Podcasts about Sex Pistols

In questa puntata di Dee Giallo Story Carlo Lucarelli racconta l'incredibile storia di Malcolm McLaren creatore della band punk Sex Pistols.See omnystudio.com/listener for privacy information.

Okay, so the 1970s wasn't all bad.  We got Star Wars, Jaws, The Sex Pistols, and Led Zepplin out of it.  But we also got disco, streaking, pet rocks, and ...

Content is King. Aber Flimmerfreunde sind Antiroyalisten, sind der Aufstand, befördern die Revolution. Weiterhin gilt: Es ist Sommer und es ist heiß. Oft. Kinos sind kühl. Meistens. Außerdem, Kolja Podkowik, Musiker (zB. Antilopen Gang), Podcaster und Autor ist unser Gaststar. Denn wir und das Kino bringen die Menschen zusammen und am zusammensten dort wo sie den kleinsten gemeinsamen Nenner suchen in Form von Blockbustern. Für Deinen Platz, mittig in Reihe 4, sprechen wir über F1 - DER FILM, der Runden Bestzeiten an den Kinokassen macht, Brad Pitt beim Pitstopp, Box Office aus der Boxengasse. Und dann, the Horror, the Horror und noch so viel mehr in 28 YEARS LATER, etwa die größten Zombie-Penisse seit Rocco Siffredis Ruhestand. ELIO ist Disney, ist Pixar für Kinder. Und Eltern, die gerne Drogen nehmen. Blau mit dem Auto fahren, ungeil, blau fliegen, besser, SUPERMAN, DC im Reboot Modus. Wrestler Superman Kostüm und Richard Donner Vibes inbegriffen. Stumpf fortgesetzt, JURASSIC WORLD - DIE WIEDERGEBURT, 32 Jahre später und auf der Höhe der Zeit? Mit Kolja sprechen wir ausführlich über den Alex Cox Klassiker SID & NANCY, erstmalig völlig ungeschnitten in der BRD und die SEX PISTOLS im Allgemeinen. Hört Flimmerfreunde, seid gut bewaffnet für die Meinungsfront.

Hva betyr egentlig råkketegnet du lager med hånda? Hvor får man tak i råkkevest? Hvordan var egentlig Tons of Rock i 2025? Andreas, Karen og Astrid gir deg full rapport 

This week Angela Jaeger (Author of I FEEL FAMOUS Punk Diaries 1977-1981 and member of bands such as PIGBAG, THE MONOCHROME SET, THE BUSH TETRAS & THE STARE KITS) joins me to discuss THE PUNK ROCK MOVIE.We talk about Angela's feelings about publishing her personal diaries & how Thurston Moore and Byron Coley encouraged her to release them for everyone, being a teenage roadie and friend of Teenage Jesus & The Jerks, experiencing CBGB's and Max's Kansas City as a teen, heading overseas to be part of the 1978 punk movement, writing your diary in code (in case your Mom finds and reads it!), performing in Japan with Pigbag, finding your fellow weirdos as a kid, getting up the nerve to go alone to your first club shows, hanging with The Cramps more than any other band, The Dead Boys, wearing garbage bags to rock shows, how Angela's mom would let bands like The Raincoats, The Slits and Young Marble Giants crash at her home when they were touring, insights into Tier 3, the club her sister ran, the director Don Letts, The Roxy's 100 days of punk, how the film might have the best ever footage of The Sex Pistols, singing and speaking with a fake British accent, having to grow up quick and the darker sides of the punk scenes, the incredible footage of The Slits and The Clash on the White Riot tour and so much more.So let's put on a garbage bag dress and dance in front of our mirrors on this week's episode of Revolutions Per Movie!BOOK: https://hatandbeard.com/collections/music/products/i-feel-famous-punk-diaries-1977-1981PIGBAG ON IRS CUTTING EDGE: https://tinyurl.com/3x7xbbzbREVOLUTIONS PER MOVIE:Host Chris Slusarenko (Eyelids, Guided By Voices, owner of Clinton Street Video rental store) is joined by actors, musicians, comedians, writers & directors who each week pick out their favorite music documentary, musical, music-themed fiction film or music videos to discuss. Fun, weird, and insightful, Revolutions Per Movie is your deep dive into our life-long obsessions where music and film collide.The show is also a completely independent affair, so the best way to support it is through our Patreon at patreon.com/revolutionspermovie. By joining, you can get weekly bonus episodes, physical goods such as Flexidiscs, and other exclusive goods.Revolutions Per Movies releases new episodes every Thursday on any podcast app, and additional, exclusive bonus episodes every Sunday on our Patreon. If you like the show, please consider subscribing, rating, and reviewing it on your favorite podcast app. Thanks!SOCIALS:@revolutionspermovieBlueSky: @revpermovieTHEME by Eyelids 'My Caved In Mind'www.musicofeyelids.bandcamp.com ARTWORK by Jeff T. Owenshttps://linktr.ee/mymetalhand Hosted on Acast. See acast.com/privacy for more information.

James Gunn (Superman, Guardians of the Galaxy, The Suicide Squad) is a director, screenwriter, and co-chair of DC Studios. James joins the Armchair Expert to discuss the enduring impact of Super Friends, why people love the fact that Superman can beat up God, and how seeing the Sex Pistols as a kid altered life. James and Dax talk about once getting into such an intense argument with his dad about Prince that it almost came to blows, falling in love with and relating to the monsters in horror movies, and the dream of mixing animals and outcasts in his work. James explains how transformative it was to be compensated for doing something creative, why Guardians of the Galaxy has a reach beyond superhero movies, and how his most difficult moments made way for him to feel ok for the first time in his life.Follow Armchair Expert on the Wondery App or wherever you get your podcasts. Watch new content on YouTube or listen to Armchair Expert early and ad-free by joining Wondery+ in the Wondery App, Apple Podcasts, or Spotify. Start your free trial by visiting wondery.com/links/armchair-expert-with-dax-shepard/ now.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Peter Hook, bold pioneer of the high, clambering, tune-filled bassline, is touring this autumn with Peter Hook & the Light. We talk to him in Prestatyn - about to deejay at mate's birthday - about the first gigs he ever saw and played, heavy-handed club owners, tough crowds on dance floors, the world audience for his two old bands and few key moments of a long life onstage, which involves … … why you should never read your reviews. … how Ian Curtis was precisely the opposite of how people imagined him. ... why deejaying is “the loneliest job in the world” and three tunes to play when it all goes wrong - “and I don't play Blue Monday for obvious reasons”. … seeing the Nolans at Salford Rugby Club, aged 15. … his bell bottoms, clogs and Heavy Metal phase. … seeing Led Zeppelin and the Sex Pistols the same week – “the Pistols were so bad they were relatable. I thought I could do that!” … Stiff Kittens' first gig: “a third-rate punk band aping all the others”. … how DJs need to be “belligerent” and why people find them hard to love – and the book he's writing, ‘How Not To Be A DJ'. … how Ian Curtis's vision of an international Joy Division following has finally been realised – “and with three generations in the crowd”. … radiogram-wrecking early adventures in bass guitar. … and the reasons he wanted to leave New Order and the thrill of maintaining their legacy. Peter Hook & The Light tickets here: https://peterhookandthelight.live/Find 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.

