Podcasts about Southern Comfort

highways hot tubs southern comfort

Play Episode Listen Later Aug 8, 2025 36:36 Transcription Available

8.8: Live from Southern Comfort Hot Tubs on Preston Highway - Hour 2

highways hot tubs southern comfort

Play Episode Listen Later Aug 8, 2025 30:27 Transcription Available

8.8: Live from Southern Comfort Hot Tubs on Preston Highway - Hour 3

highways hot tubs southern comfort

Play Episode Listen Later Aug 8, 2025 33:58 Transcription Available

Southern Comfort (8x6)

Denim-wrapped Nightmares, a Supernatural podcast

Play Episode Listen Later Jul 15, 2025 53:01 Transcription Available

Hosts Berly and LA tackle "Southern Comfort" Season 8, Episode 6 of Supernatural, and they're absolutely living for DJ Qualls' GARTH in full Texas Ranger cosplay!The episode starts with a garage murder (blood splooge #61!) and introduces everyone's favorite lanky hunter as the new Bobby Singer hopeful - complete with multiple cell phones and a disturbing habit of licking mysterious green goo to identify it.While Sam and Dean continue their ongoing spat about Benny vs. Sam's year-long disappearance, a Confederate soldier's desecrated grave unleashes a specter that makes people act on their deepest grudges. Cue Dean getting possessed and finally letting Sam have it about everything, until Garth saves the day with a heroic punch.Highlights:Garth's ringtone collection (Kris Kross to MC Hammer)Dean dramatically snatching Bobby's hat off Garth's headThe phrase "eunuch in a whorehouse"Sam's excellent hair gameGarth being the only emotionally stable hunter in existence"How can you not love Garth?" - Pretty much sums up this episode perfectly.Sources:https://supernatural.fandom.com/wiki/Southern_Comforthttps://www.sinistercoffeeandcreamery.com/blog/specterSend us your review!Support the showTHANK YOU FOR LISTENING!Please rate and review Denim-Wrapped Nightmares wherever you get your podcasts! Find social channels and more on our Linktree. Automated transcription and summary via Otter.ai.

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The dirty truth about ‘guaranteed media coverage'

A History Of Rock Music in Five Hundred Songs

Play Episode Listen Later Jul 8, 2025 25:44

Send us a textIn this solocast episode, On Top of PR host Jason Mudd discusses why “guaranteed media” isn't earned and how to protect yourself from misleading PR firms.Tune in to learn more!Five things you'll learn from this episode:1. What “guaranteed media coverage” really means — and why it's rarely earned2. The differences between earned, placed, contributed, and sponsored content3. How deceptive firms use fake credibility and vanity metrics to lure clients4. The true cost of falling for pay-to-play PR, including damaged trust and wasted budgets5. What questions you must ask before hiring a PR partner to protect your investment Quotables“If it's guaranteed, it's not earned. And if it's not earned, it's not PR — it's advertising.” — @JasonMudd9“You're not being pitched to journalists. You're being pitched to a payment processor.” — @JasonMudd9“Too many firms are ghostwriting puff pieces and calling it earned coverage. It's not.” — @JasonMudd9“Earned media is hard to win, and that's exactly why it works.” — @JasonMudd9“You deserve real answers, not marketing spin.” — @JasonMudd9If you enjoyed this episode, please take a moment to share it with a colleague or friend. You may also support us through Buy Me a Coffee or by leaving us a quick podcast review.About Jason Mudd, Axia Public RelationsJason Mudd is a trusted adviser and dynamic strategist for some of America's most admired brands. Since 1994, he's worked with brands including American Airlines, Budweiser, Dave & Buster's, H&R Block, Hilton, HP, Miller Lite, New York Life, Pizza Hut, Southern Comfort, and Verizon. Jason founded Axia Public Relations in 2002. Forbes named Axia one of America's Best PR Agencies. At Axia, Jason oversees strategic communications for national clients and leads top PR talent. Clients love his passion, innovation, candor, commitment, and award-winning team. He consults with leadership teams at billion-dollar global business-to-business and business-to-consumer brands, advising them on spokesperson training, crisis communications, analytics, social media, online reputation management, and more. In an increasingly tech-forward world, Jason's grasp of the technological demands companies face helps his multiple-sector clients reach their target audiences. After teaching himself HTML in 1994, Jason helped pioneer internet marketing strategies as an early adopter of e-commerce, search engine optimization, and social media, inspiring tech giants like Yahoo. He speaks to corporations and industry groups and writes about PR trends and best practices for American City Business Journals and other national outlets.Guest's contact info and resources:Jason Mudd on XJason Mudd on LinkedInAxia Public Relations1:1 consultations and training withSupport the show On Top of PR is produced by Axia Public Relations, named by Forbes as one of America's Best PR Agencies. Axia is an expert PR firm for national brands. On Top of PR is sponsored by ReviewMaxer, the platform for monitoring, improving, and promoting online customer reviews.

Song 178: “Who Knows Where the Time Goes?” by Fairport Convention, Part Two: “I Have no Thought of Time”

