Podcasts about Song

Number, Word, Song of the Day. Top Story. Dead/Alive Guy of the Day. 

Today's Song of the Day is “Miraverahí” from Buscabulla's album Se Amaba Así, out now.

Send us a textWelcome to Guess the Year! This is an interactive, competitive podcast series where you will be able to play along and compete against your fellow listeners. Here is how the scoring works:10 points: Get the year dead on!7 points: 1-2 years off4 points: 3-5 years off1 point: 6-10 years offGuesses can be emailed to drandrewmay@gmail.com or texted using the link at the top of the show notes (please leave your name).I will read your scores out before the next episode, along with the scores of your fellow listeners! Please email your guesses to Andrew no later than 12pm EST on the day the next episode posts if you want them read out on the episode (e.g., if an episode releases on Monday, then I need your guesses by 12pm EST on Wednesday; if an episode releases on Friday, then I need your guesses by 12 pm EST on Monday). Note: If you don't get your scores in on time, they will still be added to the overall scores I am keeping. So they will count for the final scores - in other words, you can catch up if you get behind, you just won't have your scores read out on the released episode. All I need is your guesses (e.g., Song 1 - 19xx, Song 2 - 20xx, Song 3 - 19xx, etc.). Please be honest with your guesses! Best of luck!!The answers to today's ten songs can be found below. If you are playing along, don't scroll down until you have made your guesses. Have you made your guesses yet? If so, you can scroll down and look at the answers.Okay, answers coming. Don't peek if you haven't made your guesses yet!Intro song: Oz is Ever Floating by Oysterhead (2001)Song 1: Tessellate by alt-J (2012)Song 2: iT by Christine & the Queens (2014)Song 3: Smoke Gets In Your Eyes by The Platters (1958)Song 4: Laura by Scissor Sisters (2004)Song 5: Lame Claim to Fame by "Weird Al" Yankovic (2014)Song 6: Lines in the Suit by Spoon (2001)Song 7: Hold You In My Arms by Ray Lamontagne (2004)Song 8: Man Gave Names to All the Animals by Bob Dylan (1979)Song 9: Prove It All Night by Bruce Springsteen (1978)Song 10: Judy and the Dream of Horses by Belle and Sebastian (1996)

Song: Hildegard's Song Music by: Barbara McAfee   Notes: Sometimes a great groove and simple harmonies is exactly what you need to explore over -- and this song is a beautiful way to listen to your own singing voice playing. Barbara McAfee joins us next week to talk about her journey toward becoming a voice mentor to many folk, developing the Full Voice program, and what that means to her. We were both reeling a bit in the wake of the apparently politically motivated shootings in Minnesota, close to Barbara, shortly before we recorded. Reflecting on the effect of listening to our own voices helped us both stabilize and ground.    Songwriter Info: Barbara lives on the wild and scenic St Croix River about an hour from Minneapolis/St Paul. She is a master voice coach, songwriter, song leader, hospice choir director, long distance swimmer, poet, and author of Full Voice. She feels so lucky to be alive on planet Earth.   Sharing Info: The song is free to share in oral tradition groups, but please contact Barbara for recording and/or performing permission.   Song Learning Time Stamps: Start time of teaching: 00:02:58 Start time of reprise: 00:10:14   Links: Barbara's website: www.barbaramcafee.com    Nuts & Bolts: 4:4, mixolydian, 3-layer   Join this community of people who love to use song to help navigate life? Absolutely:  https://dashboard.mailerlite.com/forms/335811/81227018071442567/share   Help us keep going: reviews, comments, encouragement, plus contributions... we float on your support.  https://www.abreathofsong.com/gratitude-jar.html

A Lifelong Song of Service: John and Lou Ann MohlerJohn and Lou Ann Mohler's story began on the campus of Cedarville University, where a Michigan girl met an Ohio boy in concert chorale. What started with a warm February day, a convertible ride to the Indian Mound, and a first date filled with talk of old girlfriends (John's idea of charm, perhaps?) bloomed into a 46-year marriage built on shared faith, music, and ministry.After college, the Mohlers began their careers as teachers — John directing bands and orchestras and Lou Ann teaching English and drama. But as their hearts leaned more toward church ministry, God led them to Patterson Park Church in Dayton, Ohio. In 1985, John stepped into a pastoral role, and what began as a small church of about 200 has flourished under their leadership.For 40 years, John has faithfully directed worship, blending hymns with modern praise songs in a way that draws generations together. With a full choir and orchestra — a rarity these days — the Mohlers have crafted a worship experience that is both reverent and joyful.Their legacy isn't just in music or programs — it's in the people. From small groups to mission trips to Albania, from raising their children in the church to mentoring younger pastors, John and Lou Ann have cultivated community all their lives. Even as retirement nears, John continues to teach future worship leaders, ensuring that what he's helped build will endure.In a fast-moving world, the Mohlers have been a steady presence — faithful, humble, and full of grace. And for those at Patterson Park, their legacy is more than music — it's love lived out loud.Learn more about this couple's amazing journey on the Cedarville Stories podcast.https://share.transistor.fm/s/070bb0dahttps://youtu.be/CqDD4krljeE

This week Justin was assigned the year 1996 and selected Friction, the debut album by Stavesacre. Stavesacre were a Christian post-hardcore / hard rock band made up of members of The Crucified, Focused, and The Blamed.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:Stavesacre - ThresholdStavesacre - LoaderStavesacre - Tranewreck

Number, Word and Song of the Day. Top Story of the Day. Dead and Alive Guy Birthday of the Day

Number, Word, Song of the Day. Sports Stories. Secret Textoso Roundup

Today's Song of the Day is “Back at the Start” from Patty Griffin's album Crown of Roses, out July 25.

