melody. He did, and it became the first of the small number of Thompson/Swarbrick collaborations: [Excerpt: Fairport Convention, “Crazy Man Michael”] Thompson and Swarbrick would become a brief songwriting team, but as much as anything else it was down to proximity — the two respected each other as musicians, but never got on very well. In 1981 Swarbrick would say “Richard and I never got on in the early days of FC… we thought we did, but we never did. We composed some bloody good songs together, but it was purely on a basis of “you write that and I’ll write this, and we’ll put it together.” But we never sat down and had real good chats.” The third original on the album, and by far the most affecting, is another song where Thompson put lyrics to a traditional tune. In this case he thought he was putting the lyrics to the tune of “Willie O'Winsbury”, but he was basing it on a recording by Sweeney’s Men. The problem was that Sweeney’s Men had accidentally sung the lyrics of “Willie O'Winsbury'” to the tune of a totally different song, “Fause Foodrage”: [Excerpt: Sweeney’s Men, “Willie O’Winsbury”] Thompson took that melody, and set to it lyrics about loss and separation. Thompson has never been one to discuss the meanings of his lyrics in any great detail, and in the case of this one has said “I really don't know what it means. This song came out of a dream, and I pretty much wrote it as I dreamt it (it was the sixties), and didn't spend very long analyzing it. So interpret as you wish – or replace with your own lines.” But in the context of the traffic accident that had killed his tailor girlfriend and a bandmate, and injured most of his other bandmates, the lyrics about lonely travellers, the winding road, bruised and beaten sons, saying goodbye, and never cutting cloth, seem fairly self-explanatory: [Excerpt: Fairport Convention, “Farewell, Farewell”] The rest of the album, though, was taken up by traditional tunes. There was a long medley of four different fiddle reels; a version of “Reynardine” (a song about a seductive man — or is he a fox? Or perhaps both — which had been recorded by Swarbrick and Carthy on their most recent album); a 19th century song about a deserter saved from the firing squad by Prince Albert; and a long take on “Tam Lin”, one of the most famous pieces in the Scottish folk music canon, a song that has been adapted in different ways by everyone from the experimental noise band Current 93 to the dub poet Benjamin Zephaniah to the comics writer Grant Morrison: [Excerpt: Fairport Convention, “Tam Lin”] And “Matty Groves”, a song about a man killing his cheating wife and her lover, which actually has a surprisingly similar story to that of “1921” from another great concept album from that year, the Who’s Tommy. “Matty Groves” became an excuse for long solos and shows of instrumental virtuosity: [Excerpt: Fairport Convention, “Matty Groves”] The album was recorded in September 1969, after their return from their break in the country and a triumphal performance at the Royal Festival Hall, headlining over fellow Witchseason artists John and Beverly Martyn and Nick Drake. It became a classic of the traditional folk genre — arguably *the* classic of the traditional folk genre. In 2007 BBC Radio 2’s Folk Music Awards gave it an award for most influential folk album of all time, and while such things are hard to measure, I doubt there’s anyone with even the most cursory knowledge of British folk and folk-rock music who would not at least consider that a reasonable claim. But once again, by the time the album came out in November, the band had changed lineups yet again. There was a fundamental split in the band – on one side were Sandy Denny and Richard Thompson, whose stance was, roughly, that Liege and Lief was a great experiment and a fun thing to do once, but really the band had two first-rate songwriters in themselves, and that they should be concentrating on their own new material, not doing these old songs, good as they were. They wanted to take the form of the traditional songs and use that form for new material — they wanted to make British folk-rock, but with the emphasis on the rock side of things. Hutchings, on the other hand, was equally sure that he wanted to make traditional music and go further down the rabbit hole of antiquity. With the zeal of the convert he had gone in a couple of years from being the leader of a band who were labelled “the British Jefferson Airplane” to becoming a serious scholar of traditional folk music. Denny was tired of touring, as well — she wanted to spend more time at home with Trevor Lucas, who was sleeping with other women when she was away and making her insecure. When the time came for the group to go on a tour of Denmark, Denny decided she couldn’t make it, and Hutchings was jubilant — he decided he was going to get A.L. Lloyd into the band in her place and become a *real* folk group. Then Denny reconsidered, and Hutchings was crushed. He realised that while he had always been the leader, he wasn’t going to be able to lead the band any further in the traditionalist direction, and quit the group — but not before he was delegated by the other band members to fire Denny. Until the publication of Richard Thompson’s autobiography in 2022, every book on the group or its members said that Denny quit the band again, which was presumably a polite fiction that the band agreed, but according to Thompson “Before we flew home, we decided to fire Sandy. I don't remember who asked her to leave – it was probably Ashley, who usually did the dirty work. She was reportedly shocked that we would take that step. She may have been fragile beneath the confident facade, but she still knew her worth.” Thompson goes on to explain that the reasons for kicking her out were that “I suppose we felt that in her mind she had already left” and that “We were probably suffering from post-traumatic stress disorder, though there wasn't a name for it back then.” They had