Play Episode Listen Later Jun 23, 2025

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

christmas america god tv american family california death live church australia lord english uk men battle england action olympic games americans british song friend gratitude solo australian radio holidays mind dm guns north america current songs irish band grammy island track middle east wind wall hearts sweden daughter sea jump britain muslims beatles eagles lights plant breakfast records islam cd farewell boy rolling stones thompson scottish milk birmingham elvis stream denmark swedish drunk rock and roll unicorns flood north american loyalty deliverance morris ravens longtime sanders folk bob dylan victorian elton john marry generous abba peters dolly parton playboy john lennon faced rabbit ballad blue sky matthews pink floyd generally richard branson brotherhood boyd pond sailors led zeppelin johns santa monica dreamer bbc radio candle happily beach boys needing eps jimi hendrix scientology conway millennium transit fleetwood mac kami excerpt goin kinks full house quran scandinavia alice cooper sloths rendezvous stonehenge sweeney rails bow tidal covington rod stewart tilt paul simon opec rufus mccabe hark kate bush peter gabriel sex pistols donaldson mixcloud janis joplin guinness book hampshire white man hilo brian eno sufi partly garfunkel bright lights zorn rowland john coltrane clockwork orange jimmy page chopping zeppelin messina robert plant buddy holly jerry lee lewis donahue evermore private eyes jethro tull byrds lal linda ronstadt lief troubadour easy rider searchers first light emmylou harris prince albert islander lomax honourable nick drake scientologists broomsticks sumer accordion larry page rafferty richard williams baker street edwardian dusty springfield steve miller band arab israeli steve winwood bonham roger daltrey everly brothers john bonham london symphony orchestra judy collins john cale southern comfort muff hutchings richard thompson mike love john paul jones island records liege john wood brenda lee david bailey ned kelly all nations dimming geer pegg rock on hokey pokey robert fripp loggins fairport convention adir fats waller page one pinball wizard cilla black gerry conway roches tam lin warners alan lomax conceptually average white band barry humphries louie louie southern us royal festival hall wild mountain thyme melody maker albert hall flying burrito brothers linda thompson gerry rafferty swarbrick peter grant willow tree thompsons big pink carthy ian campbell rick nelson benjamin zephaniah roger mcguinn martha wainwright chris blackwell albert lee white dress human kindness van dyke parks glass eyes ink spots sandy denny rob young fairport ronstadt joe boyd tony cox joe meek vashti bunyan glyn johns damascene shirley collins incredible string band ewan maccoll bruce johnston george formby dame edna everage steeleye span martin carthy chrysalis records music from big pink human fly johnny otis painstaking eliza carthy robin campbell unthanks i write wahabi tim hart maddy prior norma waterson i wish i was silver threads ostin fool for you iron lion judy dyble doing wrong john d loudermilk simon nicol vincent black lightning dave pegg dave swarbrick henry mccullough smiffy only women bleed sir b windsor davies paul mcneill davey graham mick houghton tilt araiza

S13E01 - "Southern Comfort" - Horror Hill

Horror Hill: A Horror Anthology and Scary Stories Series Podcast

Play Episode Listen Later Jun 20, 2025 84:51

Step into the deep, humid dark of the Southern night—where the moss hangs heavy, the smiles linger too long, and what waits behind closed doors is anything but holy. In this season premiere of Horror Hill, host Erik Peabody guides you through two twisted tales from the backroads of Georgia, where the line between hospitality and horror blurs like heat on the highway. You're about to meet friendly faces, hear distant music, and see lights dancing on the water. But take one wrong turn, accept one kind offer too many, and you might find yourself staying longer than you ever intended. To watch the podcast on YouTube: ⁠⁠⁠⁠⁠⁠⁠⁠http://bit.ly/ChillingEntertainmentYT⁠⁠⁠⁠⁠⁠⁠⁠ Don't forget to subscribe to the podcast for free wherever you're listening or by using this link: ⁠⁠⁠⁠⁠⁠⁠⁠https://bit.ly/HorrorHillPodcast⁠⁠⁠⁠⁠⁠⁠⁠ If you like the show, telling a friend about it would be amazing! You can text, email, Tweet, or send this link to a friend: ⁠⁠⁠⁠⁠⁠⁠⁠https://bit.ly/HorrorHillPodcast⁠ Learn more about your ad choices. Visit podcastchoices.com/adchoices

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Ep398 - Molly Griggs: Between Southern Comfort and Broadway Grit

The Theatre Podcast with Alan Seales

Play Episode Listen Later Jun 17, 2025 61:31

What starts as a conversation about acting quickly turns into a heartwarming reunion between two North Carolina natives who had no idea they practically grew up next door. Molly Griggs opens up about her Southern roots, early theater experiences at the Cape Fear Regional Theatre, and how growing up in Fayetteville shaped her worldview both on and off stage. From MerleFest memories to reflections on leaving—and later embracing—her hometown identity, this episode is full of unexpected nostalgia. Molly also talks about her emotionally charged role in John Proctor Is the Villain on Broadway and why it felt like the universe handed her the script at just the right moment. She reflects on the vulnerability required to bring parts of her younger self to the stage, the tension between people-pleasing and truth-telling, and what it means to play “the one you love to hate” in Netflix's The Residence. It's a layered, funny, and refreshingly honest look into how personal growth and performance are deeply intertwined. Molly Griggs is a stage and screen actor currently starring as Bailey Gallagher in John Proctor Is the Villain on Broadway. Her previous credits include Minnie Fay in Hello, Dolly!, as well as TV roles in Succession, Servant, Doctor Death, and Netflix's The Residence, where she plays Lily Schumacher. This episode is powered by WelcomeToTimesSqure.com, the billboard where you can be a star for a day. Connect with Molly: Instagram: @mgriggz Connect with The Theatre Podcast: Support the podcast on Patreon and watch video versions of the episodes: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Patreon.com/TheTheatrePodcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Twitter & Instagram: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@theatre_podcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook.com/OfficialTheatrePodcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠TheTheatrePodcast.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Alan's personal Instagram: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@alanseales⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Email me at feedback@thetheatrepodcast.com. I want to know what you think. Learn more about your ad choices. Visit megaphone.fm/adchoices

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Lethal Mullet Podcast: Episode #281: Southern Comfort

Fandom Podcast Network

Play Episode Listen Later Jun 17, 2025 35:21

Lethal Mullet Podcast: Episode #281: Southern Comfort On tonight's episode The Mullet goes to Cajun Bayou with Fred Ward, Powers Boothe, and Keith Carradine to survive a night against hunter-trappers set out to kill 'em. Directed by Walter Hill in 1981 this is a classic action thriller. Find Lethal Mullet Podcast on: Apple / Stitcher / Spotify / Google Play / Podbean / IheartRadio / YouTube Contact: Site: fpnet.podbean.com Twitter: @fanpodnetwork Facebook & Instagram: Fandom Podcast Network Adam: @thelethalmullet (Twitter/Facebook/Instagram) Check out the Video Show on YouTube: www.youtube.com/@fandompodcastnetwork FPN Master Feed: fpnet.podbean.com Catch the flagship show: Culture Clash, Blood of Kings, and the host of amazing podcasts covering all of Lethal Mullet Podcast Tee public: Grab all kinds of LM merchandise @ teepublic.com #fredward #powersboothe #keithcarradine #southerncomfort #fandompodcastnetwork #lethalmulletpodcast #adamobrien #australia

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Step Inside Southern Comfort

The Path to $20 Million with Mike Prewett

Play Episode Listen Later May 27, 2025 6:15

Discover this stunning 2-story DR Horton home in Roxeywood Park, Winder! From granite countertops and a cozy fireplace to EV-ready features and a backyard built for memories — tune in as we explore a home that blends modern living with classic charm, all just minutes from Fort Yargo State Park and top local amenities."