Paul is on holiday, so there is no better time to bring you our favourite songs from the first 6 months of this year. So prepare for nine excellent songs from Real Sickies, The Short Fuses, Ravagers, Demented Are Go, Get Smart, Twat Union, Bloodshot Bill, Voodoo Love Gods and For I Am.Summer special, no additional material, time travel init, no Facebook comments, Quiz Time for Tony, last week, we have no idea, wedding, Paul's in Majorca, Poundland, not From the Vaults, Tony's International Gig Guide, Bolton, this week, time confusion, drummers, Maryland, no Izzatwat, 20th birthday is looming, beer gut, Antwerpen, World of Tony and a reminder of the ways you can listen.Song 1: Real Sickies - TriageSong 2: The Short Fuses – You Ain't Shit (Without A Leather Jacket)Song 3: Ravagers – Right To KillSong 4: Demented Are Go – Black ValiumSong 5: Get Smart – It's Up To YouSong 6: Twat Union – Singer Of The BandSong 7: Bloodshot Bill – Shish TaoukSong 8: Voodoo Love Gods – Chinese SpySong 9: For I Am - Jack Shit (His Pants)

In this episode of Unashamed Unafraid, hosts Chris and Sam sit down with Roland as he shares his poignant journey of living a double life, challenging his faith, and struggling with process addiction. Roland talks about growing up in a strict religious environment, questioning beliefs at a young age, and the impact of living a double life. He dives into how his need for validation and admiration led to compulsive behaviors that eventually resulted in a traumatic arrest at 14. Roland unpacks the concept of process addiction, explaining the necessity of addressing the underlying desire for validation rather than treating it as a typical addiction. He also discusses his path to recovery and the creation of his treatment program for high-achieving men, 'Successful Addict.' Roland emphasizes the importance of legacy, spirituality, and redefining what true admiration and respect mean in overcoming addiction. This episode provides deep insights into the challenges of process addiction and offers hope and practical advice for those struggling with similar issues.*To connect with Roland, visit his website, check out his book on Amazon, and listen to his podcast!Follow us on social media! Instagram, Facebook & TikTokSubscribe to our YouTubeCheck out our recommended resourcesWant to rep the message? Shop our MERCH!  For more inspiration, read our blogDo you have a story you are willing to share? Send us an email! contact@unashamedunafraid.com00:00 Introduction00:51 Roland's Early Life and Faith Struggles01:54 Living a Double Life02:19 Questioning Religious Beliefs05:08 Impact of Faith on Addiction06:40 Understanding Compulsive Behaviors08:04 Arrest and Its Aftermath10:16 Hiding the Secret and Seeking Validation14:06 Process Addictions and Seeking Attention16:49 Path to Recovery and Redefining Admiration20:40 The Shift from Addiction to Sobriety21:23 Normalization and Society's Influence23:55 The Role of Legacy in Sobriety25:08 Spirituality and Recovery28:30 Understanding Process Addiction32:44 The Successful Addict Program35:33 Final Thoughts and Resources39:32 A Song of Hope and Connection

CLIMBer, I just had a song hit number one, 28 years after I started writing it! Yeah, it's been a journey. And there are some lessons I want to pull from this story that will inspire you and equip you for your songwriting journey. So listen up. The C.L.I.M.B. Show is dedicated to helping singers, songwriters, indie artists and industry pros "Create Leverage In The Music Business." We want you to win! About the hosts: Brent Baxter is an award-winning hit songwriter with cuts by Alan Jackson (“Monday Morning Church”), Randy Travis, Lady A, Joe Nichols, Ray Stevens, Gord Bamford and more.  He helps songwriters turn pro by helping them WRITE like a pro, DO BUSINESS like a pro and CONNECT to the pros.  You can find Brent at SongwritingPro.com/Baxter and  SongwritingPro.com. Johnny Dwinell owns Daredevil Production and helps artists increase their streams, blow up their video views, sell more live show tickets, and get discovered by new fans, TV and music industry pros. Daredevil has worked with artists including Collin Raye, Tracy Lawrence, Ty Herndon, Ronnie McDowell and others.  You can find Johnny at TheCLIMBshow.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

Spoilers, profanity, Jaime x Brienne. Bran and co. are on their way to meet the three-eyed crow in what sounds like The Donner Party, Westerosi style. A Song of Ice and Fire. A Dance with Dragons - Bran I. Close The Door And Come Here - Episode 588