considered inviting Trevor Lucas to join the band to make Denny more comfortable, but came to the (probably correct) conclusion that while he was someone they got on well with personally, he would be another big ego in a band that already had several, and that being around Denny and Lucas’ volatile relationship would, in Thompson’s phrasing, “have not always given one a feeling of peace and stability.” Hutchings originally decided he was going to join Sweeney’s Men, but that group were falling apart, and their first rehearsal with Hutchings would also be their last as a group, with only Hutchings and guitarist and mandolin player Terry Woods left in the band. They added Woods’ wife Gay, and another couple, Tim Hart and Maddy Prior, and formed a group called Steeleye Span, a name given them by Martin Carthy. That group, like Fairport, went to “get their heads together in the country” for three months and recorded an album of electric versions of traditional songs, Hark the Village Wait, on which Mattacks and another drummer, Gerry Conway, guested as Steeleye Span didn’t at the time have their own drummer: [Excerpt: Steeleye Span, “Blackleg Miner”] Steeleye Span would go on to have a moderately successful chart career in the seventies, but by that time most of the original lineup, including Hutchings, had left — Hutchings stayed with them for a few albums, then went on to form the first of a series of bands, all called the Albion Band or variations on that name, which continue to this day. And this is something that needs to be pointed out at this point — it is impossible to follow every single individual in this narrative as they move between bands. There is enough material in the history of the British folk-rock scene that someone could do a 500 Songs-style podcast just on that, and every time someone left Fairport, or Steeleye Span, or the Albion Band, or Matthews’ Southern Comfort, or any of the other bands we have mentioned or will mention, they would go off and form another band which would then fission, and some of its members would often join one of those other bands. There was a point in the mid-1970s where the Albion Band had two original members of Fairport Convention while Fairport Convention had none. So just in order to keep the narrative anything like wieldy, I’m going to keep the narrative concentrated on the two figures from Fairport — Sandy Denny and Richard Thompson — whose work outside the group has had the most influence on the wider world of rock music more broadly, and only deal with the other members when, as they often did, their careers intersected with those two. That doesn’t mean the other members are not themselves hugely important musicians, just that their importance has been primarily to the folk side of the folk-rock genre, and so somewhat outside the scope of this podcast. While Hutchings decided to form a band that would allow him to go deeper and deeper into traditional folk music, Sandy Denny’s next venture was rather different. For a long time she had been writing far more songs than she had ever played for her bandmates, like “Nothing More”, a song that many have suggested is about Thompson: [Excerpt: Fotheringay, “Nothing More”] When Joe Boyd heard that Denny was leaving Fairport Convention, he was at first elated. Fairport’s records were being distributed by A&M in the US at that point, but Island Records was in the process of opening up a new US subsidiary which would then release all future Fairport product — *but*, as far as A&M were concerned, Sandy Denny *was* Fairport Convention. They were only interested in her. Boyd, on the other hand, loved Denny’s work intensely, but from his point of view *Richard Thompson* was Fairport Convention. If he could get Denny signed directly to A&M as a solo artist before Island started its US operations, Witchseason could get a huge advance on her first solo record, while Fairport could continue making records for Island — he’d have two lucrative acts, on different labels. Boyd went over and spoke to A&M and got an agreement in principle that they would give Denny a forty-thousand-dollar advance on her first solo album — twice what they were paying for Fairport albums. The problem was that Denny didn’t want to be a solo act. She wanted to be the lead singer of a band. She gave many reasons for this — the one she gave to many journalists was that she had seen a Judy Collins show and been impressed, but noticed that Collins’ band were definitely a “backing group”, and as she put it “But that's all they were – a backing group. I suddenly thought, If you're playing together on a stage you might as well be TOGETHER.” Most other people in her life, though, say that the main reason for her wanting to be in a band was her desire to be with her boyfriend, Trevor Lucas. Partly this was due to a genuine desire to spend more time with someone with whom she was very much in love, partly it was a fear that he would cheat on her if she was away from him for long periods of time, and part of it seems to have been Lucas’ dislike of being *too* overshadowed by his talented girlfriend — he didn’t mind acknowledging that she was a major talent, but he wanted to be thought of as at least a minor one. So instead of going solo, Denny formed Fotheringay, named after the song she had written for Fairport. This new band consisted at first of Denny on vocals and occasional piano, Lucas on vocals and rhythm guitar, and Lucas’ old Eclection bandmate Gerry Conway on drums. For a lead guitarist, they asked Richard Thompson who the best guitarist in Britain was, and he told them Albert Lee. Lee in turn brought in bass player Pat Donaldson, but this lineup of the band barely survived a fortnight. Lee *was* arguably the best guitarist in Britain, certainly a reasonable candidate if you could ever have a singular best (as indeed was Thompson himself), but he was the best *country* guitarist in Britain, and his style simply didn’t fit with Fotheringay’s