Podcasts about Scottish

We have another excerpt from the teams Whithorn Way pilgrimage, this time Rachel meets Stuart Wilson and Brian Boyd from the Ancient Society of Kilwinning Archers and hears all about a very surprising annual event!Mark has a trip on a Loch Ness with Frida Newton as they celebrate Jacobite Cruisers 50th anniversaryRachel visits the Scottish Fisheries Museum in Anstruther where they have the only Zulu fishing boat in the UK. Curator Julia Branch and musician Esther Swift - who has composed a piece of music inspired by the vessels, are there to meet her.Give Peas a Chance is a pilot project whose aim is to get locally grown organic split peas into school meals. This week, Rachel and some pupils who've been enjoying the peas, visited farmer Phil Swire and heard all about the journey from the soil to plate.Rachel is in Dundee to view a new whale memorial by Scottish artist Michael Visocchi. The sculpture which is heading to Georgia very soon, represents the shift from hunting whales in the past to conservation. Alison Neil from the South Georgia Heritage Trust has positive news regarding whale numbers in the area.Mark is in Cromarty to visit a very unusual cemetery nicknamed The Pirates Graveyard. David Alston explains what the engravings mean and who or what is in the oldest part of Cromarty - the Crypt!After some positive news regarding the ever elusive Capercaillie hit the headlines this week, Mark and Rachel find out more from Dr Jack Bamber from the University of Aberdeen.

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Bobby Bluebell remembers the “cuddly duffle-coat friendship” of Glasgow bands in the early ‘80s and the Bluebells' second act rebooted by the Volkswagen ad. The band are touring again and an even bigger part of the city's thriving musical community, and he looks back here at the first gigs he ever saw and played, along with … … singing “When I'm Dead And Gone' in an old folks home.   … on the town with Siobhan Fahey, her sisters and boyfriends Kevin Rowland and Gary Crowley. … buying Rocket Man and Wee Neil Reid's Mother Of Mine, aged 13. And Elton John at Glasgow's Kelvin Hall. … his side project The Golden Tree (with Grahame Skinner of Hipsway) playing ‘Scottish' songs by Marmalade, Strawberry Switchblade, Ewan MacColl, Coldplay, the Easybeats, Talking Heads and the Bay City Rollers. … “Glasgow had six gangs. You had to choose your route home carefully if wearing Kickers.” … Clare Grogan's sister's part in the Bluebells' fortunes. … Edwyn Collins and Alan Horne holding HIT and MISS signs in the front row of an Oxfam Warriors gig. … “A cuddly duffle-coat friendship”: the Glasgow bands of the early ‘80s and memories of Altered Images and Peter Capaldi's Dream Boys. … why Dolly Parton was ditched and ‘Young At Heart' chosen for the Volkswagen ad. … playing the Old Grey Whistle Test with the Psychedelic Furs. … “the best way to get an audience to stop talking is to entertain them.” … “All hits are luck”. … his Golden Rule when playing festivals. The Bluebells tickets here: https://www.songkick.com/artists/315250-bluebells/calendar The Golden Tree: https://open.spotify.com/artist/7HO0TGE0vgPgwDoaBUMAJF?si=LUsXAtrURVWYjEkzDpI0mQ&nd=1&dlsi=65dddbf6bf6c45e4Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

On this special partner episode of Scran Rosalind is joined by legendary Scottish actor James Cosmo.  In recent years James has worked alongside Annandale Distillery to create a blended whisky. 'Storyman' is named in honour of James, and for his reputation as a great raconteur, which you'll become very aware of in this podcast! Rosalind chats to James about his great passions; acting, whisky and food. He shares memories from his days working on the cinematic giant that was Braveheart, including a story about coincidence that is hard to believe.  Rosalind hears more about the process for developing his blend working alongside the master blenders at Annandale. James gets very animated when asked about his passion for cooking - in fact, he might call it an obsession! You can find out more about Storyman and Annandale Distillery by visiting their website. Tours of the distillery run every day of the week from 10am until 4pm. Each tour includes up to 5 dramsincluding a taste of James' blend Storyman'.  Learn more about your ad choices. Visit megaphone.fm/adchoices

United Kingdom correspondent Edward O'Driscoll spoke to Lisa Owen about the UK's medicine regulators warning that popular weight-loss jabs could be linked to hundreds of people getting sick and 10 deaths, as well as the latest Scottish words added to the Oxford English Dictionary.

Prick & Chuck meet Felicity's "Trump Insider". What can they reveal, what scandal do they know about, is Gonzo reportage about to make the big time? Tune in for this next exciting instalment of ‘The Hitch-Hike...' eh, A Prick in America. Oh, shoot. Hope there's not any more almost plagiarism going about.   Scottish left, pro-Indy, pro-LGBTIQA Podcasts. Writing. Campaigns. Please join us- help us create a new, fair media-  https://ko-fi.com/ungagged Where to find Left Ungagged… Website Twitter (X) YouTube Spotify Apple podcasts Podbean Facebook Instagram

In this upbeat episode, Indypodcasters Fiona and Marlene speak with Fatima Joji, a member of the National Executive of Women for Independence (WFI), about the organisation's bold relaunch on International Women's Day . WFI played a vital role in the 2014 Scottish independence referendum, building a respected and influential grassroots network of women-led local groups. But over the last decade, momentum has slowed and some groups have gone quiet. Fatima shares her vision for re-energising WFI, the outcome of their first Annual General Meeting, and how women's voices are still crucial to shaping an independent Scotland.