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5.16: Live from Southern Comfort Hot Tubs (Hour 1)

Play Episode Listen Later May 16, 2025 36:50 Transcription Available

5.16: Live from Southern Comfort Hot Tubs (Hour 2)

Play Episode Listen Later May 16, 2025 23:18 Transcription Available

5.16: Live from Southern Comfort Hot Tubs (Hour 3)

Play Episode Listen Later May 16, 2025 36:26 Transcription Available

Marsha's Plate: Black Trans Podcast

#342 Asian Southern Comfort

Play Episode Listen Later May 8, 2025 105:44

On Today's Menu on Marsha's Plate We talk about folks transitioning in prison after horrific crimes and some Asians history in the South inspired by Sinners film. Listen on all streaming Platforms https://pod.link/1293033444 We have merch as well if you wanna support Marsha's Plate https://teespring.com/stores/marshasplate Reading Recommendations https://bookshop.org/shop/DiamondStylz #marshasplate #girlslikeus #boyslikeus #transgender #podcast #podsincolor #podernfamily #transisbeautiful #houston #lgbt #transmen #transwomen #blackfeminism #trans101 #trans #blacktranswomen #blacktransmen #houstonpride #indiepodcast #blacktranslivesmatter #lgbtqia #lgbtq #genderidentity #pride #blackgirlmagic #blackboyjoy #podcast

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Episode 46 - Brewster's Millions (1985)

Almost Cult Classics

Play Episode Listen Later May 2, 2025 121:07

On this episode we finally revisit a movie we have been talking about doing since we launched the show - Brewster's Millions starring Richard Pryor and John Candy! We also wanted to profile the career of writer/director Walter Hill and we used this as an excuse to check out his early film work, which includes: Intro 00:00:00 Walter Hill's Screenwriting Work 00:11:29 Hard Times (1975) 00:20:50 The Driver (1978) 00:34:24 The Warriors (1979) 00:44:35 The Long Riders (1980) 00:49:38 Southern Comfort (1981) 00:58:34 48 Hrs. (1982) 01:04:25 Streets of Fire (1984) 01:12:05 Brewster's Millions (1985) 01:23:28 Check us out on Patreon for exclusive episodes and content: www.patreon.com/almostcultclassics. You can also find us on X: Joe: https://twitter.com/joeramoni Ryan: https://twitter.com/ryanlancello And don't forget to check out our website and merch store: https://www.almostcultclassics.com

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S4 Ep15: DEEP DIVE - Southern Comfort

Random Movie Generator with David Earl and David Edwards

Play Episode Listen Later Apr 25, 2025 50:46

David and David come together, to put their snorkels on and take a deep dive on Southern Comfort. If you would like to receive this podcast earlier, get longer episodes, listen to the full interview with Julian as well as exclusive episodes and get the chance to ask David Edwards movie questions LIVE every Saturday Morning - then head over to patreon.com/davidearl Thanks for listening! Learn more about your ad choices. Visit podcastchoices.com/adchoices

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What you should know about earning media coverage

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Play Episode Listen Later Apr 15, 2025 20:54

Send us a textIn this solocast episode, On Top of PR host Jason Mudd discusses what every company must know about media relations before hiring a public relations firm. Tune in to learn more! Five things you'll learn from this episode:1. Media relations is just one part of strategic public relations2. What makes a story newsworthy3. What journalists really care about when evaluating your pitch4. Why relationships don't guarantee coverage5. What PR tools you shouldn't buy until you're ready Quotables"Public relations is not only media relations. Media relations isn't what most people think it is either." — @JasonMudd9"Earned media must be earned. If someone guarantees coverage, you're buying ads, not PR." — @JasonMudd9"The only audience that matters is the journalist's audience — not your CEO or marketing team." — @JasonMudd9"Great [news] stories beat great [media] relationships." — @JasonMudd9 "PR is a long-term business strategy — not a one-time campaign or quick win." — @JasonMudd9If you enjoyed this episode, please take a moment to share it with a colleague or friend. You may also support us by buying us a coffee or leaving us a quick podcast review.About Jason Mudd, Axia Public RelationsJason Mudd is a trusted adviser and dynamic strategist for some of America's most admired brands. Since 1994, he's worked with brands including American Airlines, Budweiser, Dave & Buster's, H&R Block, Hilton, HP, Miller Lite, New York Life, Pizza Hut, Southern Comfort, and Verizon. Jason founded Axia Public Relations in 2002. Forbes named Axia one of America's Best PR Agencies. At Axia, Jason oversees strategic communications for national clients and leads top PR talent. Clients love his passion, innovation, candor, commitment, and award-winning team. He consults with leadership teams at billion-dollar global business-to-business and business-to-consumer brands, advising them on spokesperson training, crisis communications, analytics, social media, online reputation management, and more. In an increasingly tech-forward world, Jason's grasp of the technological demands companies face helps his multiple-sector clients reach their target audiences. After teaching himself HTML in 1994, Jason helped pioneer internet marketing strategies as an early adopter of e-commerce, search engine optimization, and social media, inspiring tech giants like Yahoo. He speaks to corporations and industry groups and writes about PR trends and best practices for American City Business Journals and other national outlets.Guest's contact info and resources:Jason Mudd on XJason Mudd on LinkedInAxia Public Relations 1:1 consultations and training with Axia Support the show On Top of PR is produced by Axia Public Relations, named by Forbes as one of America's Best PR Agencies. Axia is an expert PR firm for national brands. On Top of PR is sponsored by ReviewMaxer, the platform for monitoring, improving, and promoting online customer reviews.