folk-influenced songs. He was replaced by American guitarist Jerry Donahue, who was not anything like as proficient as Lee, but who was still very good, and fit the band’s style much better. The new group rehearsed together for a few weeks, did a quick tour, and then went into the recording studio to record their debut, self-titled, album. Joe Boyd produced the album, but admitted himself that he only paid attention to those songs he considered worthwhile — the album contained one song by Lucas, “The Ballad of Ned Kelly”, and two cover versions of American singer-songwriter material with Lucas singing lead. But everyone knew that the songs that actually *mattered* were Sandy Denny’s, and Boyd was far more interested in them, particularly the songs “The Sea” and “The Pond and the Stream”: [Excerpt: Fotheringay, “The Pond and the Stream”] Fotheringay almost immediately hit financial problems, though. While other Witchseason acts were used to touring on the cheap, all packed together in the back of a Transit van with inexpensive equipment, Trevor Lucas had ambitions of being a rock star and wanted to put together a touring production to match, with expensive transport and equipment, including a speaker system that got nicknamed “Stonehenge” — but at the same time, Denny was unhappy being on the road, and didn’t play many gigs. As well as the band itself, the Fotheringay album also featured backing vocals from a couple of other people, including Denny’s friend Linda Peters. Peters was another singer from the folk clubs, and a good one, though less well-known than Denny — at this point she had only released a couple of singles, and those singles seemed to have been as much as anything else released as a novelty. The first of those, a version of Dylan’s “You Ain’t Goin’ Nowhere” had been released as by “Paul McNeill and Linda Peters”: [Excerpt: Paul McNeill and Linda Peters, “You Ain’t Goin’ Nowhere”] But their second single, a version of John D. Loudermilk’s “You’re Taking My Bag”, was released on the tiny Page One label, owned by Larry Page, and was released under the name “Paul and Linda”, clearly with the intent of confusing particularly gullible members of the record-buying public into thinking this was the McCartneys: [Excerpt: Paul and Linda, “You’re Taking My Bag”] Peters was though more financially successful than almost anyone else in this story, as she was making a great deal of money as a session singer. She actually did another session involving most of Fotheringay around this time. Witchseason had a number of excellent songwriters on its roster, and had had some success getting covers by people like Judy Collins, but Joe Boyd thought that they might possibly do better at getting cover versions if they were performed in less idiosyncratic arrangements. Donahue, Donaldson, and Conway went into the studio to record backing tracks, and vocals were added by Peters and another session singer, who according to some sources also provided piano. They cut songs by Mike Heron of the Incredible String Band: [Excerpt: Linda Peters, “You Get Brighter”] Ed Carter, formerly of The New Nadir but by this time firmly ensconced in the Beach Boys’ touring band where he would remain for the next quarter-century: [Excerpt: Linda Peters, “I Don’t Mind”] John and Beverly Martyn, and Nick Drake: [Excerpt: Elton John, “Saturday Sun”] There are different lineups of musicians credited for those sessions in different sources, but I tend to believe that it’s mostly Fotheringay for the simple reason that Donahue says it was him, Donaldson and Conway who talked Lucas and Denny into the mistake that destroyed Fotheringay because of these sessions. Fotheringay were in financial trouble already, spending far more money than they were bringing in, but their album made the top twenty and they were getting respect both from critics and from the public — in September, Sandy Denny was voted best British female singer by the readers of Melody Maker in their annual poll, which led to shocked headlines in the tabloids about how this “unknown” could have beaten such big names as Dusty Springfield and Cilla Black. Only a couple of weeks after that, they were due to headline at the Albert Hall. It should have been a triumph. But Donahue, Donaldson, and Conway had asked that singing pianist to be their support act. As Donahue said later “That was a terrible miscast. It was our fault. He asked if [he] could do it. Actually Pat, Gerry and I had to talk Sandy and Trevor into [it]… We'd done these demos and the way he was playing – he was a wonderful piano player – he was sensitive enough. We knew very little about his stage-show. We thought he'd be a really good opener for us.” Unfortunately, Elton John was rather *too* good. As Donahue continued “we had no idea what he had in mind, that he was going to do the most incredible rock & roll show ever. He pretty much blew us off the stage before we even got on the stage.” To make matters worse, Fotheringay’s set, which was mostly comprised of new material, was underrehearsed and sloppy, and from that point on no matter what they did people were counting the hours until the band split up. They struggled along for a while though, and started working on a second record, with Boyd again producing, though as Boyd later said “I probably shouldn't have been producing the record. My lack of respect for the group was clear, and couldn't have helped the atmosphere. We'd put out a record that had sold disappointingly, A&M was unhappy. Sandy's tracks on the first record are among the best things she ever did – the rest of it, who cares? And the artwork, Trevor's sister, was terrible. It would have been one thing if I'd been unhappy with it and it sold, and the group was working all the time, making money, but that wasn't the case … I knew what Sandy was capable of, and it was very upsetting to me.” The record would not be released for thirty-eight years: [Excerpt: Fotheringay, “Wild Mountain Thyme”] Witchseason