In this episode of Aberdeen, features lead Ryan Duff is joined by Alan McMorran, senior director for digital grid management at Emerson's Aspen Technology Business.   The duo discuss the grid and its ever-changing role in the energy transition as utilities feel an increasing need to manage their energy systems.    Although Ryan and Alan are both Scottish, the sports chat was kept to a minimum to avoid bringing down the mood; however, they might have gotten that conversation past McMorran's American colleagues, given their accents.    Instead, they discussed network model management and how Alan's first business developed the technology that allows people in the north of Scotland to report power outages to SSEN and how crowdsourcing will continue to play its part in the evolution of the grid.    All in all, we are going to need a more adaptive and resilient grid as energy production and usage both shift.

Welcome to the Scottish Watches Podcast episode 686! In this episode of the Scottish Watches podcast, things kick off with a colourful blend of street art and horology as the... The post Scottish Watches Podcast #686 : A Ton of Toys For The Wrist appeared first on Scottish Watches.

Episode 488~ June 16, 2025 Podcast Info / Topics Can you imagine being on a canoe trip and a tornado rips though? That is exactly what happened in Central Ontario Should you use a leash on a stand up paddleboard? The answer is yea AND nay Paddlers are disturbing the marine wildlife in Scotland so […]

Episode 488~ June 16, 2025 Podcast Info / Topics Can you imagine being on a canoe trip and a tornado rips though? That is exactly what happened in Central Ontario Should you use a leash on a stand up paddleboard? The answer is yea AND nay Paddlers are disturbing the marine wildlife in Scotland so […]

Send us a text"Sexy Doctors"Mark and Ben(!) invite longtime friend of the show Richie Morgan to submit his five choices for the tinsel tunnel. While Richie insists he's not come to bury RTD, many of his choices force the boys to consider what has and hasn't worked over the past three years. They also force this Timelash trio to ponder the following questions:Why is Russell T Davies like Kim Jong Un?Who is the Scottish goblin?Why should Children in Need give back the money that was raised by Time Crash?You can listen to I Hate Doctor Who here, and their live show will broadcast on July 2nd on YouTube. Support the showFollow us on TwitterLike us on FacebookBuy us a pint

Put the kettle on and get ready to hear Dominika Noworolska talk to us about her love of tea. She describes her journey from discovering tea culture as a teenager in Krakow's atmospheric tea houses to becoming a dedicated tea enthusiast in the UK, and how those early experiences in dimly lit basement tea houses created lasting associations between tea and meaningful dialogue. She explains the difference between Western and Eastern brewing methods, discusses how different teas create distinct moods and effects, and shares her discovery of Scotland's tiny craft tea industry. Dominika emphasizes tea as both a sensory experience and a ritual for focus and relaxation, while offering practical advice for newcomers to move beyond tea bags—most importantly, investing in a temperature-controlled kettle!Guest BioDominika Noworolska (she/her) is a Polish (turned Scottish) monotropic researcher and facilitator driven by her desire to support meaningful change by making sense of complexity, in our social world and ourselves. She has worn many hats over the years: commercial semiotician, ethnographer, user researcher, and mediator. Through her company Cosense, she aspires to facilitate collective sensemaking and better dialogue across differences; with warm tea in hand.LinksDominika on LinkedIn: https://www.linkedin.com/in/dominika-noworolska/Dominika on Bluesky: https://bsky.app/profile/dominikanow.bsky.socialScottish Tea Factory https://scottishteafactory.co.uk/Mei Leaf channel on YouTube: https://www.youtube.com/@MeiLeafCreditsCover design by Raquel Breternitz.

Dr Joanna McMillan is a PHD qualified nutritional scientist, dietician and heath and wellbeing expert, but the self-confessed science nerd is a breath of fresh air because she talks about food in a way we can all understand and relate to. A television and radio favourite, Joanna chats about her early years growing up on a Scottish farm, the importance of good gut health and the real story behind our coffee habits. Looking after ourselves and the planet at the same time is Joanna's passion and she shares her thoughts and philosophies on some of the easiest ways to achieve both these goals, including making the best choices when buying seafood. Joanna's dream dinner party guest list is a stunner, as is her kitchen tip and she reveals the truth behind her popular My Day on a Plate newspaper column. The Food Bytes Food Poll this week spotlights the humble pea in all its cooked and raw glory. Do these green balls of flavour get the tick or the flick? Presented by Sarah Patterson & Kevin Hillier Broadcast each Sunday on the ACE Radio Network - https://aceradio.com.au/Catch us also on:Radio 2DD - Easy Listening - On Line - https://www.2dd.online/Follow us on Facebook...https://www.facebook.com/foodbyteswithsarahpatterson/Twitter & Instagram - @sarahfoodbytesPost-production by Chris GatesforHowdy Partners Media | www.howdypartnersmedia.com.au/podcasts© 2025See omnystudio.com/listener for privacy information.