70. Slammin' Omen

Spooky Sips

Play Episode Listen Later Apr 15, 2025 114:22

Kids can be hell, right? Especially in the 1976 film, The Omen. Sip along with us this week as we sit down and discuss the movie, a spiritual psychology segment, and get *very* sidetracked by our cocktail pairing (recipe below). Alabama Slammer Cocktail: 3/4 oz each of Amaretto, Sloe Gin, and Southern Comfort. Top with orange juice and enjoy! Thanks for listening! Don't forget to subscribe wherever you're listening and follow us on Instagram and Facebook. Instagram: https://www.instagram.com/spookysips_podcast/Facebook: https://tinyurl.com/SpookySipsPodWebsite: https://spookysipspod.buzzsprout.com

The LA Kings Can't Lose At Home And It Might Save Their Playoff Run

Empty Netters Podcast

Play Episode Listen Later Mar 25, 2025 89:28

Jonny Laz stops by the studio (with roller blades on) to discuss the boys trip to Vegas, the western conference wildcard race, and if home ice advantage changes anything for the LA Kings. Sheldon Keefe had his wires cross after a loss. Pat Maroon is retiring. And we almost had a goalie fight! Plus, the Beer League Hotline this week is can't miss. NEW EPISODES EVERY TUESDAY & THURSDAY! PRESENTED by BetMGM. Download the BETMGM app and use code “NETTERS” and enjoy up to $1500 in bonus bets if you lose your first wager! SUPPORT OUR SPONSORS: BAUER. Bauer is the go to destination for all your training needs. Head to http://www.bauer.com/training to explore tools like the Digital Reactor Danger for stickhandling or the Reactor Slide Board to add strength to your stride. SOUTHERN COMFORT. Make your drink, just the way you like it. This is your kind of whiskey. https://www.southerncomfort.com/ 00:00 INTRO 00:19 NOT ICE 22:11 BLUES/FLAMES WILDCARD 40:01 KINGS POINT STREAK 45:43 GOALIE FIGHT 58:14 PAT MAROON 1:02:19 SHOOTOUT SEQUENCING 1:07:03 CANES WARDROBE 1:08:58 CROSBY 1:10:53 BEER LEAGUE HOTLINE 1:16:11 BLIND RANKING 1:22:47 BETMGM ODDS Learn more about your ad choices. Visit megaphone.fm/adchoices

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Southern Comfort

Staff Picks

Play Episode Listen Later Mar 19, 2025 132:18

southern comfort

The Central Division Is An Absolute Bloodbath w/ TJ Oshie

Empty Netters Podcast

Play Episode Listen Later Mar 11, 2025 142:10

The trade deadline was doozy! Brad Marchand is a Florida Panther?? The Bruins made a trade with the Maple Leafs?? Mikko Rantanen is back in the Central Division?? The Avalanche are going all in this year and it's setting up a potential explosive first round. Find who the boys think are the winners and losers of the deadline. Plus, CP and DP go hangout with their buddy TJ Oshie in Minnesota for his first trip back to the high school state tournament since he won it all. NEW EPISODES EVERY TUESDAY & THURSDAY! PRESENTED by BetMGM. Download the BETMGM app and use code “NETTERS” and enjoy up to $1500 in bonus bets if you lose your first wager! SUPPORT OUR SPONSORS: GUY FOX. Head to https://guyfox.com/netters and use code FRIDAY for free shipping & $10 off your purchase right now! SOUTHERN COMFORT. Make your drink, just the way you like it. This is your kind of whiskey. https://www.southerncomfort.com/ Z BIOTICS. Go to https://zbiotics.com/NETTERS and use NETTERS at checkout for 15% off any first time orders of ZBiotics probiotics.” Learn more about your ad choices. Visit megaphone.fm/adchoices

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The Colorado Avalanche Train Is About To Be Full Steam Ahead

Empty Netters Podcast

Play Episode Listen Later Feb 27, 2025 74:04

The trade deadline approaches and some teams are facing major decisions. It's time to blow it up in Pittsburgh. And does Colorado make another move now that Val is back? The rookie of the year race is getting insane. How do we make Stadium Series even cooler? And DP and CP play an epic game of What's The Connection. NEW EPISODES EVERY TUESDAY & THURSDAY! PRESENTED by BetMGM. Download the BETMGM app and use code “NETTERS” and enjoy up to $1500 in bonus bets if you lose your first wager! SUPPORT OUR SPONSORS: SKIMS. http://www.skims.com/netters From technically constructed briefs and ultra-soft boxers to the most comfortable tanks and tees you'll ever wear, these foundations will keep you going 24/7. SOUTHERN COMFORT, Make your drink, just the way you like it. This is your kind of whiskey. https://www.southerncomfort.com/ LABATT BLUE. It's time for you to get on board with our favorite beer in the game. Labatt Blue and Labatt Blue Light are the perfect beverages to wet your whistle while you're watching hockey or hanging with friends. That's because there's a little bit of Canadian kindness in every sip. Go to https://www.labattusa.com/product/labatt-blue/ to find some 00:00 INTRO 01:30 NOT ICE 18:23 HOT ICE 39:35 STADIUM SERIES 52:29 POWERS RANKINGS 55:13 STARTING 6 59:50 TRIVIA Learn more about your ad choices. Visit megaphone.fm/adchoices

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Live from Southern Comfort Hot Tubs - Hour 1

Play Episode Listen Later Feb 21, 2025 34:01 Transcription Available

Live from Southern Comfort Hot Tubs - Hour 2

Play Episode Listen Later Feb 21, 2025 34:40 Transcription Available

Live from Southern Comfort Hot Tubs - Hour 3

Play Episode Listen Later Feb 21, 2025 15:45 Transcription Available

20 reasons your company's social media sucks — and how to fix it

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Play Episode Listen Later Feb 18, 2025 27:26