was going badly into debt. Given all the fissioning of bands that we’ve already been talking about, Boyd had been stretched thin — he produced sixteen albums in 1970, and almost all of them lost money for the company. And he was getting more and more disillusioned with the people he was producing. He loved Beverly Martyn’s work, but had little time for her abusive husband John, who was dominating her recording and life more and more and would soon become a solo artist while making her stay at home (and stealing her ideas without giving her songwriting credit). The Incredible String Band were great, but they had recently converted to Scientology, which Boyd found annoying, and while he was working with all sorts of exciting artists like Vashti Bunyan and Nico, he was finding himself less and less important to the artists he mentored. Fairport Convention were a good example of this. After Denny and Hutchings had left the group, they’d decided to carry on as an electric folk group, performing an equal mix of originals by the Swarbrick and Thompson songwriting team and arrangements of traditional songs. The group were now far enough away from the “British Jefferson Airplane” label that they decided they didn’t need a female vocalist — and more realistically, while they’d been able to replace Judy Dyble, nobody was going to replace Sandy Denny. Though it’s rather surprising when one considers Thompson’s subsequent career that nobody seems to have thought of bringing in Denny’s friend Linda Peters, who was dating Joe Boyd at the time (as Denny had been before she met Lucas) as Denny’s replacement. Instead, they decided that Swarbrick and Thompson were going to share the vocals between them. They did, though, need a bass player to replace Hutchings. Swarbrick wanted to bring in Dave Pegg, with whom he had played in the Ian Campbell Folk Group, but the other band members initially thought the idea was a bad one. At the time, while they respected Swarbrick as a musician, they didn’t think he fully understood rock and roll yet, and they thought the idea of getting in a folkie who had played double bass rather than an electric rock bassist ridiculous. But they auditioned him to mollify Swarbrick, and found that he was exactly what they needed. As Joe Boyd later said “All those bass lines were great, Ashley invented them all, but he never could play them that well. He thought of them, but he was technically not a terrific bass player. He was a very inventive, melodic, bass player, but not a very powerful one technically. But having had the part explained to him once, Pegg was playing it better than Ashley had ever played it… In some rock bands, I think, ultimately, the bands that sound great, you can generally trace it to the bass player… it was at that point they became a great band, when they had Pegg.” The new lineup of Fairport decided to move in together, and found a former pub called the Angel, into which all the band members moved, along with their partners and children (Thompson was the only one who was single at this point) and their roadies. The group lived together quite happily, and one gets the impression that this was the period when they were most comfortable with each other, even though by this point they were a disparate group with disparate tastes, in music as in everything else. Several people have said that the only music all the band members could agree they liked at this point was the first two albums by The Band. With the departure of Hutchings from the band, Swarbrick and Thompson, as the strongest personalities and soloists, became in effect the joint leaders of the group, and they became collaborators as songwriters, trying to write new songs that were inspired by traditional music. Thompson described the process as “let’s take one line of this reel and slow it down and move it up a minor third and see what that does to it; let’s take one line of this ballad and make a whole song out of it. Chopping up the tradition to find new things to do… like a collage.” Generally speaking, Swarbrick and Thompson would sit by the fire and Swarbrick would play a melody he’d been working on, the two would work on it for a while, and Thompson would then go away and write the lyrics. This is how the two came up with songs like the nine-minute “Sloth”, a highlight of the next album, Full House, and one that would remain in Fairport’s live set for much of their career: [Excerpt: Fairport Convention, “Sloth”] “Sloth” was titled that way because Thompson and Swarbrick were working on two tunes, a slow one and a fast one, and they jokingly named them “Sloth” and “Fasth”, but the latter got renamed to “Walk Awhile”, while “Sloth” kept its working title. But by this point, Boyd and Thompson were having a lot of conflict in the studio. Boyd was never the most technical of producers — he was one of those producers whose job is to gently guide the artists in the studio and create a space for the music to flourish, rather than the Joe Meek type with an intimate technical knowledge of the studio — and as the artists he was working with gained confidence in their own work they felt they had less and less need of him. During the making of the Full House album, Thompson and Boyd, according to Boyd, clashed on everything — every time Boyd thought Thompson had done a good solo, Thompson would say to erase it and let him have another go, while every time Boyd thought Thompson could do better, Thompson would say that was the take to keep. One of their biggest clashes was over Thompson’s song “Poor Will and the Jolly Hangman”, which was originally intended for release on the album, and is included in current reissues of it: [Excerpt: Fairport Convention, “Poor Will and the Jolly Hangman”] Thompson had written that song inspired by what he thought was the unjust treatment of Alex Bramham, the driver in Fairport’s fatal car crash, by the courts — Bramham had been given a prison sentence of a few months for dangerous