Peter Hook, bold pioneer of the high, clambering, tune-filled bassline, is touring this autumn with Peter Hook & the Light. We talk to him in Prestatyn - about to deejay at mate's birthday - about the first gigs he ever saw and played, heavy-handed club owners, tough crowds on dance floors, the world audience for his two old bands and few key moments of a long life onstage, which involves … … why you should never read your reviews. … how Ian Curtis was precisely the opposite of how people imagined him. ... why deejaying is “the loneliest job in the world” and three tunes to play when it all goes wrong - “and I don't play Blue Monday for obvious reasons”. … seeing the Nolans at Salford Rugby Club, aged 15. … his bell bottoms, clogs and Heavy Metal phase. … seeing Led Zeppelin and the Sex Pistols the same week – “the Pistols were so bad they were relatable. I thought I could do that!” … Stiff Kittens' first gig: “a third-rate punk band aping all the others”. … how DJs need to be “belligerent” and why people find them hard to love – and the book he's writing, ‘How Not To Be A DJ'. … how Ian Curtis's vision of an international Joy Division following has finally been realised – “and with three generations in the crowd”. … radiogram-wrecking early adventures in bass guitar. … and the reasons he wanted to leave New Order and the thrill of maintaining their legacy. Peter Hook & The Light tickets here: https://peterhookandthelight.live/Find 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.

Peter Hook, bold pioneer of the high, clambering, tune-filled bassline, is touring this autumn with Peter Hook & the Light. We talk to him in Prestatyn - about to deejay at mate's birthday - about the first gigs he ever saw and played, heavy-handed club owners, tough crowds on dance floors, the world audience for his two old bands and few key moments of a long life onstage, which involves … … why you should never read your reviews. … how Ian Curtis was precisely the opposite of how people imagined him. ... why deejaying is “the loneliest job in the world” and three tunes to play when it all goes wrong - “and I don't play Blue Monday for obvious reasons”. … seeing the Nolans at Salford Rugby Club, aged 15. … his bell bottoms, clogs and Heavy Metal phase. … seeing Led Zeppelin and the Sex Pistols the same week – “the Pistols were so bad they were relatable. I thought I could do that!” … Stiff Kittens' first gig: “a third-rate punk band aping all the others”. … how DJs need to be “belligerent” and why people find them hard to love – and the book he's writing, ‘How Not To Be A DJ'. … how Ian Curtis's vision of an international Joy Division following has finally been realised – “and with three generations in the crowd”. … radiogram-wrecking early adventures in bass guitar. … and the reasons he wanted to leave New Order and the thrill of maintaining their legacy. Peter Hook & The Light tickets here: https://peterhookandthelight.live/Find 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.

British photographer Dennis Morris joins Robert Bound in the studio to discuss his extraordinary career and well-loved images of Bob Marley and the Sex Pistols. See omnystudio.com/listener for privacy information.

This morning on the show, Ben is in for Dave and was getting your reviews of the many gigs across the weekend but in just one noise. He also gave away his first tickets to Reading Festival and there was a very frustrating round of Name That Job for Emma Jones.

The Molotovs share their experiences on tour, reflecting on their journey from busking to performing in packed venues. They discuss memorable gigs, both as performers and audience members, and share insights on what makes a great live show. The band also touch on the challenges of the music industry, their dream festival line-up, and their upcoming projects, including a tour with iconic acts like the Sex Pistols and Iggy Pop. Ticket Stubs is a Listening Dog Media production. Learn more about your ad choices. Visit podcastchoices.com/adchoices

We're almost at the end of our 1977 series, but in true LITM fashion why have just one show on a topic when you could have two? Across this and the next episode we'll be filling in a few gaps we haven't touched on so far, and providing some broad economic and political scene-setting for this seminal year in both Britain and the States. In this episode we hear about the emergent neoliberal order, the oil crisis, austerity then and now, and OPEC. Jeremy and Tim consider escapism in music and film, Punk, Mods, the Silver Jubilee and the decline of the British Empire. They discuss the mighty Paul Weller, the Sex Pistols, Alice in Wonderland, and dig deep into the crates for the James Bond theme as you've never heard it before...Next time we'll be looking to America for our final show of this run.Do check out the podcasts Jem shouts out in end notes of this show. We're listing them here, you can find them wherever you find this:Pro Revolution SoccerRed MedicinePolitics Theory OtherProduced by Matt Huxley.Become a patron for as little as £3 per month by visiting Patreon.com/LoveMessagePod.We are now on Youtube! Find series 6 here: https://www.youtube.com/@LITMPodcastRemember, we have a rolling playlist of all the tracks discussed over on Spotify: https://open.spotify.com/playlist/3ZpKyqhvhOXfTuPMHCBkFsTracklist:Biddu Orchestra - James Bond Disco Theme (Journey into Fantasy) The Jam - In The City The Jam - Eton Rifles Sex Pistols - God Save the Queen Talking Heads - Don't Worry About the Government 

Director Alan G. Parker's newest film is a personal expression of gratitude toward John Lennon for being a figure that helped him through some difficult years when he was growing up. Borrowed Time: Lennon's Last Decade includes interviews with dozens of figures who knew him; everyone from Aunt Mimi (archival footage) to journalists like Ray Connolly, Chris Charlesworth, and Anthony DeCurtis, plus writers like Philip Norman and Ken Womack and other figures of influence, like Tariq Ali. The result is an impressionistic portrait of John's post-Beatles years, tapping the creativity that comes from working without official sanction. Parker's other work includes 2017's It Was Fifty Years Ago Today on Sgt. Pepper, plus other films and books covering punk acts including The Clash and the Sex Pistols.     