Send us a textIn this solocast episode, On Top of PR host Jason Mudd discusses how the top 20 mistakes companies make with social media and how to fix themTune in to learn more!Five things you'll learn from this episode:1. How to properly resource your social media department2. The importance of platform-specific content optimization3. How to effectively incorporate user-generated content and employee advocacy4. Why social media crisis planning is crucial 5. The value of consistency in social media schedules and audits Quotables"Social media has become its own little marketing department because of all the resources that you really have to put into it." — @JasonMudd9"If you're not responding to comments and messages, your audience will move on to your competition." — @JasonMudd9"Social media moves fast. If your reply takes days, your audience has already moved on." — @JasonMudd9"A sporadic posting schedule makes your brand forgettable." — @JasonMudd9"Have a crisis readiness response plan in place and ready to go." — @JasonMudd9If you enjoyed this episode, please take a moment to share it with a colleague or friend. You can also support us through buy me a coffee or by leaving us a quick podcast review.About Jason Mudd, Axia PRJason Mudd is a trusted adviser and dynamic strategist for some of America's most admired brands. Since 1994, he's worked with brands including American Airlines, Budweiser, Dave & Buster's, H&R Block, Hilton, HP, Miller Lite, New York Life, Pizza Hut, Southern Comfort, and Verizon. Jason founded Axia Public Relations in 2002. Forbes named Axia one of America's Best PR Agencies. At Axia, Jason oversees strategic communications for national clients and leads top PR talent. Clients love his passion, innovation, candor, commitment, and award-winning team. He consults with leadership teams at billion-dollar global business-to-business and business-to-consumer brands, advising them on spokesperson training, crisis communications, analytics, social media, online reputation management, and more. In an increasingly tech-forward world, Jason's grasp of the technological demands companies face help his multiple-sector clients reach their target audiences. After teaching himself HTML in 1994, Jason helped pioneer internet marketing strategies as an early adopter of e-commerce, search engine optimization, and social media, inspiring tech giants like Yahoo. He speaks to corporations and industry groups and writes about PR trends and best practices for American City Business Journals and other national outlets.Guest's contact info and resources:Jason Mudd on XJason Mudd on LinkedInAxia Public Relations 1:1 consultations and training with Axia Support the show On Top of PR is produced by Axia Public Relations, named by Forbes as one of America's Best PR Agencies. Axia is an expert PR firm for national brands. On Top of PR is sponsored by ReviewMaxer, the platform for monitoring, improving, and promoting online customer reviews.

Ep. 8.06 | Power Bottoms and the Tooth Fairy

Driver Picks the Podcast

Play Episode Listen Later Feb 10, 2025 77:21

This week the crew is joined by Sam's roommate Paige, as we discuss Season 8 Episode 6 Southern Comfort through the theme of Corruption. It is a high energy high chaos time! We chat about Dean and Benny and the aftermath of last weeks episode, our feelings about Garth being the new Bobby, and our new guest Paige brings a unique new perspective on the brothers current conflict.Find us at queeringthingspodcast.comLink to our Patreon:https://patreon.com/queeringthingsFollow Paige's blog at:https://yet-another.blog/?fbclid=PAZXh0bgNhZW0CMTEAAaYSzOy-DbL0jzzbFYKvQpF3z5rrzAsBpjbwqTvhRmVKXeOJvqtEuoaEEZY_aem_u5p8uHmNwprtwfDWTm0SxA

Episode 127: CMBC 127 - Southern Comfort

Chris and Mike's Beer Chat - CMBC

Play Episode Listen Later Feb 1, 2025 38:16

Chris and Mike's Beer Chat - The podcast about enjoying beer! - CMBC Episode 127 - Southern ComfortIn this episode we try a variety of beers from Creature Comforts BrewingBeers: Classic City LagerTropicaliaFlash Catemail us: cmbcpodcast@gmail.com youtube: http://www.youtube.com/cmbcpodcast Instagram: CMBC_PodcastMusic: Superman - REM

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PEL Presents NEM#226: The Evolution of Iain Matthews (Fairport Convention, Southern Comfort, Plainsong)

The Partially Examined Life Philosophy Podcast

Play Episode Listen Later Jan 5, 2025 78:40

Iain started in Britain's Fairport Convention in the late '60s, but quickly left that band to start a couple more and then move to the US for a lengthy solo career. He has in total released close to 50 albums, including many collaborations. We discus the title track from How Much Is Enough (2024), the title track from God Looked Down (1996), and "Road to Ronderlin" by Matthews Southern Comfort from Later That Same Year (1970). End song: "St. Theresa's Ghost" by Ian Matthews and the Searing Quartet, from Joy Mining (2008). Intro: "Book Song" by Fairport Convention from What We Did on Our Holidays (1969). Learn more at iainmatthews.nl. Hear more Nakedly Examined Music. Support us on Patreon.

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The Gauntlet Movie Mixtape Volume #7

The Gauntlet

Play Episode Listen Later Dec 30, 2024 74:05

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Islas de RobiOnda a la derivanson - Onda a la deriva - 23/12/24

Islas de Robinson

Play Episode Listen Later Dec 22, 2024 59:36

Esta semana, en Islas de Robinson, Americana cósmica entre 1969 y 1971. Suenan: POCO - "JUST IN CASE IT HAPPENS, YES INDEED" ("PICKIN' UP THE PIECES", 1969) / FLYING BURRITO BROTHERS - "WHEELS" ("GILDED PALACE OF SIN", 1969) / MICHAEL NESMITH & THE FIRST NATIONAL BAND - "THE CRIPPLED LION" ("MAGNETIC SOUTH", 1970) / JERRY JEFF WALKER - "SHELL GAME" ("DRIFTIN' WAY OF LIFE", 1969) / DILLARD & CLARK - "POLLY" ("THROUGH THE MORNING, THROUGH THE NIGHT", 1969) / THE DILLARDS - "PICTURES" ("COPPERFIELDS", 1970) / THE YOUNGBLOODS - "CIRCUS FACE" ("GOOD AND DUSTY", 1971) / LITTLE FEAT - "I'VE BEEN THE ONE" ("LITTLE FEAT", 1971) / WILLIAM TRUCKAWAY - "BREAKWAY" ("BREAKWAY", 1971) / THE BYRDS - "YESTERDAY'S TRAIN" ("UNTITLED", 1970) / NEW RIDERS OF THE PURPLE SAGE - "ALL I'VE EVER WANTED" ("N.R.P.S.", 1971) / GRATEFUL DEAD - "RIPPLE" ("AMERICAN BEAUTY", 1970) / MATTHEWS' SOUTHERN COMFORT - "WHAT WE SAY" ("MATTHEWS' SOUTHERN COMFORT", 1970) / FAIRPORT CONVENTION - "THE DESERTER" ("LIEGE & LIEFE", 1969) /Escuchar audio