driving, while the group members thought he had not been at fault. Boyd thought it was one of the best things recorded for the album, but Thompson wasn’t happy with his vocal — there was one note at the top of the melody that he couldn’t quite hit — and insisted it be kept off the record, even though that meant it would be a shorter album than normal. He did this at such a late stage that early copies of the album actually had the title printed on the sleeve, but then blacked out. He now says in his autobiography “I could have persevered, double-tracked the voice, warmed up for longer – anything. It was a good track, and the record was lacking without it. When the album was re-released, the track was restored with a more confident vocal, and it has stayed there ever since.” During the sessions for Full House the group also recorded one non-album single, Thompson and Swarbrick’s “Now Be Thankful”: [Excerpt, Fairport Convention, “Now Be Thankful”] The B-side to that was a medley of two traditional tunes plus a Swarbrick original, but was given the deliberately ridiculous title “Sir B. McKenzie’s Daughter’s Lament For The 77th Mounted Lancers Retreat From The Straits Of Loch Knombe, In The Year Of Our Lord 1727, On The Occasion Of The Announcement Of Her Marriage To The Laird Of Kinleakie”: [Excerpt: Fairport Convention, “Sir B. McKenzie’s Daughter’s Lament For The 77th Mounted Lancers Retreat From The Straits Of Loch Knombe, In The Year Of Our Lord 1727, On The Occasion Of The Announcement Of Her Marriage To The Laird Of Kinleakie”] The B. McKenzie in the title was a reference to the comic-strip character Barry McKenzie, a stereotype drunk Australian created for Private Eye magazine by the comedian Barry Humphries (later to become better known for his Dame Edna Everage character) but the title was chosen for one reason only — to get into the Guinness Book of Records for the song with the longest title. Which they did, though they were later displaced by the industrial band Test Dept, and their song “Long Live British Democracy Which Flourishes and Is Constantly Perfected Under the Immaculate Guidance of the Great, Honourable, Generous and Correct Margaret Hilda Thatcher. She Is the Blue Sky in the Hearts of All Nations. Our People Pay Homage and Bow in Deep Respect and Gratitude to Her. The Milk of Human Kindness”. Full House got excellent reviews in the music press, with Rolling Stone saying “The music shows that England has finally gotten her own equivalent to The Band… By calling Fairport an English equivalent of the Band, I meant that they have soaked up enough of the tradition of their countryfolk that it begins to show all over, while they maintain their roots in rock.” Off the back of this, the group went on their first US tour, culminating in a series of shows at the Troubadour in LA, on the same bill as Rick Nelson, which were recorded and later released as a live album: [Excerpt: Fairport Convention, “Sloth (live)”] The Troubadour was one of the hippest venues at the time, and over their residency there the group got seen by many celebrities, some of whom joined them on stage. The first was Linda Ronstadt, who initially demurred, saying she didn’t know any of their songs. On being told they knew all of hers, she joined in with a rendition of “Silver Threads and Golden Needles”. Thompson was later asked to join Ronstadt’s backing band, who would go on to become the Eagles, but he said later of this offer “I would have hated it. I’d have hated being on the road with four or five miserable Americans — they always seem miserable. And if you see them now, they still look miserable on stage — like they don’t want to be there and they don’t like each other.” The group were also joined on stage at the Troubadour on one memorable night by some former bandmates of Pegg’s. Before joining the Ian Campbell Folk Group, Pegg had played around the Birmingham beat scene, and had been in bands with John Bonham and Robert Plant, who turned up to the Troubadour with their Led Zeppelin bandmate Jimmy Page (reports differ on whether the fourth member of Zeppelin, John Paul Jones, also came along). They all got up on stage together and jammed on songs like “Hey Joe”, “Louie Louie”, and various old Elvis tunes. The show was recorded, and the tapes are apparently still in the possession of Joe Boyd, who has said he refuses to release them in case he is murdered by the ghost of Peter Grant. According to Thompson, that night ended in a three-way drinking contest between Pegg, Bonham, and Janis Joplin, and it’s testament to how strong the drinking culture is around Fairport and the British folk scene in general that Pegg outdrank both of them. According to Thompson, Bonham was found naked by a swimming pool two days later, having missed two gigs. For all their hard rock image, Led Zeppelin were admirers of a lot of the British folk and folk-rock scene, and a few months later Sandy Denny would become the only outside vocalist ever to appear on a Led Zeppelin record when she duetted with Plant on “The Battle of Evermore” on the group’s fourth album: [Excerpt: Led Zeppelin, “The Battle of Evermore”] Denny would never actually get paid for her appearance on one of the best-selling albums of all time. That was, incidentally, not the only session that Denny was involved in around this time — she also sang on the soundtrack to a soft porn film titled Swedish Fly Girls, whose soundtrack was produced by Manfred Mann: [Excerpt: Sandy Denny, “What Will I Do With Tomorrow?”] Shortly after Fairport’s trip to America, Joe Boyd decided he was giving up on Witchseason. The company was now losing money, and he was finding himself having to produce work for more and more acts as the various bands fissioned. The only ones he really cared about were Richard Thompson, who he was finding it more and more difficult to work with, Nick Drake, who wanted to do his next album with just an acoustic guitar anyway, Sandy Denny, who he felt was