El director del Cru

The "Wanted! The Outlaws" compilation from 1976 was a huge launching pad (or relaunching pad) for Waylon and Willie. And, it did for country what The Sex Pistols or Ramones did for punk music.Sterling Drake joins us to talk about this game changing compilation and his new album “The Shape I'm In.”  Plenty of other discussion including short sleeved pearl snaps, Bro Country vs. Real Country (and some anti Rascal Flatts sentiment), who are the modern country outlaws, women are outlaws too, and Tompall Glaser deserves more discussion.Check out Sterling Drake at:  https://sterlingdrakemusic.com/Check out other episodes at RecordsRevisitedPodcast.com or one all your favorite podcast providers like Apple Podcasts, Castbox, iHeartMedia, and Spotify. Additional content is found at: Facebook.com/recordsrevisitedpodcast or twitter @podcastrecords or IG at instagram.com/recordsrevisitedpodcast/ or join our Patreon at patreon.com/RecordsRevisitedPodcast

This week we are totally Live as in its a Live special with reviews of Nine Inch Nails in Dublin, Primavera Sound , Glasgow Punk All-Dayer and Sam Fender.And we have guest reviewers , Jack Lovie does NIN and Primavera while Michael and top gig Paparazzi Craig Chisholm cover the Punk All Dayer in Glasgow which was headlined by the Sex Pistols. Terry gets in on the act with Sam Fender from Newcastle. And thats it totally and without a safety net, enjoy.

In his aimless youth, the author James Frey yearned to be the Sex Pistols of literature. Then he learned to be careful what you wish for. His memoir, A Million Little Pieces, shot to the top of bestseller lists, thanks in part to Oprah's endorsement. Then fact-checkers unmasked its fabrications, and James found himself being more of an outcast than he’d planned for. Nearly 20 years later, when the line between fact and fiction is more blurred than ever, Frey may seem like more of a pioneer than a pariah. Together, we reflect on what it was like to face and overcome this public pain, and the inspiration behind his new novel Next to Heaven, a provocative murder mystery skewering the wealthy New England town he calls home. Fail Better is now on YouTube! Watch this episode here. Follow me on Instagram at @davidduchovny. Find more video podcasts on our YouTube channel. Stay up to date with Lemonada on X, Facebook and Instagram at @LemonadaMedia. Joining Lemonada Premium is a great way to support our shows and get bonus content. Subscribe today on Apple Podcasts, Spotify, or wherever you get your podcasts. For a list of current sponsors and discount codes for this and every other Lemonada show, go to lemonadamedia.com/sponsors.See omnystudio.com/listener for privacy 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

Nun machen wir eine kleine Zeitreise: wir lernen den Musikproduzenten Nick Launay kennen – dank der aus Österreich stammenden und in Los Angeles lebenden Künstlerin Berit Gilma. Berit Gilma ist selbst Musikerin und arbeitet als Art Direktor mit dem Filmkomponisten Danny Elfman zusammen, 2023 war sie für einen Grammy nominiert in der Kategorie Grafik Design für das Boxset zum Danny Elfman Album BIG MESS. Bei ihrer Grammy Nomination Party war Nick Launay zu Gast und die beiden haben sich angefreundet. Wie wir gleich hören werden ist Nick ein toller Geschichtenerzähler und als Produzent war und ist Nick Launey beteiligt an zahlreichen legendären Alben der Musikgeschichte.Wie wurde ein punkbessesenener Teenager aus London zu einem gefragten Musikproduzenten? Jemand der nicht nur mit Johnny Rotten von den Sex Pistols zusammenarbeitet, sondern auch mit Nick Cave, den YeahYeahYeahs und Paris Jackson? Sendungshinweis: FM4. Homebase, 23.06.2025, 20 Uhr

Full disclosure here, and it’s sort of controversial. I’ve never been a Beach Boys fan. It’s just never really worked for me. As a kid, it just seemed to be a parent’s version of what rock and roll is supposed to be. The fact they had a song called “Be True To Your School” was enough evidence for me to not buy that Endless Summer collection that came out around the same time as I was discovering The Ramones and Sex Pistols. That’s not to say that I don’t have respect for the band, especially Brian Wilson, who passed away on June 11. The fact that so many of my favorite bands revered Wilson (including the Ramones) gave me some new insight. In fact, I always have said that I love the bands influenced by The Beach Boys more than the actual band. Plus, I have developed an appreciation for Pet Sunds, although I’m still not prepared to call it the greatest album ever. But I pulled it out after hearing the news of Brian’s death, and I also played the version of Smile that came out in 2011. That may be my favorite album by them, but is it […]

Full disclosure here, and it's sort of controversial. I've never been a Beach Boys fan. It's just never really worked for me. As a kid, it just seemed to be a parent's version of what rock and roll is supposed to be. The fact they had a song called “Be True To Your School” was enough evidence for me to not buy that Endless Summer collection that came out around the same time as I was discovering The Ramones and Sex Pistols. That's not to say that I don't have respect for the band, especially Brian Wilson, who passed away on June 11. The fact that so many of my favorite bands revered Wilson (including the Ramones) gave me some new insight. In fact, I always have said that I love the bands influenced by The Beach Boys more than the actual band. Plus, I have developed an appreciation for Pet Sunds, although I'm still not prepared to call it the greatest album ever. But I pulled it out after hearing the news of Brian's death, and I also played the version of Smile that came out in 2011. That may be my favorite album by them, but is it […]