This mini episode of the podcast marks the re-opening of Filmhouse, Edinburgh's beloved independent cinema which was forced to close in October 2022 when its parent company went into administration. After the closure, a crowdfunding campaign was set up and support also came in from the Scottish and UK governments. The campaign to re-open Filmhouse as a brand-new organisation was spearheaded by four former Filmhouse employees Ginnie Atkinson, David Boyd, James Rice and Rod White.In November 2023, David and Rod joined host Dr Pasquale Iannone on a special episode of Edinburgh Film Podcast (EFP 39) where they spoke of their long associations with the cinema and their plans for the re-opening. At that time, there was a certain amount of optimism, but the re-opening was by no means a done deal. This week - more than 30 months after Filmhouse closed - the doors have finally re-opened.In this episode, Pasquale catches up with Programme Director Rod White - they discuss the new screens (including a brand-new fourth screen), the revamped cafe bar as well as the opening programme of films.

Yesterday, the Scottish Government published their medium-term financial strategy, which kicks off the Scottish Budget process. Hannah Randolph is joined by FAI Director Mairi Spowage to share their reactions. (2:08) What does the medium-term financial strategy do? (8:47) Financial strategy across spending areas (18:04) Public sector reform (25:06) Looking ahead to the Scottish spending review

I adored Cockatoo Cove and the chat I got to have with Maya Linnell. I turn into a tree change wanta be I think whenever I read a Maya Linnell; small Australian rural town living sounds perfect! And if that meant running into Scottish winemakers reading Outlander..well when can I move? I am loving her Limestone Coast series and I am sure Cockatoo Cove is my favourite..we get the story of Fergus the Scotsman and Maggie who I love...And to join our ReadA Book community head on over to www.readabook.com.au. We are a wonderful collective of like minded book lovers where you can mix and mingle and be, and together we can all enjoy reading more

Thousands of people protested on the anniversary of the storming of Kenya's parliament. Also: President Trump's emotional encounter with a BBC Ukrainian reporter and the Scottish conman whose tea wasn't homegrown.

Synopsis 28 Years Later picks up exactly where you think it will: 28 years after the initial rage virus outbreak in the U.K. All these years later, the movie focuses on a small Scottish island off the coast of the quarantined mainland, where the only way to and from is a small causeway that disappears in high tide. This story follows Spike, a twelve year old boy who takes his rite of passage by venturing to the mainland for the first time with his father, to see the virus's impact for himself, and hopefully kill a few zombies. Review Everything about this film was wholly unexpected for me. Danny Boyle takes us on a journey like no other. Having a child as the main character/focus in a horror movie is not a new plot device, but in this film you really feel for Spike, you see everything in his perspective, you feel his fear, his guilt, his confusion. Everything that Spike is going through feels immensely personal to the viewer, and this is due to incredibly effective storytelling in Alex Garland's fantastic script and Boyle's dynamic storytelling.  28 Days Later was such an innovative and harrowing zombie movie, something unlike viewers in 2002 were used to seeing. Boyle shot it on low quality camcorders for the most part and relied heavily on the script, practical effects, and just damn good acting. This film isn't much different. Although film as a medium has progressed in the last 23 years, 28 Years Later feels so new, so fresh, so unexpectedly radical. The cinematography had me speechless, breathless, on the edge of my seat throughout the entire runtime. It is a masterclass. This film made me feel things that a typical zombie movie does not make me particularly feel. Having the foundation of a good but almost played out antagonist, zombies, and building a house upon that with an exceedingly emotional and moving script, topped with out of this world acting by Jodie Comer, Aaron Taylor Johnson, and newcomer Alfie Williams, makes this a perfect film. I'm already planning on going to see it again in theaters. Score 10/10

UK Culture Secretary LIsa Nandy talks us through the Government's new Creative Industries Sector Plan which aims to unlock growth and opportunity in culture, media and sport.Last week 27-year-old Scottish author Margaret McDonald become the youngest ever winner of the Carnegie medal for children's writing, for her debut novel Glasgow Boys, a book which explores mental health, trauma, inequality and identity through the friendship between two boys who have grown up in foster care. Margaret joins us live in the studio. We hear from the creators of a stage production (How To Win Against History) and a film (Madfabulous) based on the life of the so-called 'Dancing Marquess' Henry Paget, the 5th Marquess of Anglesey, a flamboyant Victorian aristocrat who inherited a vast fortune, squandered it and died at the age of 29. And the current Marquess of Anglesey talks about how his family views their ancestor. And artist Michael Visocchi talks about his monumental sculpture, Commensalis, which tells the story of the whale. Part of his sculpture can be seen in Dundee this weekend before it departs for the island of South Georgia in the Atlantic Ocean later in the summer.Presenter: Kirsty Wark Producer: Mark Crossan