wasting her talents in Fotheringay, and Mike Heron of the Incredible String Band, who was more distant since his conversion to Scientology. Boyd did make some attempts to keep the company going. On a trip to Sweden, he negotiated an agreement with the manager and publisher of a Swedish band whose songs he’d found intriguing, the Hep Stars. Boyd was going to publish their songs in the UK, and in return that publisher, Stig Anderson, would get the rights to Witchseason’s catalogue in Scandinavia — a straight swap, with no money changing hands. But before Boyd could get round to signing the paperwork, he got a better offer from Mo Ostin of Warners — Ostin wanted Boyd to come over to LA and head up Warners’ new film music department. Boyd sold Witchseason to Island Records and moved to LA with his fiancee Linda Peters, spending the next few years working on music for films like Deliverance and A Clockwork Orange, as well as making his own documentary about Jimi Hendrix, and thus missed out on getting the UK publishing rights for ABBA, and all the income that would have brought him, for no money. And it was that decision that led to the breakup of Fotheringay. Just before Christmas 1970, Fotheringay were having a difficult session, recording the track “John the Gun”: [Excerpt: Fotheringay, “John the Gun”] Boyd got frustrated and kicked everyone out of the session, and went for a meal and several drinks with Denny. He kept insisting that she should dump the band and just go solo, and then something happened that the two of them would always describe differently. She asked him if he would continue to produce her records if she went solo, and he said he would. According to Boyd’s recollection of the events, he meant that he would fly back from California at some point to produce her records. According to Denny, he told her that if she went solo he would stay in Britain and not take the job in LA. This miscommunication was only discovered after Denny told the rest of Fotheringay after the Christmas break that she was splitting the band. Jerry Donahue has described that as the worst moment of his life, and Denny felt very guilty about breaking up a band with some of her closest friends in — and then when Boyd went over to the US anyway she felt a profound betrayal. Two days before Fotheringay’s final concert, in January 1971, Sandy Denny signed a solo deal with Island records, but her first solo album would not end up produced by Joe Boyd. Instead, The North Star Grassman and the Ravens was co-produced by Denny, John Wood — the engineer who had worked with Boyd on pretty much everything he’d produced, and Richard Thompson, who had just quit Fairport Convention, though he continued living with them at the Angel, at least until a truck crashed into the building in February 1971, destroying its entire front wall and forcing them to relocate. The songs chosen for The North Star Grassman and the Ravens reflected the kind of choices Denny would make on her future albums, and her eclectic taste in music. There was, of course, the obligatory Dylan cover, and the traditional folk ballad “Blackwaterside”, but there was also a cover version of Brenda Lee’s “Let’s Jump the Broomstick”: [Excerpt: Sandy Denny, “Let’s Jump the Broomstick”] Most of the album, though, was made up of originals about various people in Denny’s life, like “Next Time Around”, about her ex-boyfriend Jackson C Frank: [Excerpt: Sandy Denny, “Next Time Around”] The album made the top forty in the UK — Denny’s only solo album to do so — and led to her once again winning the “best female singer” award in Melody Maker’s readers’ poll that year — the male singer award was won by Rod Stewart. Both Stewart and Denny appeared the next year on the London Symphony Orchestra’s all-star version of The Who’s Tommy, which had originally been intended as a vehicle for Stewart before Roger Daltrey got involved. Stewart’s role was reduced to a single song, “Pinball Wizard”, while Denny sang on “It’s a Boy”: [Excerpt: Sandy Denny, “It’s a Boy”] While Fotheringay had split up, all the band members play on The North Star Grassman and the Ravens. Guitarists Donahue and Lucas only play on a couple of the tracks, with Richard Thompson playing most of the guitar on the record. But Fotheringay’s rhythm section of Pat Donaldson and Gerry Conway play on almost every track. Another musician on the album, Ian Whiteman, would possibly have a profound effect on the future direction of Richard Thompson’s career and life. Whiteman was the former keyboard player for the mod band The Action, having joined them just before they became the blues-rock band Mighty Baby. But Mighty Baby had split up when all of the band except the lead singer had converted to Islam. Richard Thompson was on his own spiritual journey at this point, and became a Sufi – the same branch of Islam as Whiteman – soon after the session, though Thompson has said that his conversion was independent of Whiteman’s. The two did become very close and work together a lot in the mid-seventies though. Thompson had supposedly left Fairport because he was writing material that wasn’t suited to the band, but he spent more than a year after quitting the group working on sessions rather than doing anything with his own material, and these sessions tended to involve the same core group of musicians. One of the more unusual was a folk-rock supergroup called The Bunch, put together by Trevor Lucas. Richard Branson had recently bought a recording studio, and wanted a band to test it out before opening it up for commercial customers, so with this free studio time Lucas decided to record a set of fifties rock and roll covers. He gathered together Thompson, Denny, Whiteman, Ashley Hutchings, Dave Mattacks, Pat Donaldson, Gerry Conway, pianist Tony Cox, the horn section that would later form the core of the Average White Band, and Linda Peters, who had now split up with Joe Boyd and returned to the UK, and who had started dating