Tony James joins Ralph Sutton and Aaron Berg and they discuss Tony James' interest in math and computer sciences in his youth, bought a guitar with his college grant money, meeting Mick Jones and the creation of the band London SS, Rat Scabies actually having scabies, seeing Deep Purple and realizing he wanted to be part of a band, writing the song Prove It live, starting Generation X, how Dancing With Myself with Billy Idol came to be, breaking up with Billy Idol, the creation of Sigue Sigue Sputnik and the other names it could've been, living in the home that Sid Vicious lived in, briefly joining Sisters of Mercy, collaborating with the Sex Pistols to create Generation Sex, what it felt like to reunite with Billy Idol on stage, the serendipitous connections throughout Tony James' career, Tony James' first concert, first drug and first sexual experience and so much more!(Air Date: June 14th, 2025)To advertise your product or service on GaS Digital podcasts please go to TheADSide.com and click on "Advertisers" for more information!You can watch The SDR Show LIVE for FREE every Wednesday and Saturday at 9pm ET at GaSDigitalNetwork.com/LIVEOnce you're there you can sign up at GaSDigitalNetwork.com with promo code: SDR for discount on your subscription which will give you access to every SDR show ever recorded! On top of that you'll also have the same access to ALL the shows that GaS Digital Network has to offer!Follow the whole show on social media!Tony JamesTwitter: https://twitter.com/TonyJamesWorldInstagram: https://instagram.com/TonyJamesWorldRalph SuttonTwitter: https://twitter.com/iamralphsuttonInstagram: https://www.instagram.com/iamralphsutton/Aaron BergTwitter: https://twitter.com/aaronbergcomedyInstagram: https://instagram.com/aaronbergcomedyShannon LeeTwitter: https://twitter.com/IMShannonLeeInstagram: https://instagram.com/ShannonLee6982The SDR ShowTwitter: https://twitter.com/theSDRshowInstagram: https://www.instagram.com/thesdrshow/See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Tim Eades grew up poor, but forced himself into college. He is a 4 time CEO, an investor, and on the boards of several different companies - but more interestingly, he is an old punk. He saw the Sex Pistols live back in the day, which he mentioned had great sound quality. He's been married for 25 years, and is on the board of a charity that his wife runs. That charity delivery 20,000 birthday cakes to underprivileged children a year.Being a multi-time CEO, Tim has some experience around starting companies. He interviewed many cybersecurity leaders, asking about identity and why vulnerabilities around it was still a problem. During a Liverpool game, he downloaded a powerpoint template and put together a pitch to build a company and solve this problem.This is the creation story of Anetac.SponsorsPaddle.comSema SoftwarePropelAuthPostmanMeilisearchLinkshttps://anetac.com/https://www.linkedin.com/in/tieades/Our Sponsors:* Check out Kinsta: https://kinsta.com* Check out Vanta: https://vanta.com/CODESTORYSupport this podcast at — https://redcircle.com/code-story/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

The podcast this week features the first-ever hosting appearance from Full Metal Hackett, as he joins Moose to discuss the festival that was Download 2025, an event that some are saying was the best Download *ever*! They reflect on the overall vibe of the festival, the changes in the audience demographic, and critique various performances, including the Sex Pistols and Korn. They also discuss various aspects such as festival facilities, logistical challenges, and their unique experiences with Hackett's new Big Orange Bus (RIP yellow van).  The weekend was not without its moments though. Hear how Hackett dove into a river of piss, or what happens when plans go awry and you accidentally make your girlfriend walk for almost 3hrs whilst carrying all the camping gear. They also share their upcoming travel plans, predictions for future festivals, and delve into the controversy surrounding the band Sleep Token, highlighting the diverse opinions within the music community. Check out our chosen charity Metal For Good and some of the great charity work they do here https://metalforgood.org/ https://primordialradio.com https://www.instagram.com/primordialradio https://tiktok.com/@primordialradio https://www.facebook.com/primordialradio https://www.x.com/primordialradio​

Send us a message, so we know what you're thinking!A “Deep Cut” is something that is recognisable or familiar to passionate fans but not usually to others.  As a special treat this week, we've delved into our collections to give you some deep cuts from our favourites – things like Queen, Bowie, Joe Cocker, Nick Cave and TISM. We think you'll love them,   In Rock News, Jeff delves into songs that turn 60 on 2025, looks at Sunday Lunch with Toyah and Robert Fripp, and looks at Yachtley Crew, a strange phenomenon from California.  Our Album You Must Hear Before You Die this week is Raw Power (1973) by Iggy and the Stooges. The lo-fi production on this highly influential album is the source of much tension between Bowie and Iggy, much of it not fair. We liked it!  Enjoy.  Playlist  Songs that turn 60 this year  Sunday Lunch with Robert and Toyah  Yachtley Crew Peter Cook as The BishopREM on Letterman References:  Raw Power, Iggy Pop, The Stooges, John Cale, Columbia Records, Sex Pistols, Johnny Marr & The Smiths, Kurt Cobain, Nirvana, MainMan, Tony DeFries, Sonny Boy Williamson, Ron Asheton, Scott Asheton, “Gimme Danger”, “Search and Destroy”, Iggy on Countdown, radio-friendly, Bowie, “The Man Who Sold the World”, Unplugged, Roxy Music, “For Your Pleasure”, Roxy live in Sydney – 2001 & 2011, The Police, “Bring on the Night”, Regatta de Blanc, white reggae, T.S. Eliot, “The Love Song of J. Alfred Prufrock”, Joe Cocker, “Many Rivers to Cross”, Sheffield Steel, Queen, “Fairy Fellers Master Stroke”, Richard Dadd, State Criminal Lunatic Asylum of Bethlem Royal Hospital – Bedlam, Nick Cave, “Papa Won't Leave You, Henry”, Henry's Dream, John Cale, “Close Watch (I Keep a)”, Helen of Troy, Music for a New Society, Fragments of a Rainy Season, REM, "So. Central Rain (Sorry)", Reckoning, Lou Reed, “Street Hassle”, Warren Zevon, “Hit Somebody!  (The Hockey Song)”, My Ride's Here, Carl Hiassen, “Bad Monkey”, Vince Vaughan, David Letterman, Enjoy Every Sandwich, Jimmy Webb, “Galveston”, Kate Bush, Aerial, "Pi”, Pete Townshend, “The Sea Refuses No River”, All the Best Cowboys Have Chinese Eyes, TISM, Great Trucking Songs of the Renaissance, "The Ballad of John Bonham's Coke Roadie"  