Send us a textJon takes supplies to the Free Folk huddled in Mole's Town. They're not thrilled. But he has an offer: join the defence of the Wall and get full rations. Several heed the call. Mackelly and Simon (and Jon) wonder where the Free Folk's loyalties lie.Chapter Review:Jon Snow heads south to Mole's Town with wagons of supplies for the Free Folk. Along the way he sees newly carved faces in the trees. Clearly the conversion to R'hllor hasn't universally landed.The new residents emerge to find that Jon can only spare starvation rations. Squabbles and arguments break out. Jon has a war horn blown to quiet the crowd.He explains that the defenders of the Wall get more rations, they need their strength. Any of the Free Folk are welcome to join. They don't have to take the Black, they don't have to kneel, but they do have to obey orders. Sixty three wildlings take up the challenge, but the Thenns resist looking at Jon with disdain. Bowen Marsh has mixed feelings about the new recruits. Like Jon he's sure they'll fight the Others, but will they resist a Wildling attack?Characters/Places/Names/Events:Jon Snow - Bastard son of Ned Stark. Lord Commander of the Night's Watch.Stannis Baratheon - Surviving brother of dead King Robert Baratheon, claims the Iron Throne because Cersei's children are not Robert's.Melisandre - Red Woman of Ashaii. Priestess of R'Hllor, the Lord of Light.Bowen Marsh - Lord Steward of Castle Black.Castle Black - Headquarters of the Night's Watch.Mole's Town - Town south of Castle Black, mostly underground. Now populated by the Wildlings.Sigorn - Magnar of the Thenns. Support the showSupport us: Shop at our GoH merchandise store. Buy us a Cup of Arbor Gold, or become a sustainer and receive cool perks Donate to our cause Use our exclusive URL for a free 30-day trial of Audible Buy or gift Marriott Bonvoy points through our affiliate link Rate and review us at Apple Podcasts, Spotify, podchaser.com, and elsewhere.Find us on social media: Discord Twitter @GhostsHarrenhal Facebook Instagram YouTube All Music credits to Ross Bugden:INSTAGRAM! : https://instagram.com/rossbugden/ (rossbugden) TWITTER! : https://twitter.com/RossBugden (@rossbugden) YOUTUBE! : https://www...

Nurses and health care workers in the Twin Cities and Twin Ports voted this morning to clear the way for a strike. We talk with the union about why they are considering that step and what's changed since their last strike in 2022. The shooter who attacked two Minnesota lawmakers and their spouses in their homes was allegedly dressed as a police officer when he came to their doors. That's raising questions about how officers identify themselves to the public. Plus, the U.S. Supreme Court recently upheld a ban on gender-affirming care in Tennessee. The ruling won't affect Minnesota law, but it could bring more families to the state seeking care. And we meet the host of a radio show that's all about rural Minnesota cooking!Today's Minnesota Music Minute was “Company” by Alica Thao. The Song of the Day was “500 Dollars'“ by the Lamont Cranston Band.

Rates of chronic illness, behavioral disorders, and neurodevelopmental challenges are rising rapidly among children, often tied to underlying gut dysfunction, nutrient deficiencies, and environmental triggers such as toxins and ultra-processed foods. Conventional treatments frequently overlook these root causes, relying instead on symptom management or medication. Functional approaches emphasize foundational lifestyle changes—clean nutrition, microbiome support, movement, sleep, and stress reduction—as powerful tools to restore health. Children are especially responsive to these changes, often experiencing rapid and dramatic improvements in behavior, mood, and physical symptoms. With education, testing, and family-centered strategies, parents can take simple, effective steps to help their children thrive. In this episode, I discuss, along with Dr. Elisa Song, Dr. Suzanne Goh, and Dr. Elizabeth Boham why a root-cause approach is just as important for children, as it is for adults. Dr. Elisa Song, MD is a Stanford-, NYU-, UCSF-trained integrative pediatrician, pediatric functional medicine expert, and mom to 2 thriving children - and she is on a mission to revolutionize the future of children's health. Dr. Song is the bestselling author of the Healthy Kids Happy Kids: An Integrative Pediatrician's Guide to Whole Child Resilience. Dr. Song created Healthy Kids Happy Kids as an online holistic pediatric resource to help practitioners and parents bridge the gap between conventional and integrative pediatrics with an evidence-based, pediatrician-backed, mom-approved approach. In her integrative pediatric practice, she's helped 1000s of kids get to the root causes of their health concerns and empowered parents to help their children thrive by integrating conventional pediatrics with functional medicine, homeopathy, acupuncture, herbal medicine, and essential oils. Dr. Song is chair of A4M's pediatric education and has lectured around the world at leading integrative and functional medicine conferences and premier parenting events. She has also been featured in hundreds of top podcasts, print and online media outlets, including the Wellness Mama podcast, BloomTV, Forbes, Healthline, MindBodyGreen, National Geographic, PopSugar, Parents, Motherly, Parade, Verywell Health, and New York Post. Dr. Suzanne Goh, co-founder and chief medical officer at Cortica, is a Rhodes Scholar and graduate of Harvard University, University of Oxford, and Harvard Medical School who has spent decades working with autistic children. Her work as a board-certified pediatric behavioral neurologist, behavioral analyst, neuroscience researcher, and author led her to create the Cortica Care Model, an innovative, whole-child approach that combines optimal medical treatment with the most effective strategies for advancing cognition, communication, and behavior. Dr. Elizabeth Boham is Board Certified in Family Medicine from Albany Medical School, and she is an Institute for Functional Medicine Certified Practitioner and the Medical Director of The UltraWellness Center. Dr. Boham lectures on a variety of topics, including Women's Health and Breast Cancer Prevention, insulin resistance, heart health, weight control and allergies. She is on the faculty for the Institute for Functional Medicine. This episode is brought to you by BIOptimizers. Head to bioptimizers.com/hyman and use code HYMAN10 to save 10%. Full-length episodes can be found here: How to Raise Healthy Kids: A Functional Medicine Approach The Surprising Causes of Autism & Why It's On The Rise Addressing The Root Causes Of Childhood Obesity

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

Hello and welcome to the NotACast, the one true chapter-by-chapter podcast going through A Song of Ice and Fire! In this episode, our friend Lo joins us to discuss Brienne's return to Maidenpool and how everyone she meets reflects back on her past and personal journey.  Next time: we kick off another quest in AFFC Samwell II, in which Sam and his companions set sail across the narrow sea, somehow having an even worse time than Brienne. Emmett's twitter: twitter.com/PoorQuentyn Manu's Twitter: https://twitter.com/ManuclearBomb  Lo's Bluesky: https://bsky.app/profile/lothelynx.bsky.social  Lo's podcast: https://ragmanspod.podbean.com/  Manu's patreon: https://www.patreon.com/ManuclearBomb Our patreon: www.patreon.com/NotACastASOIAF Our merch store: https://notacastasoiaf.threadless.com     Our twitter: twitter.com/NotACastASOIAF   Our Instagram: https://www.instagram.com/notacastasoiaf/ 