Thompson. They recorded an album of covers of songs by Jerry Lee Lewis, the Everly Brothers, Johnny Otis and others: [Excerpt: The Bunch, “Willie and the Hand Jive”] The early seventies was a hugely productive time for this group of musicians, as they all continued playing on each other’s projects. One notable album was No Roses by Shirley Collins, which featured Thompson, Mattacks, Whiteman, Simon Nicol, Lal and Mike Waterson, and Ashley Hutchings, who was at that point married to Collins, as well as some more unusual musicians like the free jazz saxophonist Lol Coxhill: [Excerpt: Shirley Collins and the Albion Country Band, “Claudy Banks”] Collins was at the time the most respected female singer in British traditional music, and already had a substantial career including a series of important records made with her sister Dolly, work with guitarists like Davey Graham, and time spent in the 1950s collecting folk songs in the Southern US with her then partner Alan Lomax – according to Collins she did much of the actual work, but Lomax only mentioned her in a single sentence in his book on this work. Some of the same group of musicians went on to work on an album of traditional Morris dancing tunes, titled Morris On, credited to “Ashley Hutchings, Richard Thompson, Dave Mattacks, John Kirkpatrick and Barry Dransfield”, with Collins singing lead on two tracks: [Excerpt: Ashley Hutchings, Richard Thompson, Dave Mattacks, John Kirkpatrick and Barry Dransfield with Shirley Collins, “The Willow Tree”] Thompson thought that that album was the best of the various side projects he was involved in at the time, comparing it favourably to Rock On, which he thought was rather slight, saying later “Conceptually, Fairport, Ashley and myself and Sandy were developing a more fragile style of music that nobody else was particularly interested in, a British Folk Rock idea that had a logical development to it, although we all presented it our own way. Morris On was rather more true to what we were doing. Rock On was rather a retro step. I'm not sure it was lasting enough as a record but Sandy did sing really well on the Buddy Holly songs.” Hutchings used the musicians on No Roses and Morris On as the basis for his band the Albion Band, which continues to this day. Simon Nicol and Dave Mattacks both quit Fairport to join the Albion Band, though Mattacks soon returned. Nicol would not return to Fairport for several years, though, and for a long period in the mid-seventies Fairport Convention had no original members. Unfortunately, while Collins was involved in the Albion Band early on, she and Hutchings ended up divorcing, and the stress from the divorce led to Collins developing spasmodic dysphonia, a stress-related illness which makes it impossible for the sufferer to sing. She did eventually regain her vocal ability, but between 1978 and 2016 she was unable to perform at all, and lost decades of her career. Richard Thompson occasionally performed with the Albion Band early on, but he was getting stretched a little thin with all these sessions. Linda Peters said later of him “When I came back from America, he was working in Sandy’s band, and doing sessions by the score. Always with Pat Donaldson and Dave Mattacks. Richard would turn up with his guitar, one day he went along to do a session with one of those folkie lady singers — and there were Pat and DM. They all cracked. Richard smashed his amp and said “Right! No more sessions!” In 1972 he got round to releasing his first solo album, Henry the Human Fly, which featured guest appearances by Linda Peters and Sandy Denny among others: [Excerpt: Richard Thompson, “The Angels Took My Racehorse Away”] Unfortunately, while that album has later become regarded as one of the classics of its genre, at the time it was absolutely slated by the music press. The review in Melody Maker, for example, read in part “Some of Richard Thompson’s ideas sound great – which is really the saving grace of this album, because most of the music doesn’t. The tragedy is that Thompson’s “British rock music” is such an unconvincing concoction… Even the songs that do integrate rock and traditional styles of electric guitar rhythms and accordion and fiddle decoration – and also include explicit, meaningful lyrics are marred by bottle-up vocals, uninspiring guitar phrases and a general lack of conviction in performance.” Henry the Human Fly was released in the US by Warners, who had a reciprocal licensing deal with Island (and for whom Joe Boyd was working at the time, which may have had something to do with that) but according to Thompson it became the lowest-selling record that Warners ever put out (though I’ve also seen that claim made about Van Dyke Parks’ Song Cycle, another album that has later been rediscovered). Thompson was hugely depressed by this reaction, and blamed his own singing. Happily, though, by this point he and Linda had become a couple — they would marry in 1972 — and they started playing folk clubs as a duo, or sometimes in a trio with Simon Nicol. Thompson was also playing with Sandy Denny’s backing band at this point, and played on every track on her second solo album, Sandy. This album was meant to be her big commercial breakthrough, with a glamorous cover photo by David Bailey, and with a more American sound, including steel guitar by Sneaky Pete Kleinow of the Flying Burrito Brothers (whose overdubs were supervised in LA by Joe Boyd): [Excerpt: Sandy Denny, “Tomorrow is a Long Time”] The album was given a big marketing push by Island, and “Listen, Listen” was made single of the week on the Radio 1 Breakfast show: [Excerpt: Sandy Denny, “Listen, Listen”] But it did even worse than the previous album, sending her into something of a depression. Linda Thompson (as the former Linda Peters now was) said of this period “After the Sandy album, it got her down that her popularity didn't suddenly increase in leaps and bounds, and that was the start of her really fretting about the way