It's time for another Birthday Spanking! This month is Dylan's birthday, so Justin picked Ian Dury's debut album, New Boots and Panties!! from 1977 as punishment.Send your questions for an upcoming mailbag episode to punklottopod@gmail.com or our voicemail line 202-688-PUNKJoin our new $5 Patreon Producer Tier to get your name said on the show every week. You also get access to a Producer exclusive monthly bonus episode discussing a different EP, written content, outtakes, producer exclusive polls, and moreYou can also join our $1 tier to get access to all of our weekly bonus audio. We also have a $10 tier where you get to choose the album we discuss on an episode - patreon.com/punklottopodMajor Awards EP - majorawards.bandcamp.comMerch Shop  - redbubble.com/people/punk-lotto-pod/shopPodcast platforms and social media links at linktr.ee/punklottopodCall our voicemail line: 202-688-PUNKLeave us a review and rating on Apple Podcasts and Spotify.Song clips featured on this episode:Ian Dury - Wake Up and Make Love to MeIan Dury - Billericay DickieIan Dury - Blockheads 

It's time for a nostalgia cash-in as we listen in on the first half of the THREE HOUR soundtrack to Tony Hawk's Pro Skater 3 +4! Discover bonus eps, merch and more on our Patreon! This week: What songs are old/new/best suited for the pause menu? Ramsey loves the Sex Pistols! And Tony Hawk sings! All this and so much MORE! Wanna get a shout-out on a future episode? Give us a rating on iTunes! It helps us, and it helps you feel good about yourself!

On the June 4 edition of the Music History Today podcast, the gig that changed the world took place, Springsteen released his biggest selling album, and Avril Lavigne debuted. Plus, it's birthday cake time for El Debarge, Nikka Costa, and Cecilia Bartoli.For more music history, subscribe to my Spotify Channel or subscribe to the audio version of my music history podcasts, wherever you get your podcasts fromALL MUSIC HISTORY TODAY  PODCAST NETWORK LINKS - https://allmylinks.com/musichistorytodayResources for mental health issues - https://en.wikipedia.org/wiki/List_of_suicide_crisis_lineshttps://findahelpline.comResources for substance abuse issues - https://988lifeline.orghttps://www.samhsa.gov/find-help/helplines/national-helpline

Alex Kane is a fiercely inventive guitarist, songwriter, and musical visionary whose career has spanned decades and continents. Best known for his work with bands like Life Sex & Death, Marky Ramone's Blitzkrieg, Antiproduct, and Enuff Z'Nuff, Kane is one of rock's true cult heroes—a player whose style fuses punk ferocity, glam flamboyance, metal precision, and a sense of showmanship that feels equal parts Ziggy Stardust and Sid Vicious.Born in Chicago, Alex Kane grew up soaking in a wild mix of musical influences—from KISS and The Sex Pistols to Cheap Trick and Queen. He picked up the guitar early and soon developed a sound that combined attitude with technical flair. His Chicago roots also gave him a gritty, no-nonsense approach that would become a signature element of his music.Life, Sex & Death (L.S.D.)Kane first gained national attention in the early '90s as the guitarist and primary songwriter for the controversial and utterly unique band Life Sex & Death. Known for blending sleaze-rock with raw punk energy and philosophical lyrics, the band featured a homeless-savant frontman named Stanley, who became a kind of underground legend.Their debut album, The Silent Majority (1992), released on Warner Bros., drew critical acclaim and cult fascination. Songs like “Tank,” “School's for Fools,” and “Jawohl Asshole” were full of snarling riffs, sharp social commentary, and theatrical swagger. Though commercial success was elusive, the band's live shows and Kane's explosive playing style left a lasting mark on the rock underground.Post-LSD & AntiproductAfter the dissolution of L.S.D., Kane relocated to the UK and co-founded Antiproduct, a glam-punk power-pop explosion that further stretched his musical boundaries. Antiproduct quickly developed a rabid UK fan base with their high-energy shows and outrageous visual style.Their album Consume and Die… The Rest Is All Fun showcased Kane's diverse influences—from Ramones-speed punk to Beatles-style melody—wrapped in crunchy guitars and rebellious hooks. The band was hailed in the British press as a breath of fresh air, and they toured relentlessly with artists like The Wildhearts and Wednesday 13.Collaborations & Side ProjectsAlex Kane is known for his prolific collaborations. He played guitar with Marky Ramone's Blitzkrieg, joining the punk legend for international tours and celebrating the legacy of The Ramones with thunderous authenticity. His stage presence and aggressive playing perfectly matched the spirit of the punk classics.Kane has also worked with an array of artists across genres including Pretty Boy Floyd, Richie Ramone, and Shameless, and has guested on countless albums. A fearless player, he's comfortable shredding on heavy metal tracks, laying down sleazy glam riffs, or playing melodic hooks with pop sensibility.Enuff Z'Nuff & Recent WorkIn recent years, Kane returned to his Chicago roots and joined Enuff Z'Nuff for several tours, bringing a harder-edged guitar vibe to the band's power-pop and psychedelic-tinged catalog. His addition reinvigorated the band's sound onstage, and his chemistry with Chip Z'Nuff made him a fan-favorite during live shows.Kane also continues to produce, write, and record solo material. His sharp wit, eclectic taste, and raw energy continue to push creative boundaries. He's known for mentoring young musicians and remaining fiercely independent in an industry often driven by trends and compromise.LegacyAlex Kane's legacy is one of rebellion, craft, and fearless creativity. He's not just a guitar player—he's a musical mischief-maker and a genre-blending explorer. While he may have flown under the mainstream radar, those who know Kane's work recognize him as one of the most exciting and original rock guitarists of his generation.https://www.instagram.com/alexfuckingkane?igsh=MTV1OWhuaGt1NWNlbA==

A special treat from the 108.9 The Hawk Patreon - CHAPTER NINE from Whisp Turlington's ongoing audiobook, "Through The Years, Through The Tears."Punk. The Sex Pistols. The Moody Blues. That's all you need to know to prepare for this chapter.108.9 The Hawk SEASON SIX kicks off next week, live from the new 108.9 The Hawk Beach House with special guest Pam Murphy (Krapopolis, Key & Peele, 30 Rock, Whisp's new manager?)Here's how YOU can support Val Verde's second choice for rock, 108.9 The HawkSubscribe to the podcast on Spotify, Apple, or whatever you listen on!Give a five-star review on Apple Podcasts!Get official merch: http://tee.pub/lic/goodrockshirtsEarly access & bonus shows: https://patreon.com/1089thehawkSubscribe to us on YouTube: https://www.youtube.com/@1089thehawkFollow us on social media: Instagram, TikTok, Bluesky, ThreadsLearn more & sign up for our mailing list: https://1089thehawk.comAnd most importantly, tell your friends about 108.9 The Hawk.  Hosted on Acast. See acast.com/privacy for more information.