Send us a textWhat does true loyalty look like in today's world? Whether it's sticking with your heartbreaking hometown sports teams or staying at the same company for over three decades, John Middleton embodies a steadfast commitment that feels increasingly rare in our current culture.In this engaging conversation with host Mike Bono, John shares the emotional rollercoaster of being a Cleveland sports fan—from the gut-wrenching "Drive" and "Fumble" eras through the Baker Mayfield years to the current Deshaun Watson debacle. "You have to be loyal," John insists. "I cannot go away from my hometown." This devotion extends beyond sports into his professional life, where he's built a 33-year career at Component Repair Technologies, rising from factory worker to visual dimensional inspector for jet engine parts.The discussion takes a fascinating turn when Mike opens up about his 13-year journey as the self-described "angry white comic" navigating today's comedy landscape. Both men reflect on how growing up in close-knit families (Italian for Mike, Scottish for John) fostered the resilience needed to thrive in a world increasingly sensitive to humor. "I think if people just laughed more, we would be a much happier society," John observes.Their conversation weaves through shared passions—from golf's unique appeal as an individual sport to the powerful pull of ancestral homelands. John's trips to Scotland have connected him with family and history, while Mike speaks of his future plans to visit Italy: "It's not if we go, it's when we go."The episode concludes with John's simple yet profound advice: approach life positively and learn from every experience. As Mike notes, "Failure doesn't mean you lost, it just means you learned something." In a world fixated on constant change, there's something refreshing about celebrating the quiet dignity found in loyalty, perseverance, and maintaining a sense of humor through life's inevitable challenges.Subscribe for exclusive content: https://www.buzzsprout.com/1530455/support Buzzsprout - Let's get your podcast launched!Start for FREETactical BrotherhoodThe Tactical Brotherhood is a movement to support America.Dubby EnergyFROM GAMERS TO GYM JUNKIES TO ENTREPRENEURS, OUR PRODUCT IS FOR ANYONE WHO WANTS TO BE BETTER.ShankitgolfOur goal here at Shankitgolf is for everyone to have a great time on and off the golf courseBuddy's Beard CareBuddy's Beard Care provides premium men's grooming products at an affordable price.Sweet Hands SportsElevate your game with Sweet Hands Sports! Our sports gloves are designed for champions,Deemed FitBe a part of our movement to instill confidence motivation and a willingness to keep pushing forwardDisclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Support the showFollow us on all social mediaX: @mikebonocomedyInstagram: @mikebonocomedy@tiktok: @mikebono_comedianFacebook: @mikebonocomedy

Grace White, a rising sophomore public relations major at Texas State University, shares her transformative experiences about her three-week study abroad program in Scotland.  Grace is a student in my Intro to Public Relations class at Queen Margaret University.  We sat down in the library on campus and I recorded our conversation on my iPhone.  We talked about how a classroom presentation evolved into a life-changing journey.  Key Takeaways• Overcoming imposter syndrome as a first year student considering study abroad• Surprised by the warmth and friendliness of Scottish locals• Completing public relations projects with real local businesses• Exploring Edinburgh's tourist highlights and hidden gems• Building unexpected friendships with fellow Texas State students• Learning to embrace mistakes as valuable experiences• Discovering Calton Hill as a perfect sunset viewing location• Navigating public transportation and finding adventure in wrong turns• Pride in being among the first Texas State students at Queen Margaret University• Taking home a new philosophy of saying "yes" to opportunitiesHi Friend - If you're enjoying Stories of Change and Creativity, make sure to follow, rate, and leave a 5-star review—it helps more people discover the show. Check out my TEDx talk. Why you should take action - then figure it out.

This podcast contains explicit language and adult themes that may not be suitable for all listeners. In Here Comes The Guillotine The Mailbag, award winning Scottish comedians Frankie Boyle, Susie McCabe and Christopher Macarthur-Boyd answer your emails...If you have a dilemma, issue or problem you need solved, email hctg@global.com

We are joined by Gavin from the Scotland's Coefficient in a wide-ranging discussion on Scottish clubs in European competition.Celtic's likely opponents, the bleak future of the coefficient and the impact it could have on qualification, and much more.Treat yourself or the 20MT listener in your life, as well as supporting the podcast with some 20MT merch at 20mt.bigcartel.com/You can help support the production of these podcasts, get AD FREE content as well as gaining access to over 1100 extra episodes at patreon.com/20MinuteTimsSign up for Celtic's Youth Development Lottery The Celtic Pools and help shape Celtic's future here - https://celticpools.securecollections.net/index.aspx?Agent=353920MT Hosted on Acast. See acast.com/privacy for more information.

Welcome to the Scottish Watches Podcast episode 685! Live from the Montblanc booth at Watches and Wonders Geneva, for a fast-paced yet deeply technical walkthrough of Montblanc's 2025 novelties. We... The post Scottish Watches Podcast #685 : We Go Live On Air With Montblanc appeared first on Scottish Watches.