her career was going. Things only escalated after that. People like me or Martin Carthy or Norma Waterson would think, ‘What are you on about? This is folk music.'” After Sandy’s release, Denny realised she could no longer afford to tour with a band, and so went back to performing just acoustically or on piano. The only new music to be released by either of these ex-members of Fairport Convention in 1973 was, oddly, on an album by the band they were no longer members of. After Thompson had left Fairport, the group had managed to release two whole albums with the same lineup — Swarbrick, Nicol, Pegg, and Mattacks. But then Nicol and Mattacks had both quit the band to join the Albion Band with their former bandmate Ashley Hutchings, leading to a situation where the Albion Band had two original members of Fairport plus their longtime drummer while Fairport Convention itself had no original members and was down to just Swarbrick and Pegg. Needing to fulfil their contracts, they then recruited three former members of Fotheringay — Lucas on vocals and rhythm guitar, Donahue on lead guitar, and Conway on drums. Conway was only a session player at the time, and Mattacks soon returned to the band, but Lucas and Donahue became full-time members. This new lineup of Fairport Convention released two albums in 1973, widely regarded as the group’s most inconsistent records, and on the title track of the first, “Rosie”, Richard Thompson guested on guitar, with Sandy Denny and Linda Thompson on backing vocals: [Excerpt: Fairport Convention, “Rosie”] Neither Sandy Denny nor Richard Thompson released a record themselves in 1973, but in neither case was this through the artists’ choice. The record industry was changing in the early 1970s, as we’ll see in later episodes, and was less inclined to throw good money after bad in the pursuit of art. Island Records prided itself on being a home for great artists, but it was still a business, and needed to make money. We’ll talk about the OPEC oil crisis and its effect on the music industry much more when the podcast gets to 1973, but in brief, the production of oil by the US peaked in 1970 and started to decrease, leading to them importing more and more oil from the Middle East. As a result of this, oil prices rose slowly between 1971 and 1973, then very quickly towards the end of 1973 as a result of the Arab-Israeli conflict that year. As vinyl is made of oil, suddenly producing records became much more expensive, and in this period a lot of labels decided not to release already-completed albums, until what they hoped would be a brief period of shortages passed. Both Denny and Thompson recorded albums at this point that got put to one side by Island. In the case of Thompson, it was the first album by Richard and Linda as a duo, I Want to See the Bright Lights Tonight: [Excerpt: Richard and Linda Thompson, “I Want to See the Bright Lights Tonight”] Today, I Want to See the Bright Lights Tonight is widely regarded as one of the greatest albums of all time, and as one of the two masterpieces that bookended Richard and Linda’s career as a duo and their marriage. But when they recorded the album, full of Richard’s dark songs, it was the opposite of commercial. Even a song that’s more or less a boy-girl song, like “Has He Got a Friend for Me?” has lyrics like “He wouldn’t notice me passing by/I could be in the gutter, or dangling down from a tree” [Excerpt: Richard and Linda Thompson, “Has He got a Friend For Me?”] While something like “The Calvary Cross” is oblique and haunted, and seems to cast a pall over the entire album: [Excerpt: Richard and Linda Thompson, “The Calvary Cross”] The album itself had been cheap to make — it had been recorded in only a week, with Thompson bringing in musicians he knew well and had worked with a lot previously to cut the tracks as-live in only a handful of takes — but Island didn’t think it was worth releasing. The record stayed on the shelf for nearly a year after recording, until Island got a new head of A&R, Richard Williams. Williams said of the album’s release “Muff Winwood had been doing A&R, but he was more interested in production… I had a conversation with Muff as soon as I got there, and he said there are a few hangovers, some outstanding problems. And one of them was Richard Thompson. He said there’s this album we gave him the money to make — which was I Want to See the Bright Lights Tonight — and nobody’s very interested in it. Henry the Human Fly had been a bit of a commercial disappointment, and although Island was altruistic and independent and known for only recording good stuff, success was important… Either a record had to do well or somebody had to believe in it a lot. And it seemed as if neither of those things were true at that point of Richard.” Williams, though, was hugely impressed when he listened to the album. He compared Richard Thompson’s guitar playing to John Coltrane’s sax, and called Thompson “the folk poet of the rainy streets”, but also said “Linda brightened it, made it more commercial. and I thought that “Bright Lights” itself seemed a really commercial song.” The rest of the management at Island got caught up in Williams’ enthusiasm, and even decided to release the title track as a single: [Excerpt: Richard and Linda Thompson, “I Want to See the Bright Lights Tonight”] Neither single nor album charted — indeed it would not be until 1991 that Richard Thompson would make a record that made the top forty in the UK — but the album got enough critical respect that Richard and Linda released two albums the year after. The first of these, Hokey Pokey, is a much more upbeat record than their previous one — Richard Thompson has called it “quite a music-hall influenced record” and cited the influence of George Formby and Harry Lauder. For once, the claim of music hall influence is audible in the music. Usually when a British musician is claimed to have a music ha

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