Pepe Rubio nos sorprende cada día con una camiseta divertida. Hoy estrena una camiseta que reversiona la portada del  'God Save The Queen'  de los Sex Pistols. La imagen sustituye a la reina de Inglaterra por la faraona de la copla, Lola Flores.

Pepe Rubio nos sorprende cada día con una camiseta divertida. Hoy estrena una camiseta que reversiona la portada del  'God Save The Queen'  de los Sex Pistols. La imagen sustituye a la reina de Inglaterra por la faraona de la copla, Lola Flores.

On the May 31 edition of the Music History Today podcast, there's history made by Ginger Spice, Jimi Hendrix, the Who, the Eagles, and the Sex Pistols. Also, happy birthday to Azealia Banks and John Bonham. For more music history, subscribe to my YouTube Channel or subscribe to the audio version of my music history podcasts, wherever you get your podcasts fromALL MUSIC HISTORY TODAY PODCAST NETWORK LINKS - https://allmylinks.com/musichistorytoday

This week we travel back in time to just after the dawn of PUNK ROCK (1978-1981)! We discuss bands influenced by the 1st wave who then took punk into various sub-genres. If you don't think Punk is for you based on secondhand information, we ask that you listen with an open mind and prepare to get out some aggression.This episode features songs with the shortest track length that we've ever played; it's PUNK ROCK people! Punk is where Kevin started down his path of music fanaticism. Although, that was more based around the hardcore Punk scenes. This is the lead-up to hardcore, and what would establish punk as a lasting genre full of variety and originality. Hope you dig the 2nd wave!Songs this week include:The Dictators – “Faster And Louder” from Blood Brothers (1978)Magazine – “Shot By Both Sides” from Real Life (1978)Chelsea – “I'm On Fire” from Chelsea (1979)The Stranglers – “Dead Loss Angeles” from The Raven (1979)GG Allin – “One Man Army” from Always Was, Is, And Always Shall Be (1980)Zounds – “Can't Cheat Karma” from Curse Of The Zounds (1980)Soggy – “Waiting For The War” from Soggy (1981)The Cheifs – “Liberty” from Holly-West Crisis (1981)Please subscribe everywhere that you listen to podcasts!Visit us: https://inobscuria.com/https://www.facebook.com/InObscuriahttps://x.com/inobscuriahttps://www.instagram.com/inobscuria/Buy cool stuff with our logo on it: InObscuria Store

Fáilte ar ais chuig eagrán nua de Ar An Lá Seo ar an 30ú lá de mí Bealtaine, liomsa Lauren Ní Loingsigh. I 1964 bhí an dul chun cinn mall de na cainteanna sa Bhruiséil. I 1975 bhí an rialtas cúisithe an oíche roimhe go raibh siad ag tabhairt neamhaird ar 52 míle daltaí a bhí chun an scoil a chríochnú. I 1964 d'oscail an tAire Oideachas Páirc Charbhán Ryan's I gCill Chaoi an tseachtain sin. I 1975 bhí an lán ceoltóirí in Inis an tseachtain sin ó gach áit in Éirinn agus daoine a raibh grá acu do cheol Éireannach. Sin B*Witched le C'Est La Vie – an t-amhrán is mó ar an lá seo I 1998 Ag lean ar aghaidh le nuacht cheoil ar an lá seo I 1964 chuaigh The Beatles chuig uimhir a haon sna cairteacha I Meiriceá lena amhrán Love Me Do. Bhí sé a cheathrú uimhir a haon I cúig mhí. An leagan a tháinig amach I Meiriceá bhí Andy White ag seinm na druma agus bhí Ringo ar an tambóirín agus an leagan a tháinig amach sa Bhreatain bhí Ringo Starr ag seinm na druma. I 1996 chuaigh Alan Whitaker ó Penzance ar Mastermind agus bhí a ábhar speisialta The Sex Pistols. Chuaigh sé chuig an bhabhta leathcheannais de bharr gur d'fhreagair sé 18 gceist cheart. Agus ar deireadh breithlá daoine cáiliúla ar an lá seo rugadh Tom Morello I Meiriceá I 1964 agus rugadh amhránaí agus aisteoir Idina Menzel I Meiriceá ar an lá seo I 1971 agus seo chuid de amhrán. Beidh mé ar ais libh an tseachtain seo chugainn le heagrán nua de Ar An Lá Seo. Welcome back to another edition of Ar An Lá Seo on the 30th of May, with me Lauren Ní Loingsigh 1964: the council of ministers made slow progress in brussels talks. 1975: the gov was accused last night of turning its back on next months 52,000 school leavers. 1964: Ryans caravan park in kilkee was officially opened by the minister of Education on thursday evening. 1975: ennis played host to most of irelands musicians and all those who loved irish music over the previous weekend. That was B*witched with C'Est La Vie – the biggest song on this day in 1998 Onto music news on this day In 1964 The Beatles went to No.1 on the US singles chart with 'Love Me Do', the group's fourth US No.1 in five months. The version released in America had Andy White playing drums while Ringo played the tambourine. The British single was a take on which Ringo Starr played the drums. 1996 Alan Whitaker from Penzance appeared on the UK TV quiz show Mastermind, his specialist subject being the Sex Pistols. He won a place in the semi-final of the show answering all but one of the 18 questions correctly And finally celebrity birthdays on this day – Tom Morello was born in America in 1964 and singer Idina Menzel was born in America on this day in 1971 and this is one of her songs. I'll be back with you next week with another edition of Ar An Lá Seo.