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Michelle Malone Discusses Her Latest Album Featuring An Array Of Special Guests

My Backstage Pass

Play Episode Listen Later Dec 2, 2024 50:03

Michelle Malone joins hosts Billy and Sarah Hubbard for a fun conversation about her 16th studio album, Southern Comfort! The record features a collective of all star special guests including Buddy Miller, Randal Bramblett, Will Kimbroug, Charlie Starr of Blackberry Smoke, Rick Richards and Joey Huffman of the Georgia Satellites, and features five songs co-written with legendary songwriter Dean Dillon! Learn more about Michelle Malone at https://www.michellemalone.comPodcast producer and host Billy Hubbard is an Americana Singer/Songwriter and former Regional Director of A&R for a company that published a Grammy winning song. Billy is also a signed artist with Spectra Music Group and co-founder of the iconic venue "The Station" in East TN. Billy's album was released by Spectra Records in Oct 2023. Learn more about Billy at http://www.BillyHubbard.com and stream/purchase his music at https://orcd.co/billyhubbardSupport the showIf you'd like to support My Backstage Pass you can make a donation to Billy & Lee's coffee fund at this link https://www.buymeacoffee.com/MyBackstagePassMy Backstage Pass is sponsored by The Alternate Root Magazine! Please subscribe to their newsletter, read the latest music reviews and check out their weekly Top Ten songs at this link http://www.thealternateroot.com

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Southern Comfort: The Heart and Soul of Crisp in Rochester

Food About Town

Play Episode Listen Later Nov 26, 2024 62:07 Transcription Available

Chris Lindstrom welcomes Wendi Loyet to the Food About Town podcast to discuss her journey from Texas to opening her restaurant, Crisp, in Rochester. The conversation dives into the Southern hospitality that influences the restaurant's atmosphere and menu. Wendi shares how her upbringing in Texas, filled with open doors and home-cooked meals, inspired her vision for Crisp—a place where patrons feel at home. The episode also touches on the restaurant's growth in the community, emphasizing how it aims to be a neighborhood haunt where people can enjoy signature dishes like chicken and churros.Throughout the interview, Wendi reflects on the challenges and triumphs of navigating the restaurant business, particularly during the pandemic. The discussion highlights the importance of staff training and cultivating a team that shares a passion for hospitality. The episode illustrates her commitment to making Crisp a beloved local destination for both casual diners and special events.Mentionscrisprochester.comCrisp (@crisp_rochester)Roam Cafe (@roamcaferoc) Avvino (@avvino)Mentioned in this episode:Guglielmo's Home Grown Marinara SauceGuglielemo's Home Grown Marinara Sauce is available in your favorite grocery stores! Pick up a jar today! https://www.guglielmosauce.com/Behind the Studio DoorBehind the Studio Door, hosted by Molly Darling and Christian Rivera, takes listeners on a exploration of artists and their creative processes. Through deep and meaningful conversations, they uncover the stories and experiences that shape the outward expression of their work.Sweet Pea Plant Based KitchenSweet Pea is a plant-powered kitchen helping you achieve wellness. Harnessing the power of food as medicine, we help you realize your happiest, healthiest self. Use promo code Lunchador15 for 15% off your order! https://sweetpeaplantbased.comJoe Bean Coffee - Coffee that lifts everyone.Use promo code Lunchador for 15% off your order! https://shop.joebeanroasters.com

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162: Substantive Cinema | Southern Comfort feat. Mitchell Beaupre

The Substance

Play Episode Listen Later Nov 25, 2024 80:20

Four weeks in a row, can you believe it?! This week we are back with a Substantive Cinema pick that we've been excited for for quite some time, Walter Hill's underrated masterpiece Southern Comfort. The movie follows a squad of National Guardsmen doing exercises in the Louisiana swamps. After some painfully avoidable events, the men become hunted and are on the run for their lives against an enemy of their own making in a place that, while actually being part of their own homeland, they find entirely foreign. On the one hand, the film is a perfectly thrilling and taut entertainment. However, it's also a substantive look at White male entitlement, American exceptionalism, militarism, race relations, and more. If you enjoyed the film or our discussion we'd love for you to send us an email or voice note. And if you have any suggestions of movies, topics, or guests for future shows, please send those our way as well! Listen to Mitchell's previous Substantive Cinema appearance Mitchell's Walter Hill Interview WH Filmography Ranked Mitchell on Letterboxd Purchase the Vinegar Syndrome 4K Streaming options for Southern Comfort List of Substantive Cinema movies If you're newer to the show be sure to check out our library of 150+ episodes with folks like Filmspotting's Josh Larsen, artist Stephanie Stalvey, Jemar Tisby, New York Times film critic Alissa Wilkinson, Propaganda, actor/director John Carroll Lynch, and our old pal Slim (Letterboxd & 70mm Podcast). Shoutouts: Witness in the City (Radiance Films) Troy article (Paste) Ethan & Maya Hawke interview Follow Us ⁠Instagram⁠ ⁠Twitter⁠ ⁠Philip's Letterboxd⁠ Share Your Questions/Suggestions/Feedback With Us: Email: thesubstancepod@gmail.com DM on Instagram Support Us: Support the show with an individual donation on CashApp to $TheSubstancePod or become a monthly Patreon supporter at patreon.com/TheSubstancePod --- Support this podcast: https://podcasters.spotify.com/pod/show/thesubstancepod/support