Matthew 26:26-30

Send us a textWe love the miracle moments—the breakthrough, the answered prayer, the clear direction. But what about the space between deliverance and destination—the “in-between”? Inspired by Summit Worship's "In The Waiting" and the Israelites' journey through the wilderness, this episode of More Than a Song explores what God may be teaching us when the waiting feels long and the water tastes bitter. Could it be that in the in-between, God isn't absent...He's just getting personal?Key PointsMichelle shares personal updates on being “in the waiting” and how this season mirrors the spiritual and emotional tension explored in this week's song and Scripture.God doesn't abandon us in the “in between”; He uses it to shape us and reveal Himself more deeply.Michelle uses the Israelites' journey after the Exodus to explore how God tests and teaches His people during wilderness seasons.God's expectations of devotion come before His provision—He desires a relationship, not just requests.The names and attributes of God, such as Yahweh Rapha (“The Lord Your Healer”), are revealed through these wilderness moments.Scripture ReferencesExodus 15:22–27 – Bitter water made sweet; God reveals Himself as “The Lord, Your Healer.”Exodus 16:3–4 – God's people grumble in hunger; He tests them with daily provision of manna.Exodus 17:2–7 – Quarreling and thirsting at Massah and Meribah; God brings water from the rock.Exodus 13:17 – God intentionally leads the Israelites the long way around to avoid immediate conflict they weren't ready for.Exodus 1–17 (recommended reading) – To fully grasp the context of Israel's wilderness journey.Bible Interaction Tool Exercises (BITEs) UsedRead in context – Don't isolate stories; read the full narrative from Exodus 1–17 (and beyond!)Use curiosity and meditation – Ask yourself questions like, “Why did they grumble against Moses instead of God?”Remember the people in the Bible were REAL – Remember, these were real people with real needs and emotions.Make a list – What does God want? (Ex. 15:26)Read in multiple translations – Words like “tormented” in the NLT can spark new insights.Use supplemental resources – Biblical Fiction like Where the Desert Blooms by Sierra Elliot can bring Scripture to life - Amazon Paid LinkAdditional Resources

Today's Song of the Day is “Sioux Falls” by Wild Horses.Wild Horses will be performing at Surly Brewing Co. on Saturday, August 23.

JP reacts to a song written for him by a listener.

In today's episode, NFL Agent Drew Rosenhaus joins to give a behind-the-scenes look at what it's like representing some of the biggest names around the league. What has he learned since beginning his journey as a 22-year old, what are the craziest stories he has, and much more! (00:00) Intro (3:01) Michael Irvin's Impact On Career (5:18) Starting his career at 22 (8:26) Why he became an agent (11:29) Strongest Abilities as an agent (13:33) Biggest Misconception (16:35) On the phone with NFL clients (19:09) Haason Reddick and the Jets (22:41) Thoughts on players who don't want an agent (25:48) Staying relatable with modern day athletes (33:58) Willis McGahee fake phone call (36:18) Why Draft Day Is His Favorite Time (39:08) What's Next For Drew Rosenhaus? (40:59) Client with biggest personality (41:38) Draft Day Ritual (42:18) Athlete to represent from another sport (42:50) Song that represents you (43:48) What position would you play in the NFL? (44:37) Craziest contract story Watch With the First Pick on the NFL on CBS YouTube channel: https://www.youtube.com/@NFLonCBS 'With the First Pick' is available for free on the Audacy app as well as on Apple Podcasts, Spotify, Stitcher, Google Podcasts, Castbox and wherever else you listen to podcasts. You can listen to With the First Pick on your smart speakers! Simply say "Alexa, play the latest episode of the With the First Pick podcast" or "Hey Google, play the latest episode of the With the First Pick podcast." Follow the With the First Pick team on X: @nfldraftcbs, @ryanwilsonCBS, @E_DeBerardinis, @ryan__stryker Follow With the First Pick on TikTok & Instagram: @nfldraftcbs Produced by: Ryan Stryker For more NFL Draft coverage from CBS Sports, visit https://www.cbssports.com/nfl/ To hear more from the CBS Sports Podcast Network, visit https://www.cbssports.com/podcast To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Send us a textTarrence Phillips captivates listeners with his remarkable journey from forklift operator to rising Christian country star in this genuine, faith-filled conversation. After singing since age three and exploring various musical genres, Phillips reveals how returning to his first love—country music—with a Christian perspective became his life's calling and ministry.The South Carolina native shares the pivotal moment when a shelved song called "Thank You" unexpectedly launched his career after a friend encouraged him to release it. Within weeks, the song climbed into the Top 10, eventually leading to his signing with LBM Records, a Christian label specifically seeking a country artist. Phillips speaks warmly about serving as a praise and worship leader at New Hope Baptist Church for 24 years while balancing his growing music career with family responsibilities.What stands out most is Phillips' authentic approach to blending musical influences spanning from Stevie Wonder and Michael Jackson to Randy Travis and Charlie Pride. He discusses his recent releases including "Thank You," "My Everything," and "Trouble"—songs that convey messages of gratitude, devotion, and perseverance through faith. With refreshing humility, Phillips previews his upcoming love ballad "Song is About You," dedicated to the wife he met at church, while emphasizing his mission to share Christ's love through country music. His parting wisdom that "trouble doesn't last always" resonates as powerfully as his music, making this episode both uplifting and deeply inspiring for anyone navigating their own path of purpose.Subscribe to hear more conversations with passionate dreamers and creators, and visit tarrencephillipsmusic.com to discover Terrence's music on all major streaming platforms.Want to be a guest on Living the Dream with Curveball? Send Curtis Jackson a message on PodMatch, here: https://www.podmatch.com/hostdetailpreview/1628631536976x919760049303001600