John Lydon, frontman of the Sex Pistols and punk icon, joins The Michael Anthony Show for Episode 189 — a raw, honest, funny and wide-ranging conversation.In this episode, the ever irreverent Lydon speaks openly about the spirit of punk, the legacy of the Sex Pistols, and his personal journey through grief and loss. He reflects on the importance of authenticity, discusses his views on politics — including Donald Trump and global conflicts — and shares stories involving The Beatles, The Rolling Stones, and his friend Sid Vicious.Still performing with Public Image Ltd, Lydon also looks back on his unique childhood, the breakup of the Pistols, caring for his late wife Nora, and his enduring passion for football.Fiery, unpredictable, and deeply human — this is a revealing insight into one of music's most legendary voices.Follow The Michael Anthony Show for more unfiltered conversations.Support the show

In this thought-provoking episode of Steve's Rants, Steve Sims dives into the role of data, logic, and magic in building a successful business, challenging the conventional wisdom that data-driven decisions should rule every move. Steve unpacks the truth about data—how it's inherently backward-looking, keeping your focus anchored in the past even if it's just by a second. Drawing on real-world examples from iconic innovators like Edison, Henry Ford, and Kodak, he illustrates how logic and data can lead to incremental progress, but rarely to real disruption. Steve passionately argues that true innovation and game-changing success come from making space for "magic": creativity, spontaneity, and bold ideas that aren't always rooted in logic or past trends. From the unexpected rise of the Sex Pistols and Elvis to the cultural impact of films like The Matrix, he shows how breakthroughs happen when you're willing to break away from what data and logic deem possible. With his signature no-nonsense style, Steve encourages entrepreneurs to stop playing it safe, disrupt the norm, and use data as a guide—not a cage. This episode is a must-watch for any business owner ready to move beyond the status quo, tap into their creative side, and create something that truly stands out in the marketplace. Learn why the future belongs to those who make space for magic, not just metrics.

In the first hour Ed interviews Alan G Parker about his film Who Killed Nancy about the stabbing death of Nancy Spungen girlfriend of Sid Vicious from the Sex Pistols at the Chelsea Hotel in 1978. We also discuss his film It Was Fifty Years Ago Today! The Beatles: Sgt. Pepper & Beyond. In the second hour Ed interviews Ramona Africa from the revolutionary group MOVE that was attacked and bombed by Philedelphia police in 1978 and 1985 ending in the death of 11. Including 5 children and the burning down of 60 homes. Please visit www.onamove.com for information on how to contact the Parole Board before May 15 hearing.3 years ago #"who, #africa, #alan, #ed, #g, #killed, #move, #nancy", #opperma, #opperman, #parker:, #ramona, #report, #sd, #spreaker, #visciousBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-opperman-report--1198501/support.

The southern accent might disappear?!?! We get into the sexiest accents in the U.S., and the times when a really bad one can be a deal breaker. Plus, we hear from live organ donors and send Michelle to the Sex Pistols playing Double or Nothing. See omnystudio.com/listener for privacy information.

This week we look at the rise and demise of Justin Bieber; Steve Hughes on Health and Safety;  Slave Labour and Solar Panels; The Conclave; Nicola Sturgeon on Transwomen;  Abortion in NSW;  Corporations fund Abortion; The Australian Election;  Country of the Week - Denmark and Dechurching Denmark;  India and Pakistan conflict;  Reform's Triumph; Antarctic Ice recovers; Why are there Michelin Stars;  the new Word Alive; Easter Church Attendance;  Feedback and the Last Word.  Justin Bieber, The Sex Pistols, Metallica, DR Koncerthuset, ZZ Top,  Duncan Chisholm, and George Thorogood 

Shane and Mikey do the news, and begin to suspect they've somehow fallen into the past, circa 2002. One thing is for certain: time is a flat circle, no one dies, and everyone lives for fucking ever.On this week's Right Profile:GuiltlessKnelt Check Us Out:PatreonSixth and Center PublishingMusical Attribution:Licensed through NEOSounds.“5 O'Clock Shadow,” “America On the Move,” “Baby You Miss Me,” “Big Fat Gypsy,” “Bubble Up,” “C'est Chaud,” “East River Blues,” “The Gold Rush,” “Gypsy Fiddle Jazz,” “Here Comes That Jazz,” “I Wish I Could Charleston,” “I Told You,” “It Feels Like Love To Me,” “Little Tramp,” “Mornington Crescent,” “No Takeaways.”

Repeat Revisitors (and Patreon Revisitors) Dan Beck and Dave Greenberg are joined by our buddy Jon Lamoreaux to discuss the all time punk classic from the Sex Pistols. Plenty of other discussion including "f all y'all," Johnny's other band Public Image Ltd., the Rolling Stone "bible" issue, Taylor Swift needs to write some protest songs, caring less, and who the hell is Frank Carter? Anyone going to the Sex Pistols reboot tour?Check out The Sex Pistols at: Sex Pistols | The Official Website -    Check out The Hustle here:  https://thehustle.podbean.com/Check out other episodes at RecordsRevisitedPodcast.com or one all your favorite podcast providers like Apple Podcasts, Castbox, iHeartMedia, and Spotify. Additional content is found at: Facebook.com/recordsrevisitedpodcast or twitter @podcastrecords or IG at instagram.com/recordsrevisitedpodcast/ or join our Patreon at patreon.com/RecordsRevisitedPodcast

durée : 00:49:08 - Affaires sensibles - par : Fabrice Drouelle, Franck COGNARD - Dans cet épisode de Affaires Sensibles : les Sex Pistols face à la Reine Elizabeth II en 1977 - invités : Stephen Clarke - Stephen Clarke : Journaliste, ecrivain - réalisé par : Stéphane COSME, David Leprince

Please pray for Jimmy Butler's butt! AMA nominations are out: Kendrick Lamar and Chappell among the most nominated with JLo hosting. Riot Fest has quite the lineup, including Sex Pistols, Weird Al, and Green Day. Speaking of Green Day - they're finally being recognized on the Hollywood Walk of Fame. Vinnie shares a tough story about a Chinese 14-year old's cosmetic surgery. Plus, an Australian woman has a surprising collection, and they get paid what?! Taylor Swift makes even more than you think.