In Part 2 of my conversation with Dr. Aonghas MacCoinnich—native Gaelic speaker and lecturer at the University of Glasgow—we continue exploring how to pronounce the Gaelic words and names connected to Scotland's clans. From clan surnames to titles, place names, and common terms like mac and gille, Dr. MacCoinnich breaks down the original forms and meanings behind words many of us use—but few say correctly. If you've ever wondered how the name MacCoinnich (Mackenzie) was originally spoken, or why the word “clan” itself has deeper meaning in Gaelic, this episode is for you. This is a must-listen for anyone tracing Scottish ancestry or seeking to better understand the living language behind clan heritage.Sign up for a Scottish Clans tour of Scotland! Purchase your Clandana and Battle Shirts here

In this episode of Barrel Room Chronicles, host Kerry Moynahan sits down with Caitlin Bartlemay, Master Distiller at Clear Creek Distillery, to dive into the pioneering spirit behind McCarthy's Whiskey—widely recognized as the original American single malt. Broadcasting from the heart of Hood River, Oregon, Caitlin shares her journey from wheat farm kid to one of the most respected figures in American craft distilling.Listeners will hear about the visionary founder Steve McCarthy, who launched Clear Creek in 1985 with a mission to create European-style fruit brandies using Oregon-grown produce. A rainy hiking trip in Ireland later sparked his passion for peated single malt, and in 1994, McCarthy's released the first drops of what would become the foundation of the American single malt movement.Caitlin breaks down the unique distillation process using imported Scottish peated malt and Oregon oak barrels, as well as the use of a single-pass hybrid still—setting McCarthy's apart from traditional Scotch methods. From the flagship 3-year white label to the rich 6-year and Pedro Ximénez Sherry Cask Finish, Kerry and Caitlin taste their way through the core expressions, highlighting their earthy, forest-forward peat profile and complex flavor development.

It's Scottish Heritage Day in Tennessee. Plus, the local news for June 24, 2025, and an update on a WPLN-ProPublica investigation into the embattled head of a Tennessee youth detention center. Credits:  This is a production of Nashville Public Radio Host/producer: Blake Farmer Editor: Miriam Kramer Additional support: Mack Linebaugh, Tony Gonzalez, LaTonya Turner and the staff of WPLN and WNXP 

Whether it's people giving themselves goat blood transfusions in an effort to maintain their youth, or yet another influencer telling you to buy XYZ miracle supplements, anti-ageing is big business. In the first part of what will surely become a longer Studies Show series, Tom and Stuart look at the evidence for a few supposed “breakthrough” treatments that can slow down ageing: rapamycin, metformin, winding back the epigenetic clock, and calorie restriction.The Studies Show is brought to you by Works in Progress magazine. This week we talked about their new article on “through running”—the deceptively simple idea of not having trains stop at the edge of town and instead running them right through the centre. It seems obvious if you live in London, but it wasn't always this way. Check out the article for a detailed, nerdy discussion about how we can make trains—and therefore citites—better.Show notes* New meta-analysis on rapamycin and ageing* Website for Bryan “n = 1” Johnson and his related health claims* Our World In Data on life expectancy and about the reasons why it increased* Meta-analysis on methylation and the “biological clock” as a predictor of longevity* The STAP stem cell debacle* 2016 study using Yamanaka factors to slow down ageing in mice* 2023 study of the same idea on wild-type mice, showing a 109% increase in life expectancy* 2014 Scottish study on diabetes, metformin, and life expectancy* Critical letter noting the study's flaws* Failed replication from Denmark in 2022* The NIH's Interventions Testing Program* Older review of calorie restriction and ageingCreditsWe're grateful to Andrew Steele for talking to us for this episode. The Studies Show is produced by Julian Mayers at Yada Yada Productions. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.thestudiesshowpod.com/subscribe

Kris Fade does the full show in a Scottish accent and people are not happy about it + Chat GPT insults Big Rossi + We talk 'has your ex stolen your hoodies?'See omnystudio.com/listener for privacy information.

What's it like to leave the U.S. for the first time and study in a new country? In this short series I'm highlighting our Texas State University education abroad program in Scotland. Students and faculty spent three weeks living and working on the campus of Queen Margaret University, near Edinburgh, Scotland.  Join me as I sit down with students, faculty, and local professionals to capture their stories.Tori, a sophomore advertising major, shares her journey as a first-time international traveler. From navigating airports solo to building confidence through creative PR projects with local Scottish businesses, Tori's experience shows how studying abroad can transform your perspective—and your future.Tune in to hear how Tori made meaningful connections and gained real-world skills that go beyond the classroom.Key Takeaways:Study abroad builds independence and resilienceTips for navigating cultural differences and public transportationThe impact of working on real PR projects in a global settingCreating connections through collaborative, creative student workMaking meaningful connections with classmates through projects like her National Gallery photography series Finding confidence in a new environment where Tori could define herself without preconceptionsDiscovering confidence and community in a new environmentYou can learn more about our summer Texas State University Edinburgh program here. Hi Friend - If you're enjoying Stories of Change and Creativity, make sure to follow, rate, and leave a 5-star review—it helps more people discover the show. Check out my TEDx talk. Why you should take action - then figure it out.