Send us a textWelcome to Guess the Year! This is an interactive, competitive podcast series where you will be able to play along and compete against your fellow listeners. Here is how the scoring works:10 points: Get the year dead on!7 points: 1-2 years off4 points: 3-5 years off1 point: 6-10 years offGuesses can be emailed to drandrewmay@gmail.com or texted using the link at the top of the show notes (please leave your name).I will read your scores out before the next episode, along with the scores of your fellow listeners! Please email your guesses to Andrew no later than 12pm EST on the day the next episode posts if you want them read out on the episode (e.g., if an episode releases on Monday, then I need your guesses by 12pm EST on Wednesday; if an episode releases on Friday, then I need your guesses by 12 pm EST on Monday). Note: If you don't get your scores in on time, they will still be added to the overall scores I am keeping. So they will count for the final scores - in other words, you can catch up if you get behind, you just won't have your scores read out on the released episode. All I need is your guesses (e.g., Song 1 - 19xx, Song 2 - 20xx, Song 3 - 19xx, etc.). Please be honest with your guesses! Best of luck!!The answers to today's ten songs can be found below. If you are playing along, don't scroll down until you have made your guesses. .....Have you made your guesses yet? If so, you can scroll down and look at the answers......Okay, answers coming. Don't peek if you haven't made your guesses yet!.....Intro song: Fairytale of New York by The Pogues (1988)Song 1: Jane Says by Jane's Addiction (Live) (1987)Song 2: Just Like Honey by The Jesus and Mary Chain (1985)Song 3: Cosmic Charlie by Grateful Dead (1969)Song 4: Seventeen by Sharon Van Etten (2019)Song 5: The Whole of the Moon by The Waterboys (1985)Song 6: Honey Don't by Carl Perkins (1956)Song 7: Thieves by Ministry (Live) (1990)Song 8: Carry the Zero by Built to Spill (1999)Song 9: Brimful of Asha (Norman Cox Remix) by Cornershop (1998)Song 10: Rock'n Me by Steve Miller Band (1976)

The Tragically Hip Top Forty Countdown: Song Seventeen - Gillian from Palmerston Conversation HighlightsJillian shares personal stories that trace her life through Hip albums and live shows—from small-town house parties to big amphitheatre gigs, from heartbreaks to healing. She unpacks how certain songs surfaced at pivotal moments, guiding her through grief, reconciliation, motherhood, and joy. Her insights are full of warmth, humour, and a genuine love for what this band means to her and so many others.About Our GuestGillian's journey with The Hip began in rebellion against her twin brother's music taste, blossomed through hard-won independence, and became the emotional backbone of her adult life. From dancing onstage with a banana shaker to naming her Jeep Cordelia, she lives and breathes Hip fandom. She's a primary teacher, a deep thinker, and a proud member of what she beautifully calls the Church of Gord.Next WeekWe're staying in classic territory with a big one. Tune in to hear who joins us for song #16 as we edge closer to the top ten. It's about to get real.Pull Quote"I credit my love of The Hip with helping me reconcile with my brother. One song—‘Are We Family?'—played at just the right time. I don't know if that's the universe, but I call it the Church of Gord."Get Involved

Severe weather in northern Minnesota has pummeled the region over the past few days. As of Monday morning, more than 4,000 people in Bemidji are still without power. We'll speak to Bemidji mayor Jorge Prince about clean up efforts.As the war between Iran and Israel enters its second week, many Iranians in Minnesota are keeping a close eye on the conflict. We'll hear from a local Iranian organization. Plus, the Jewish Community Relations Council of Minnesota and the Dakotas have created a new role to address tensions about Israel's war in Gaza on university campuses. We'll hear from their first director of campus affairs.And we'll learn who the Timberwolves have their eye on for the NBA draft and other sports headlines from Wally and Eric.Our Minnesota Music Minute was “Hustle” by Sawtooth Witch and our Song of the Day was “Recipe” by Push and Turn.

Were you aware that Psalms 120-134 were sung by groups of Jewish worshipers on their way up to Jerusalem for the High Holy Days? In fact, your bible likely subtitles each of them ‘A Song of Ascents'. It is believed that Jewish worshipers would travel in groups, families and sometimes entire villages, singing these Psalms along the way of the Holy City. But even more interesting, these 15 songs span the entire Christian journey from salvation to glorification passing through the ups and downs of sanctification. They take us from the valley of repentance, to the heights of Christian joy. Step by step, we are urged onward and upward in these Songs of Ascents, learning endurance in the face of constant opposition. What we need is a guide and a friend to help us along the way. Both of them will be found in these fifteen Psalms. Come along as we climb the hill together, onward and upward to our eternal joy!