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Sweet Sisters and Southern Comfort with Mary Allyson & Annabelle

Hey Sis, Eat This

Play Episode Listen Later Nov 21, 2024 49:26

In this week's episode of "Hey Sis, Eat This," hosts Whitney and Courtney sit down with the “sweetest” YouTube Cake Queen Mary Allyson Martin and her sister Annabelle Jenkins, a healthcare hero from Tennessee. The conversation kicks off with a confession about how they first met Mary Allyson at the VidSummit conference, where Whitney instantly recognized Mary Allyson and casually stalked her on the escalator. We can't help but fan girl over Mary Allyson's YouTube video of the incredible wedding cake she created for Annabelle's wedding. When Courtney kids Annabelle about her demands for all things Harry Potter, we learn that the only one who isn't a member of the Hufflepuff House is Courtney! The biggest shocker was that Mary A successfully created a vegan and gluten-free cake and how it pleasantly surprised everyone at the celebration. We then dive into how Mary Allyson got her start in baking as a little girl using the real oven and a cake decorating kit gifted by her mother, Anita. Mary A reveals that while Momma Anita could bake, she actually learned her skills from her Daddy and Grandfather. As the episode unfolds, Mary Allyson and Annabelle reflect on their mother's Southern hospitality, her knack for making everyone feel welcome, and how she instilled values of kindness and love in her children. At the dinner table, Momma Anita was always cooking up hot meals whether from scratch or repurposing the leftovers like spaghetti casserole. The sisters reveal that their favorite dish she made was her Parmesan Chicken. She was also known as the Snack Carpool Queen, having all the friends of the sisters wanting to ride shotgun in Momma Anita's car! We've got a real treat for our listeners with a surprise appearance by Momma Anita, who joins for the rapid-fire segment. She picks her favorite child, spills about who was the biggest trouble, while the sisters tell us what really gets under Momma Anita's skin. Mary A and Annabelle playfully share details about family dynamics, mischievous childhood antics, and discover what truly makes their mother proud. So grab a slice of cake—or spaghetti casserole, we're not judging—and join us for a super sweet episode you'll not want to miss. All things Mary Allyson: Instagram: @mary_allyson Youtube: @maryallyson TikTok: @mary_allyson What you'll hear: What we've been cookin', who we've been entertainin', and any kitchen conundrums of the week... often in our Momma's Texas accent Chatting with siblings about what it was like around their dinner table growing up, favorite family recipes and stories that celebrate moms Interviews with celebrity chefs, restaurateurs, and culinary entrepreneurs about the influence and inspiration from their moms Weekly recipes from us and our guests posted out the Hey Sis, Eat This website - Website: https://www.heysiseatthis.com - Recipes from our Us and Our Guests: https://www.heysiseatthis.com/our-recipes - Call into the Hey Sis Hotline: 1-866-4 HEY SIS or 1-866-443-9747 - Email: hello@heysiseatthis.com - Instagram: https://www.instagram.com/heysiseatthis/ - Facebook: https://www.facebook.com/heysiseatthis - YouTube: https://www.youtube.com/@heysiseatthis

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Live from Southern Comfort Hot Tubs. Ethan Almighty's Bourbon.

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Play Episode Listen Later Nov 15, 2024 37:42 Transcription Available

303: A Deep Dive with Ross Cornelissen, Master Distiller of 1792 Bourbon

Bourbon Lens

Play Episode Listen Later Nov 4, 2024 60:43

This week, we're talking about Barton 1792 Distillery and 1792 Bourbon. Master Distiller Ross Cornelissen joins Bourbon Lens to talk about the workhouse bourbon distillery. Barton 1792 is a historic distillery in the Bourbon Capital of the World and owned by Sazerac Company. We discuss three limited releases from Barton 1792, including Sweet Wheat, Aged Twelve Years, and Thomas S. Moore Port Cask Finished Bourbon. Stream this episode on your favorite podcast app and be sure to drop us a review while you're there. We are thankful for your support over the last 6 years. We must give the biggest shoutout to our amazing community of Patreon supporters! As always, we'd appreciate it if you would take a few minutes time to give us feedback on Bourbon Lens podcast. If you enjoy our content, consider giving us a 5 Star rating on your favorite podcast app, leave us a written review, and tell a fellow bourbon lover about our show. Follow us @BourbonLens on Instagram, Facebook, LinkedIn and X. Also, consider supporting Bourbon Lens on Patreon for some of the behind the scenes, to earn Bourbon Lens swag, join the Bourbon Lens Tasting Club, and more. If you have any comments, questions, or guest suggestions, please email us at Info@BourbonLens.com. Check out BourbonLens.com to find our blog posts, whiskey news, podcast archive, and whiskey reviews. Cheers,Scott and JakeBourbon Lens About Barton 1792 Distillery: Barton 1792 Distillery was established in 1879 and continues today as the oldest fullyoperating distillery in Bardstown, Kentucky. Situated in heart of bourbon country on 196 acres, Barton 1792 Distillery boasts 29 barrelaging warehouses, 22 other buildings including an impressive still house, and the legendary Tom Moore Spring. About Sazerac: With over 400 years of history, Sazerac is one of the world's largest distilled spirits companies. Now in the fourth generation of the current family ownership, Sazerac strives each day to bring the finest spirits to consumers and communities around the world. Over 500 of the world's most extraordinary brands are part of the Sazerac portfolio, including 1792 Bourbon, Buffalo Trace Bourbon, Eagle Rare, Weller, The Last Drop Distillers, Fireball Cinnamon Whisky, Southern Comfort, Wheatley Vodka, Meyers's Rum, White X Cognac, Sazerac de Forge Cognac, Paddy's Irish Whiskey, and many more. Sazerac is also the steward of many fine distilleries internationally, including Barton 1792 and Buffalo Trace Distillery in Kentucky, United States; Domaine Sazerac de Segonzac in Cognac, France; Paul John Distillery in Goa, India; and Lough Gill Distillery in County Sligo, Ireland. Additional impressive locations can be found in New Orleans, Montréal, London, Cork and Sydney, to name a few. To learn more visit 1792bourbon.com or sazerac.com.