Today, we're joined by a man whose name is firmly etched in Albion history, Mark McGhee. A former Scottish international with a distinguished playing career at clubs like Newcastle, Aberdeen and Celtic, Mark carried that same drive and determination into management. Appointed Brighton manager in 2003, he guided the club to a memorable play-off promotion in his very first season, leading the team through one of its most challenging periods, all without a permanent home. Mark's impact helped lay the foundations for the Brighton we know today and we're delighted to have him with us to look back on those defining years and share stories from an extraordinary football journey. Learn more about your ad choices. Visit podcastchoices.com/adchoices

We are thrilled to bring you the next installment of The Huddle Breakdown Interview with renowned football journalist, Jonathan Wilson.The interview covers a lot ground including:• The Lisbon Lions and their historic importance in the evolution of football tactics• His experience of Celtic in Seville• When did things go wrong for Scottish football• Wealth disparity in football• The future of football journalismJonathan has written for The Independent, FourFourTwo magazine and The Sunday Telegraph and Sports Illustrated, and was football correspondent for the Financial Times from 2002 to 2006. He writes for The Guardian and UnHerd and is a columnist for World Soccer.In 2011 he founded the quarterly football journal The Blizzard, which he edits.His book, Inverting the Pyramid was shortlisted for the William Hill Sports Book of the Year in 2008, and won 'Best Football Book' at the British Sports Book Awards in 2009. Nine of his other books have also been shortlisted for the award. Inverting the Pyramid also won the Premio Antonio Ghirelli and was shortlisted for the German football book of the year award.His book, Angels with Dirty Faces, which covered the history of football in Argentina, won "Best Football Book" and "Best Historical Book" at the Polish Sports Book Awards (Sportowa Książka Roku) in 2018. The Names Heard Long Ago won "Best Foreign Football Book" at the awards in 2023.He won FSA Football Writer of the Year in 2012, 2017, 2021 and 2024.He currently writes at his Substack, Wilson's World and co-hosts the Libero and It Was What It Was podcasts. Want to support the channel? - https://huddlebreakdown.comLike this video and want more content like it? Subscribe to the channel below and hit the bell to get notified every time a new video goes live. Follow us on Twitter: @huddlebreakdown@Alan_Morrison67 @jucojames Hosted on Acast. See acast.com/privacy for more information.

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

In this episode of the 30 Screams or Less podcast we review ‘Consecration', directed by Christopher Smith, written by Christopher Smith and Laurie Cook, and starring Jena Malone (Grace), Danny Huston (Father Romero), and Janet Suzman (Mother Superior). The plot of the movie is after the alleged suicide of her priest brother, Grace (Jena Malone) travels to the remote Scottish convent where he fell to his death. Distrusting the Church's... The post 30 Screams or Less 116: Consecration appeared first on Shining Wizards Network.

We look at what the prospects are for modern agriculture students, and what they're studying - from land management and vet science to AI and robotics. The Scottish Association of Meat Wholesalers says the Scottish government should be doing more to help the sector recover from falling cattle numbers. Meat imports are putting pressure on farmers. But the government says it is committed to keeping numbers up while working to keep emissions down. And we hear about a trial to find ways of making livestock production more environmentally friendly.Presented by Charlotte Smith and produced by Sally Challoner.

In this episode of the 30 Screams or Less podcast we review 'Consecration', directed by Christopher Smith, written by Christopher Smith and Laurie Cook, and starring Jena Malone (Grace), Danny Huston (Father Romero), and Janet Suzman (Mother Superior). The plot of the movie is after the alleged suicide of her priest brother, Grace (Jena Malone) travels to the remote Scottish convent where he fell to his death. Distrusting the Church's account, she uncovers murder, sacrilege and a disturbing truth about herself.Sponsored By:Beard Octane: Use the code 30SCREAMS10 at checkout for 10% off your order. https://beardoctane.com/Follow Us on Social Media: https://solo.to/30screamsorless

In this episode of the Scottish Property Podcast, Nick and Steven sit down with Eoin Baillie, a former gas engineer from West Lothian who's now one of Dubai's top-performing real estate brokers. After years in the Scottish property scene, Eoin made a bold move to the UAE — with no contacts, no leads, and 14 suitcases to his name.Today, he's earning up to £100K per month in commissions, brokering multi-million-dirham deals, and running a high-performing team in one of the world's most competitive real estate markets. Episode Highlights:

The outer boundaries of Hammerland are in sight, but no daring escape would be complete without a blown tire at the worst possible moment; that blown tire is the 1956 Quatermass knock-off X The Unknown! Co-directors Leslie Norman and Joseph Losey bring us a tale of slow-moving space slime that terrorizes a Scottish military base. Only an American scientist and his Atomic Energy Agency liaison stand in the way of face-melting global dominance.While not a homerun like some of the other films discussed in this series, there's a good deal to like in X The Unknown--a fact that Ian gradually learns in real time, thanks to a handful of post-viewing insights and trivia provided by the ever-patient AC! Join us for a look at "The Blob before The Blob"!Note: As mentioned in the video, this review was recorded in late May--almost exactly a month ago. After several weeks of nail-biting computer drama, I realized the video footage had not, in fact, been eaten. I recovered the conversation and am ecstatic to share it with you. Enjoy!Subscribe, like, and comment on Kicking the Seat here on YouTube, and check us out at:kickseat.comXBlueSkyInstagramFacebookShow LinksWatch the X The Unknown (1956) trailer.Read AC's written review of The Phantom of the Opera at Horror 101 with Dr. AC!Order AC's books on essential and obscure horror movies, Horror 101 and Hidden Horror!Subscribe to AC's YouTube channel, Horror 101 with Dr. AC.Grab only what you can carry as we "Escape from Hammerland"! Hitch a ride with our entire 2024 series in the "Return to Hammerland" Playlist!It's not too late to catch up with our 2023 trip “Beyond Hammerland”!Check out 2022's year-long journey, "Son of Hammerland"!And watch the series that started it all: "Hammerland"

On this edition of The Arts Section, host Gary Zidek talks to Steppenwolf co-founder and multiple award-winning actor Gary Sinise. The Chicago-area native is coming back home to perform a concert to raise support for a non-profit that helps disabled veterans. Later in the show, Gary visits the Driehaus Museum to learn more about the subject of its latest exhibit, Scottish artist Rory McEwen. And we'll hear from the author of a book about the world's two most famous movie critics.

This podcast contains explicit language and adult themes that may not be suitable for all listeners. In this episode of Here Comes The Guillotine, you'll hear some of the best bits of the podcast by award winning Scottish comedians Frankie Boyle, Susie McCabe and Christopher Macarthur-Boyd...

Send us a textLive show audio, y'all. Let's discuss three true crime cases and the horror movies they inspired. First, we're going to be discussing The Hills Have Eyes franchise and the legend of a cannibalistic Scottish clan that inspired it. Then, we'll talk about the movie Changeling and the tragic murder case at its center. Finally, we'll discuss Borderland, which was inspired by a drug lord who thought a human sacrifice would make his men invisible. The Hills Have Eyes/Scottish Cannibal Clanhttps://www.bbc.com/news/uk-scotland-21506077.amphttps://ayrshireandarran.com/sawney-beans-cave/ https://www.youtube.com/watch?v=PKd5D3fD3qIhttps://www.jstor.org/stable/1260707https://www.historyextra.com/period/medieval/did-the-scottish-mass-murdering-cannibal-sawney-bean-actually-exist/ https://www.scotclans.com/pages/the-legend-of-sawney-bean Changeling/The Chicken Coop Murdershttps://www.whittierdailynews.com/2008/12/21/clark-chief-witness-in-20s-child-murders-led-exemplary-life/ https://www.crimelibrary.org/serial_killers/predators/gordon_stewart_northcott/1.html  https://www.nytimes.com/1929/02/08/archives/northcott-convicted-of-slaying-three-boys-his-last-dramatic-plea.html https://people.com/gordon-stewart-northcott-chicken-coop-house-horrors-11695921https://www.nytimes.com/1930/10/03/archives/northcott-hanged-for-killing-boys-californian-on-whose-ranch-bones.html Borderland/The Murder of Mark Kilroyhttps://www.history.com/this-day-in-history/march-14/black-magic-voodoo-and-murder-occurs-at-rancho-santa-elenahttps://www.the-independent.com/news/world/americas/crime/mexico-kidnapping-matamoros-mark-kilroy-b2297461.htmlhttps://www.texasmonthly.com/true-crime/the-work-of-the-devil/https://www.valleycentral.com/news/local-news/friend-recalls-horrific-murder-of-mark-kilroy/https://www.fox7austin.com/news/ut-austin-student-mark-kilroy-murdered-in-mexico 

Michael Page is an enthusiastic piper of approx. 20 years, currently playing with Wasatch & District and currently on his (approx.) 26th set of bagpipes.Tune into this episode to hear Mike's tried and tested drone-reed combo!-We're on Facebook: https://www.facebook.com/DroningOnPodcastAnd Instagram: https://www.instagram.com/droning.on.podcast/-You can write-in to the show with comments, ideas, requests, etc. at TheDroningOnPodcast@gmail.com-Support the show via Patreon (patreon.com/DroningOnPodcast), or by buying cool stuff at BagpipeSWAG.com - - - And now, some keywords: Bagpipes, bagpipe, bag, pipe, pipes, pipe, band, pipeband, Scottish, small, drone, droning, chanter, highland, smallpipes, trad music,

Grease Panarisi, 10 Percent True Episode 73 Part 1In this episode, Mike “Grease” Panarisi tells his story of flying the F-111F in Europe and in Operation Desert Storm. From night-time laser-guided bomb runs over Iraq to hair-raising terrain-following flights through Scottish canyons, Grease shares what it was like to fly one of the war's most effective but least celebrated strike aircraft.