What if your biggest insecurity isn't actually bigger than belonging to Jesus? In this raw and honest episode, Alex and Loke dive deep into Song of Solomon 2:14-17 to uncover what insecurity really is and how to break free from it. From hiding in our "secure places" to learning to catch the little foxes that spoil our relationships, this episode will challenge how you think about your worth and identity.Key Timestamps:* 00:00 - Intro: Why we're uncomfortable talking about God's deep love for us* 05:24 - Reading Song of Solomon 2:14-17* 06:33 - What is insecurity? (Spoiler: it's about feeling unseen)* 12:10 - Alex and Loke get vulnerable about their biggest insecurities* 16:41 - Why we stay insecure: The little foxes that spoil relationships* 22:33 - Plot twist: Catching foxes should actually be fun* 24:54 - The real solution to insecurity (hint: it's not self-improvement)* 30:13 - The question that changes everything about belonging* 31:23 - After the Amen: Personal stories about being misunderstoodMain Takeaways:* Insecurity = feeling unseen in areas you care deeply about* Jesus calls us out of hiding because He sees us completely and still chooses us* The "little foxes" are small things that destroy our relationships with God and others* True security comes from knowing you belong to Christ, not from fixing yourselfPerfect for: Anyone struggling with self-doubt, people-pleasing, or feeling like they don't measure up. If you've ever hidden parts of yourself because you're afraid of being rejected, this episode is for you.Support the show at amenpodcast.com/donate to keep us ad-free! This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit amenpodcast.substack.com

When we see God for who he is, we're able to trust him even deeper.

When we see God for who he is, we're able to trust him even deeper.

The Strictly The Best Bouyon Mix Vol.1 by DJayCee of team Haitian All-StarZ features the sound of Dominica Bouyon music. This infectious genre, straight out of Dominica, is shaking up the global scene. The 2-hour mix is filled with high-energy vibes from start to finish. Song from the following artist: Ridge, Problem Child, Motto, GBM Nutron, HollyG, Asa Bantan, Signal Band, Trilla-G, D0 Production, Fana, Bouzin, Fada, LitleBoy, Reo, LeJuh, hunter, Jab King, litleboy lsbeats767, Klassik Frescobar, blakout prestige, Gootay Wood, Trev Li, TK International, Totally Spice's and many more. {More Music Less Talk}.......Make sure to follow DJayCee on IG: @DJayCeeNYC and @Haitian_All_StarZ 

John Starke preaches from Song of Songs 1:5-2:7, continuing in our sermon series “Communion with Christ".

Pastor Matt Butler Deuteronomy 16:16-17 The Inner VoiceThe Other Voice Psalm 121:1-2 Taste of TranscendenceTemptation “You have made us for yourself, 0 Lord, and our heart is restless until it rests in you.” Agustine Psalm 121:1-2 The Inner VoiceThe Other Voice Sign Post 1. The Lord's Keeping is Constant Sign Post 2. The Lord's Keeping is Comforting Sign Post 3. The Lord's Keeping is Comprehensive Sign Post 1. The Lord's Keeping is Constant Psalm 121:3—41 Kings 18:27 Sign Post 1.

Tonight on Dark Fantasy… the moon rises ,and a child of man becomes a creature of the NIGHT! Don't miss… ‘W Is For Werewolf: A Tale of Lycanthropic Terror!' | #RetroRadio EP0442Join the DARKNESS SYNDICATE: https://weirddarkness.com/syndicateCHAPTERS & TIME STAMPS (All Times Approximate)…00:00:00.000 = Show Open00:01:50.000 = CBS Radio Mystery Theater, “The Cornstarch Killer” (May 03, 1976) ***WD00:47:34.419 = Dark Fantasy, “W Is For Werewolf” (February 13, 1942)01:12:01.538 = Diary of Fate, “Marvin Thomas Entry” (June 08, 1948) ***WD01:41:18.398 = BBC Fear on 4, “Dreaming of Thee” (February 12, 1989)02:08:16.851 = Five After the Hour, “Song of the River” (June 06, 1945)02:32:33.280 = Five Minute Mysteries, “Return of Mr. Lawrence” (late 1940s)02:37:42.689 = Tales From The Tomb, “The Girl of His Dreams” (1960s)02:41:27.288 = Future Tense, “Protection” (May 29, 1974) ***WD (LQ)03:04:53.662 = Gang Busters, “John Frederick Benson” (February 28, 1948)03:27:43.884 = The Green Hornet, “Ripe For The Taking” (September 05, 1939)03:57:06.653 = The Lives of Harry Lime, “Pearls of Bohemia” (May 30, 1952) ***WD04:22:09.631 = BBC Haunted Tales of the Supernatural, “Which One” (January 14, 1980)04:48:52.458 = Show Close(ADU) = Air Date Unknown(LQ) = Low Quality***WD = Remastered, edited, or cleaned up by Weird Darkness to make the episode more listenable. Audio may not be pristine, but it will be better than the original file which may have been unusable or more difficult to hear without editing.Weird Darkness theme by Alibi Music LibraryABOUT WEIRD DARKNESS: Weird Darkness is a true crime and paranormal podcast narrated by professional award-winning voice actor, Darren Marlar. Seven days per week, Weird Darkness focuses on all thing strange and macabre such as haunted locations, unsolved mysteries, true ghost stories, supernatural manifestations, urban legends, unsolved or cold case murders, conspiracy theories, and more. On Thursdays, this scary stories podcast features horror fiction along with the occasional creepypasta. Weird Darkness has been named one of the “Best 20 Storytellers in Podcasting” by Podcast Business Journal. Listeners have described the show as a cross between “Coast to Coast” with Art Bell, “The Twilight Zone” with Rod Serling, “Unsolved Mysteries” with Robert Stack, and “In Search Of” with Leonard Nimoy.= = = = ="I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46= = = = =WeirdDarkness® is a registered trademark. Copyright ©2025, Weird Darkness.= = = = =CUSTOM WEBPAGE: https://weirddarkness.com/WDRR0442