171: The Truth Lies

Gamepass News

Play Episode Listen Later Oct 26, 2024 57:25

Hey! Enjoying the show? Reach out and let us know or ask a question we will answer it in the next show! Sean & Nick

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Iain Matthews (Fairport Convention)

Caropop

Play Episode Listen Later Oct 24, 2024 52:13

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

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394 - Southern Comfort (1981)

Grindbin Podcast - Grindhouse and Exploitation Films

Play Episode Listen Later Oct 23, 2024 151:05

Greg, Chris in Miami, Bobby, and Mike discuss the lesser-known Walter Hill film, lovingly referred to on the show as "Swamp Warriors". When a group of National Guardsmen get stuck in the swamps of Louisiana, they find themselves hunted by locals who really don't like outsiders. Featuring a cast of great charactor actors: Keith Carradine, Powers Booth, Fred Ward, Peter Coyote, and Brion James, this is a movie made for the bin.

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166: Part 2: Pete Charette – The French Connection, Op. Southern Comfort, int'l undercover DEA narcotics agent

Game of Crimes

Play Episode Listen Later Oct 15, 2024 59:04

Murph welcomes back Pete Charette, a former law enforcement officer with a rich history in undercover operations. Pete details his experiences in various undercover operations, including the pivotal roles he played in the real French Connection, and the infamous Southern Comfort operation, one of the largest cocaine conspiracy cases in U.S. history. The conversation also touches on the broader implications of the drug war and the ongoing challenges faced by law enforcement in combating drug trafficking.

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166: Part 1: Pete Charette – The French Connection, Op. Southern Comfort, int'l undercover DEA narcotics agent

Game of Crimes

Play Episode Listen Later Oct 14, 2024 56:11

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Marketing Big Food & Bev Brands with Tiffany Wilburn

Zev Audio Zone

Play Episode Listen Later Oct 8, 2024 43:20

Tiffany Wilburn is a fractional food & beverage Chief Marketing Officer, the founder of Clever Disruption, and brand strategist who has been published in AdWeek. Throughout her career, she has helped larger-than-life brands such as Nestle, TGIF Fridays, Hot Pockets, and Southern Comfort (AKA: SoCo) revamp their marketing strategies, develop new products, reach new audiences, and grow their market share. In addition to food/bev, she also provides consulting to beauty and CPG (consumer packaged goods) brands. In this episode we talked about her work with big food/bev brands, lesser-known regional styles of pizza, sweet whiskey, and what makes a grocery shopper pick your product off the shelf over that of your competition. Apologies in advance if this episode makes you hungry! Connect with Tiffany Wilburn: https://www.linkedin.com/in/tiffanywilburn/ Learn More: https://www.cleverdisruption.com/ Watch the episode on YouTube here:

Episode 164 - Southern Comfort

Back On The Hunt - A Supernatural Podcast

Play Episode Listen Later Oct 2, 2024 30:40

Welcome Back to the Hunt - what do you Specter? In this episode (Season 8, Ep. 6—Southern Comfort), Garth returns to team up with the boys to take on a first-time, last time appearance of a Specter. We also discuss how and why Garth has grown on us as a character. Is it worth a rewatch? Join us on the hunt to find out! --- The Back on The Hunt Podcast drops EVERY Tuesday. Want to share your rewatch experience with us? Please send us a message: https://anchor.fm/chris-barrows/message Theme Music:Extreme Energy by MusicToday80: https://soundcloud.com/musictoday80/r... Attribution 3.0 Unported (CC BY 3.0) https://creativecommons.org/licenses/... Music provided by Free Vibes: https://goo.gl/NkGhTg

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Scott H Silverman - From Unlicensed Pharmacist to Coach - Meeting 282

RECO12

Play Episode Listen Later Sep 27, 2024 62:07

Southern Comfort. It's the first drink Scott ever had. He was 14 and remembers it clearly. When he was 16 he started smoking marijuana and it wasn't long before he moved on to meth, hallucinogens and cocaine and referred to himself as an "unlicensed pharmacist". Scott's heavy drinking and drug use wasn't recreational, it was a way of life. He felt invincible. Until he hit the proverbial brick wall when he was 30. When suicide didn't work, he went into rehab. From there his life started to turn around and he has done many things in that time including writing a book, and spearheading many community and recovery-centered organizations. He should soon commemorate 40 years of sobriety.Reco12 is all about exploring the common threads of addiction and sharing tools and hope from those on a similar path. We gather from diverse backgrounds, faiths, and places to learn and support one another. Our speakers represent various fellowships, addictions, and afflictions, thus showing the common threads of recovery, no matter our addiction or affliction.Reco12 values your support in carrying out our 12th Step mission, providing essential resources for addicts and their loved ones. We welcome contributions to cover Zoom, podcast, web hosting, and administrative costs. Become a Reco12 Spearhead by becoming a monthly donor at https://www.reco12.com/support. For one-time donations, you can use PayPal at https://www.paypal.me/reco12 or Venmo at @Reco-Twelve or with Patreon at https://www.patreon.com/Reco12Spearheads Your support makes a meaningful impact – thank you!Resources from this meeting:Books by Scott SilvermanAlcoholics AnonymousIf you would like to get in contact with Scott, please send an email request to reco12pod@gmail.com .Outro music is "Truth and Reconciliation" written and performed by James Carrington and used with full permission of James Carrington. To learn more about this music and performer, please visit https://www.jamescarrington.net/ and https://m.facebook.com/jamescarringtonmusic Support the showPrivate Facebook GroupInstagram PageBecome a Reco12 Spearhead (Monthly Supporter)PatreonPayPalVenmo: @Reco-TwelveYouTube ChannelReco12 WebsiteEmail: reco12pod@gmail.com to join WhatsApp GroupReco12 Shares PodcastReco12 Shares Record a Share LinkReco12 Noodle It Out with Nikki M PodcastReco12 Big Book Roundtable Podcast

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