It's your Friday Bonus Ball – and the boys are still together, but apart, Martin in Dublin and Gordon in Tisney Studios, opening up the inbox to find more brilliant correspondence from our resourceful rascals at home and overseas. They're reminiscing about Germany and Greg McHugh's wine chat, more new car day nostalgia, the never-ending wrath of being the “Scottish guy on set” and will Dua Lipa re-ignite the gnome business? Make sure you subscribe and leave a 5 star review! If you'd like to share the times you've been a resourceful rascal, or want to get in touch, send an email to Hello@RestlessNativesPodcast.comPlease review Global's Privacy Policy: https://global.com/legal/privacy-policy

Farming Today comes from the Royal Highland Show on the outskirts of Edinburgh. The Scottish rural affairs secretary Mairi Gougeon has said the Scottish government will not reduce livestock numbers, as recommended by the Climate Change Committee. She told farmers Scotland would reach its net-zero targets in other ways. Robert Neill, vice president of NFU Scotland, explains how new high-frequency digital ear tags will make it easier to track cattle in Scotland.Scotland has big ambitions for its agritourism sector. Next year, it will be hosting the first global agritourism conference. We speak to the farmer who is bringing the event to Aberdeen, Caroline Millar.Thousands of animals compete in the show across four days, we catch up with the competition organiser in charge of all the logistics. Presenter: Charlotte Smith Producer: Rebecca Rooney

Welcome to the Scottish Watches Podcast episode 684! In this episode of the Scottish Watches podcast, Ricky and Dave wade into a tidal wave of new releases, from Tudor's surprise drop—the... The post Scottish Watches Podcast #684 : Sea, Summer and Sharks – Its A Show To Get Your Teeth Into! appeared first on Scottish Watches.

This first story of Dan's was mined from a Ghost Stories subreddit full of nothing but supposedly true paranormal encounters. The poster claims to have seen his fair share of all the gruesome horrors mankind has to offer during his time in the service but nothing he ever witnessed as a soldier ever terrified him quite as much as the inexplicable thing he saw in Okinawa.  Then we explore the lore that surrounds Edmonton, Canada's supposedly haunted Firkins House, where the ghost of a child, a haunted doll, and more have supposedly been encountered on numerous occasions. Lynze has a fun tale that feels like your brother called you to tell you about his insane day work. What do two men discover while installing a Radon system? Lastly, a fun tale of Bill, a tour bus driving who never wanted to give up his job. Scared To Death Merch:Celebrate 300 episodes of Scared to Death with the killer new '300 Rituals' collection. A fun Midsommer inspired design, featuring a ceremonial ritual site adorned with flowers and bones, marking 300 horror packed episodes of your favorite spoopy podcast. Design available in a tee, mug, and collectable spring tote bag.  Also available now is the Redcap tee featuring the Scottish gnome from episode 289. A really cool 70s illustration style of a darkly curious little guy peeking over the letters STDP. badmagicproductions.com Monthly Patreon Donation: Stay tuned for June's donation! Send stories to mystory@scaredtodeathpodcast.comSend everything else to info@scaredtodeathpodcast.comWant to be a Patron? Get episodes AD-FREE, listen and watch before they are released to anyone else, bonus episodes, a 20% merch discount, additional content, and more! Learn more by visiting: https://www.patreon.com/scaredtodeathpodcast.Please rate, review, and subscribe anywhere you listen.Thank you for listening!Follow the show on social media: @scaredtodeathpodcast on Facebook and IG and TTWebsite: https://www.badmagicproductions.com/Facebook: https://www.facebook.com/scaredtodeathpodcastInstagram: https://bit.ly/2miPLf5Mailing Address:Scared to Deathc/o Timesuck PodcastPO Box 3891Coeur d'Alene, ID 83816Opening Sumerian protection spell (adapted):"Whether thou art a ghost that hath come from the earth, or a phantom of night that hath no home… or one that lieth dead in the desert… or a ghost unburied… or a demon or a ghoul… Whatever thou be until thou art removed… thou shalt find here no water to drink… Thou shalt not stretch forth thy hand to our own… Into our house enter thou not. Through our fence, breakthrough thou not… we are protected though we may be frightened. Our life you may not steal, though we may feel SCARED TO DEATH." Subscribe to SiriusXM Podcasts+ to listen to new episodes of Scared to Death ad-free and a whole week early. Start a free trial now on Apple Podcasts or by visiting siriusxm.com/podcastsplus.

Jo and Rob dig through the case files of ‘Dept. Q', Netflix's grimy crime drama about a Scottish cold case unit. 00:00  START 01:50  Initial impressions 07:07  Jo's grades for the show 09:37  Entrance points 13:29  Production design 15:33  **SPOILERS** 23:52  Mathew Goode's performance 31:37  Akram stealing the show 35:17  Grading TV therapists 42:45  Casting shout-outs 52:26  Merritt Lingard's performance 1:02:08  Final thoughts Email us! prestigetv@spotify.com Subscribe to the Ringer TV YouTube channel here for full episodes of ‘The Prestige TV Podcast' and so much more! Hosts: Joanna Robinson and Rob Mahoney Producers: Kai Grady and Donnie Beacham Jr. Additional Production Support: Justin Sayles Learn more about your ad choices. Visit podcastchoices.com/adchoices