Topics: Elvis Auction, Brant's Three Things, Brant's Hair Cut, Drive-In Theater and J.R.R. Tolkien, Knock-Off brands, Hot Meetings, You're Wrong Song, Fellowship Bonus Content:  Life With Fellow Believers Vs Without Quotes: “I had interest in the cottage cheese kiosk.” “The life of a believer doesn't work on your own.” “He looks like my junior high school band lesson instructor." “You're still wrong. And I'm right about everything. You're so wrong, so wrong… it's breathtaking.” Thanks for listening to the Oddcast Rewind. We hope you enjoyed these clips we picked out from past episodes—Whether it's your first time hearing them or they bring back memories, we hope they brought a little extra joy and encouragement to your day. . . . Holy Ghost Mama Pre-Order! Want more of the Oddcast? Check out our website! Watch our YouTube videos here. Connect with us on Facebook! For Christian banking you can trust, click here!

Word, Number, Song of the Day. Top Story. Lessons Learned. 

The 9th Circuit Court of Appeals ruled that Trump can maintain control of the National Guard in California. The King County Housing Authority could be facing cuts from the federal government. Democrat Congressman Hank Johnson performed a shockingly bad anti-Trump version of Jimi Hendrix’s song “Hey Joe.” // Jason made a guest appearance on CNN and lived to tell the tale. The world waits to see if the United States will get involved in Iran. // The Oregon legislature invited a black drag show to perform at the opening ceremony of the legislative session. ‘The View’ is blaming Sunny Hostin for Kamala Harris’s election loss.

Welcome to The Times of Israel's Daily Briefing, your 20-minute audio update on what's happening in Israel, the Middle East and the Jewish world. Military reporter Emanuel Fabian joins host Amanda Borschel-Dan for today's episode. Overnight, an Israeli airstrike in Iran killed Saeed Izadi, the head of the Palestine Corps in the IRGC Quds Force, who funded and armed Hamas ahead of the terror group’s October 7 onslaught as part of a multi-front plan to destroy Israel. Fabian describes who he was and how central he was in drafting Iran's ultimate strategy to eliminate Israel. Also hit last night was Iran’s Isfahan nuclear site for the second time since the start of the conflict, as Iran fired an overnight volley of five ballistic missiles at central Israel. The strike on the first day of the conflict destroyed several critical sections, including uranium conversion infrastructure and labs. Last night's strikes were intended to cause further damage to Iran’s nuclear program. IDF Chief of Staff Eyal Zamir told Israelis yesterday that they must prepare for a “prolonged campaign” against Iran to “eliminate a threat of this magnitude,” indicating that a quick end to the campaign was unlikely. We ask Fabian to decipher this cryptic message from the head of the IDF even as US President Donald Trump told reports that Israel appears to be "winning." Also yesterday, reporters were told that Israel is not running low on air defense interceptors amid its conflict with Iran, denying reporting that the IDF’s stockpile of interceptor missiles is being depleted. Fabian explains why this may still be the case. Iran is not only firing traditional ballistic missiles at Israel: At least one ballistic missile launched by Iran at Israel in a barrage on Thursday morning was carrying a cluster bomb warhead, marking a dangerous new development. We speak about this type of missile, as well as Iran's drips-and-drabs retaliation to the continued Israeli strikes. To close out, we review the stunning operation to eliminate Iran’s top military commanders early June 13 was code-named “Red Wedding” after the infamous scene in the “A Song of Ice and Fire” book series and “Game of Thrones” TV show, due to the almost fantastical way it was carried out. Fabian explains why. Check out The Times of Israel's ongoing liveblog for more updates. For further reading: IRGC Palestinian division chief, an architect of Oct. 7, killed in overnight strike in Iran IDF hits Isfahan nuclear site for 2nd time; Iran fires 5 missiles in overnight barrage IDF chief warns Israelis must brace for ‘prolonged campaign’ against Iran Denying reports, IDF indicates that it’s not running low on missile interceptors Iranian missile with cluster warhead scattered bombs in central Israel, IDF says Inspired by brutal TV scene, first strikes on Iran said code-named ‘Red Wedding’ Subscribe to The Times of Israel Daily Briefing on Apple Podcasts, Spotify, YouTube, or wherever you get your podcasts. This episode was produced by the Pod-Waves. IMAGE: Israeli soldiers and first responders check the damage caused to a building from an Iranian strike in Beit She'an on June 21, 2025. (Jalaa MAREY / AFP)See omnystudio.com/listener for privacy information.

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Host Leah Jones turns a laid-back weeknight Gigaverse hangout into a turbo-charged “Struts Song Draft,” squaring off against superfans to build rival 15-track playlists from the band's full 56-song Spotify catalog while swapping road-war stories, drive-in show memories, and even second-grade classroom sing-alongs. The friendly trash-talk and surprise guest picks—think “In Love With a Camera,” “Too Good at Raising Hell,” “Kiss This,” and sleeper gem “The Old Switcheroo”—spark nonstop debate about what truly defines The Struts' sound just as the Everybody Wants 10th Anniversary Tour heats up the summer calendar. Leah invites listeners to cast the deciding vote, shout out any overlooked deep cuts, and keep the conversation rolling inside the official Strutters Facebook group. Learn more about your ad choices. Visit megaphone.fm/adchoices