Garza sits down in-person with Buzz Osborne of American rock band Melvins. New album “Thunderball” out now! https://melvins.comSPONSORS: Garza Podcast Coffee https://garzapodcastcoffee.com00:00 - 30 Year Marriage07:24 - Finding Right Partner10:49 - Golf19:52 - Wayne Gretzky21:00 - Garza Trys Out For Golf Team23:51 - John Daly25:25 - Making A Living With Music30:25 - Thunderball32:55 - Two Live Drummers37:46 - Andy Warhol41:00 - Social Distortion Iconic Logo44:45 - Photography47:58 - Jack Russell Dogs53:15 - Montesano56:06 - Sex Pistols & David Bowie1:00:56 - Bullhead & Lysol1:02:14 - First Check1:04:27 - Being Asked To Join Nirvana?1:09:45 - How To Find Truth1:11:45 - Most Stuff About Nirvana Isn't True1:15:40 - Hair Style1:16:45 - Houdini, Kurt Cobain & GGGarth Richardson1:19:03 - Bad Brains: ROIR1:20:01 - Pink Floyd: The Dark Side Of The Moon1:20:46 - Amy Winehouse1:23:05 - Greatest Heavy Metal Record1:24:09 - Peter Green1:25:55 - Kirk Hammet & $2,000,000 Guitar1:28:09 - Pete Townshend, The Who & Woodstock1:31:31 - Weird Tunings1:32:52 - Ted Falconi1:35:00 - Gang Of Four: Paralyzed1:37:15 - James Bond

Opie kicks off a rainy Monday with a wild mix of stories and rants. From an exclusive clip of Steve Jones revealing the Sex Pistols’ inspiration for The Who’s “Who Are You,” to a deep dive into why local news is a soul-crushing waste of time (meat cleavers included), this episode has it all. Joined by Ron the Waiter, they dish on Koreatown adventures, UConn’s championship dominance—shouting out Paige Becker and Coach Gino—and debate Trump’s tariffs as the stock market trembles. Plus, doggy poop livestreams, Cooper Flagg’s NBA future, and a sprinkle of Soul Glow nostalgia. It’s unhinged, it’s real, it’s Opie Radio.See omnystudio.com/listener for privacy information.

In this lively episode of the Opie Radio podcast, Opie kicks things off with a hilarious throwback clip from his past, featuring a nude photo shoot for his then-girlfriend’s photography class that hilariously coincided with a birthday call to Fez on the Ron and Fez show. The nostalgia continues as Opie thanks fans for sending him old Opie and Anthony material, including a gem from Steve Jones of the Sex Pistols about the origins of The Who’s "Who Are You." The mood shifts as Opie reflects on the recent passing of Val Kilmer at 65, celebrating his iconic roles—especially as Jim Morrison in The Doors—while sharing personal anecdotes and listener reactions. Current events sneak in with a skeptical take on Trump’s tariff plans and their potential impact, alongside some sports chatter about the NFL’s tush-push and baseball’s torpedo bat. Packed with humor, heartfelt moments, and Opie’s signature rants, this episode is a rollercoaster of entertainment!See omnystudio.com/listener for privacy information.

MUSICThe latest band to selloff their music is: Twisted Sister who has sold its remaining rights, includingcopyrights and trademarks, to Warner Music for and undisclosed sum. Congrats to Dave Navarrowho got married this weekend! The Jane's Addiction guitarist Dave Navarro, whotied the knot for the fourth time to Swedish actress/fashiondesigner Vanessa DuBasso in Scotland on Saturday. The Who's Roger Daltryrevealed that he is "going blind" while performing at London's Royal Albert Hall on Thursday night.Sum 41 have released a cover of Rage Againstthe Machine's "Sleep Now in the Fire" for the Spotify Singles series. Jelly Roll surprised adeserving fan with a free car at a show in Canada last weekend. She used to be homeless and on drugs, and now works to help get other peopleoff the street.  Here she is helping someone, then finding out she'sgetting free tickets to see Jelly, then his BIG surprise for her.     The Sex Pistols -- with Frank Carter singinginstead of John Lydon -- have announced a North American tour where they'll play NeverMind the Bollocks, Here's the Sex Pistols in full. The trek startsSeptember 16th in Dallas and wraps up October 16th in Los Angeles. Tickets goon sale Friday.Not happy with yourhome?  What if you could ditch it and move into your favorite TVhouse?  What would it be?For 13% of Americans, itwould be the Tanner house in San Francisco from "Full House". That was the #1 answer in a poll of 2,000 people.  Here are the Top 20: AND FINALLYUproxx.com put togethera list of videos from THIS century that changed the game.AND THAT IS YOUR CRAP ON CELEBRITIES! Learn more about your ad choices. Visit podcastchoices.com/adchoicesSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

MUSIC The latest band to sell off their music is: Twisted Sister who has sold its remaining rights, including copyrights and trademarks, to Warner Music for and undisclosed sum. Congrats to Dave Navarro who got married this weekend! The Jane's Addiction guitarist Dave Navarro, who tied the knot for the fourth time to Swedish actress/fashion designer Vanessa DuBasso in Scotland on Saturday.   The Who's Roger Daltry revealed that he is "going blind" while performing at London's Royal Albert Hall on Thursday night. Sum 41 have released a cover of Rage Against the Machine's "Sleep Now in the Fire" for the Spotify Singles series.   Jelly Roll surprised a deserving fan with a free car at a show in Canada last weekend.  She used to be homeless and on drugs, and now works to help get other people off the street.  Here she is helping someone, then finding out she's getting free tickets to see Jelly, then his BIG surprise for her.       The Sex Pistols -- with Frank Carter singing instead of John Lydon -- have announced a North American tour where they'll play Never Mind the Bollocks, Here's the Sex Pistols in full. The trek starts September 16th in Dallas and wraps up October 16th in Los Angeles. Tickets go on sale Friday. Not happy with your home?  What if you could ditch it and move into your favorite TV house?  What would it be? For 13% of Americans, it would be the Tanner house in San Francisco from "Full House".  That was the #1 answer in a poll of 2,000 people.  Here are the Top 20:   AND FINALLY Uproxx.com put together a list of videos from THIS century that changed the game. AND THAT IS YOUR CRAP ON CELEBRITIES! Learn more about your ad choices. Visit podcastchoices.com/adchoices