This week Tom & Zeus continue their original KISS Draft series with KISS Draft XIV, The Worst KISS Song Draft! The SIOL KISS Draft is back. This is KISS Draft XIV and the guys have found a way to be original again. The KISS draft is similar to fantasy football drafts, where each person drafts songs one at a time. This unique KISS draft finds the guys drafting the worst KISS songs on a Official KISS release, so the 1978 albums, compilations with original material and the box sets are included. However, in this draft, Tom & Zeus each pick the worst KISS song for the other host. The guys are trying to create the worst 10 song KISS playlist for each other. The guys discuss, analyze and breakdown and draft these horrendous songs for each other and somehow Esther Rolle makes an appearance. To Purchase Shout It Out Loudcast's KISS Book “Raise Your Glasses: A Celebration Of 50 Years of KISS Songs By Celebrities, Musicians & Fans Please Click Below:   ⁠Raise Your Glasses Book⁠   For all things Shout It Out Loudcast check out our amazing website by clicking below:   ⁠www.ShoutItOutLoudcast.com⁠   Interested in more Shout It Out Loudcast content?  Care to help us out?  Come join us on Patreon by clicking below:   ⁠SIOL Patreon⁠   Get all your Shout It Out Loudcast Merchandise by clicking below:   ⁠Shout It Out Loudcast Merchandise at AMAZON⁠   Shop At Our Amazon Store by clicking below: ⁠Shout It Out Loudcast Amazon Store⁠   Please Email us comments or suggestions by clicking below: ⁠ShoutItOutLoudcast@Gmail.com⁠   Please subscribe to us and give us a 5 Star (Child) review on the following places below: ⁠iTunes⁠ ⁠Podchaser⁠ ⁠Stitcher⁠ ⁠iHeart Radio⁠ ⁠Spotify ⁠   Please follow us and like our social media pages clicking below: ⁠Twitter⁠ ⁠Facebook Page⁠ ⁠Facebook Group Page Shout It Out Loudcasters⁠ ⁠Instagram⁠ ⁠YouTube⁠   Proud Member of the Pantheon Podcast click below to see the website: ⁠Pantheon Podcast Network⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

Legendary Seth Godin, bestselling author of Linchpin, Purple Cow, The Dip, Tribes, and The Practice on wrestling with creative resistance, getting past self-doubt, and how to build a resilient creative practice that thrives—even in an age of AIWe talk about:Why writing isn't about talent—but about creating the conditions for skillWhy “Do you like it?” is the wrong question to askAnd how to build a resilient creative practice that thrives—even in an age of AIHow to keep going when there's no map and no promise of success*About Seth GodinSeth Godin is the author of 21 bestselling books that have reshaped the way people think about marketing, leadership, and creative work. His books have been translated into 39 languages and include Linchpin, Purple Cow, The Dip, Tribes, and The Practice. He's also the founder of altMBA, the Carbon Almanac, and multiple pioneering ventures in the online business world. Seth writes one of the most popular blogs in the world and continues to inspire millions of creators to make and ship work that matters.*Resources and Links:

Number, Word and Song of the Day. DVR with Vassegh before the Dodgers-Padres game and latest on Shohei Ohtani's next start. Secret Textoso Roundup

Since we've had some requests and haven't posted it in a while... here ya go!

   Jac Caglianone gets his first big league home run on a pitch so high its impossible to see how he got it out.  Then, he pured one for a second home run and may still be searching for the ball.  The Royals get a sweep and suddenly seem back in the middle of things.  Crazy.    Sophie Cunningham became the second biggest star in the WNBA this week as her jersey is now sold out and she's got about a million new followers on social.  Her game plan is a good one and you're going to be seeing a lot of her.  A lot.    Game 7 is set in the NBA Finals for Sunday night, the first in a decade.  The Dodgers are total frauds attacking Customs and Border Patrol with a social media hoax.   Michelle Obama blasts Barack without knowing it.  The former prez, meanwhile, wants the government to regulate free speech.  How communist of him.  And our Song of the Week could possibly be a repeat but I don't care.

Today's Song of the Day is “Why'd you ask?” from Lauren Juzang's album EITHER WAY ??!?, out now.

Fr. Mike explains how Athaliah's death, Jehoiada's covenant, and the crowning of Joash as king was pivotal for the restoration of the Temple. Today's readings are 1 Kings 22, 2 Chronicles 23, and Song of Solomon 8. For the complete reading plan, visit ascensionpress.com/bibleinayear. Please note: The Bible contains adult themes that may not be suitable for children - parental discretion is advised.

The director Celine Song won over audiences and critics alike with her first feature film, “Past Lives,” the semi-autobiographical tale of a married Korean American woman meeting up with her former childhood sweetheart. Now Song is back with another story about love called “The Materialists.” This time the main character is a matchmaker, a job that Song did briefly in her early 20s.Today on the show, Song reads Louise Rafkin's Modern Love essay “My View From the Margins,” about a relationship columnist who can't figure out love in her own life. And Song tells us how neither falling in love at age 24 nor making a career of writing about love has brought her any closer to understanding it. “It's the one thing that makes me feel like a fool,” Song says.Here's how to submit a Modern Love essay to The New York Times.Here's how to submit a Tiny Love Story. Unlock full access to New York Times podcasts and explore everything from politics to pop culture. Subscribe today at nytimes.com/podcasts or on Apple Podcasts and Spotify.

Today we read about Elijah's discouragement after fleeing from Jezebel, and how God tells him to "arise and eat" to strengthen him for the journey ahead. Fr. Mike points out how God calls us to draw strength for the journey as well, even at the end of our earthly lives. The readings are 1 Kings 19-20, 2 Chronicles 20, and Song of Solomon 6. For the complete reading plan, visit ascensionpress.com/bibleinayear. Please note: The Bible contains adult themes that may not be suitable for children - parental discretion is advised.