Podcast appearances and mentions of Steve Miller Band

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

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

"Turn up your radio and let me hear the songSwitch on your electric lightThen we can get down to what is really wrongTurn it up, turn it up, little bit higher radio"Terrific advice for the 1st Sunday of Summer and also your opportunity to show your support for The SoCal Sound and Super Sounds Of The 70's during our End Of Fiscal Year Pledge Drive. I'll be asking for your support this afternoon along with Batdorf and Rodney, The Band, Paul Simon, War, The Doors, Jay Ferguson, Art Garfunkel, Gino Vanelli, Led Zeppelin, Eric Clapton, Seals & Crofts, Steely Dan, America, The Byrds, Steve Miller Band, Bob Welch, Grand Funk Railroad, Gerry Rafferty, Jefferson Airplane, Fleetwood Mac, Sly & The Family Stone, Graham Nash, Deep Purple and Van Morrison...If you've been listening all these years please show your love with your donation that supports this terrific Radio Station. Please select Super Sounds Of The 70's upon checkout so I receive credit for your donation. We have a variety of Thank You Gifts for your generosity and support. Please call 818-677-3636 or go to www.thesocalsound.org

Bit of a 'Rock' feel to todays Breakfast Show  with songs from Cream, The Doors, AC/DC, Queen, The Stones, Tom Petty, Canned Heat, Steve Miller Band and more

Boz Scaggs has always been a musical artist of complexity. Scaggs founded his connection to music through the blues, but his lasting legacy is one of glamorous and romantic pop songwriting. He possessed a somewhat shy and sensitive demeanor never totally at home in the public eye, yet his claim to several chart-topping singles and albums, particularly the millions-selling and critically acclaimed Silk Degrees (1976), demanded constant exposure. The persona he expressed through his music was laid back, effortlessly cool, sophisticated, stylish, romantically charming, and suave. But the immense success he achieved in his career pointed in part to the driven and determined artist within. Lowdown: The Music of Boz Scaggs examines the uniqueness of these contradictions throughout Boz Scaggs's sixty-plus-year career and his rich and diverse musical catalog. Over the decades, Scaggs collaborated with an array of talented heavies, from the Steve Miller Band to the Muscle Shoals Rhythm Section (which included a young Duane Allman) on Boz Scaggs (1969), from the session players on Silk Degrees (1976) who would form the hit band Toto to Donald Fagen and Michael McDonald on the Dukes of September's 2010 Rhythm Revue tour. This first-ever book on Boz is constructed around intensely thorough analysis of his complete discography, and new and exclusive in-depth interviews with a selection of Scaggs's music colleagues from his vast career Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-unplugged-totally-uncut--994165/support.

This music podcast features the music of The Grateful Dead, It's a Beautiful Day, Pearl Jam, Joan Baez, Steve Miller Band and more. Also an interview with Dylan Daugherty the co-founder of Jamnesia a Grateful Dead-Phish Heads Tribute Band coming to Bellingham's new Beach Cat Brewery June 26 and Ramble Tamble June 28. Let's all get on the bus and go Further into the world of The Grateful Dead.

Because the world is round it turns me onBecause the world is round...aaaaaahhhhhhBecause the wind is high it blows my mindBecause the wind is high...aaaaaaaahhhh"Because it's Sunday we can spend 2 hours together sharing some terrific music and memories. Joining us are H.P. Lovecraft, Queen, The Moody Blues, Bee Gees, Steve Miller Band, Three Dog Night, Buzzy Linhart, Supertramp, Fleetwood Mac, Savoy Brown, Badfinger, Crosby, Stills & Nash, Steely Dan, The Faces, Tommy James & The Shondells, The Who, Paul & Linda McCartney, The Beach Boys, Grand Funk Railroad, Tom Petty & The Heartbreakers and The Beatles,

The Music That Made WE volume 5 continues with Miss Brawling Beauty of Utah and Nevada. She's chosen 10 songs that make up her story, with a soundtrack that includes Sarah McLachlan, Heart, Ella Fitzgerald, and more. + Stick around for Viktor's hidden bonus track.   Brawling's links: https://www.instagram.com/thebrawlingbeauty & https://linktr.ee/missbrawlingbeauty   The Music That Made WE is a creation of WEBurlesque Podcast Network, produced by Viktor Devonne. For the extended VIDEO version of this presentation, please visit our Patreon.com — all episodes of this series are available under the $1 threshold. that's patreon dot com slash we burlesque   [Copyright Disclaimer Under Section 107 of the Copyright Act in 1976; Allowance is made for “Fair Use” for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use. All rights and credit go directly to its rightful owners. No copyright infringement intended.] 

Kenny Lee Lewis Guests Guitarist for the Steve Miller Band, Kenny Lee Lewis, kicks off their Summer tour with a stop at Animal Radio. Kenny shares his Central California home with Sophie, a dog he fell in love with after he promised his daughter a pup if she got good grades. Listen Now Preventing Cancer Dr. Gerald Post is back with basic things you can do to reduce the odds against your pet. If Cancer is detected and treated early, many of our pets have a great chance at a healthy outcome. Dr. Post has the lowdown on pesticides and your pet. Listen Now Handicapped Pig Gets Wheelchair When a patient brought a deformed pig into Dr. Len Lucero to be euthanized, the doctor couldn't do it. He ended up adopting Chris P. Bacon and creating a wheelchair out of a child's Erector toys. Now the pig is styling with his new wheels and inspiring Facebook followers worldwide. Listen Now Tick Season Explodes There is no doubt that this tick season is more populated than ever. With typical spot-on chemical treatments losing their efficacy, we're turning to alternatives for fighting those little buggers. WAHL's Pat Kopischkie has great ideas when it comes to tick control. Listen Now Leash Aggression Without even knowing it, we can be training our dog to be aggressive. The tool that we rely on to restrain our dog may actually be at the root of problems. Dr. Debbie has a cure for pulling and growling issues. "It's all about thinking like a dog." Listen Now Read more about this week's show.

Todays program features tuneage from Dr. John, Jackson Browne, Taste, Spirit, Pat Metheny w Lyle Mays, Blodwyn Pig, Steely Dan, The Buckinghams, Bob Dylan, Paul Butterfield Blues Band, Raspberries, Tim Buckley, Richie Havens, Traffic, Grass Roots, Bee Gees, Van Morrison, The Band, Steve Miller Band, Blood Sweat & Tears, Trace Adkuins, Sgt. Barry Sadler and Neil Young...

Listen in on this conversation about classic rock songs that just feel like summertime! From Mungo Jerry to ELO, warm up with a great list of tunes to put you in a summer state of mind. Check it out on the new bonus episode of the Behind The Song podcast.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Boz Scaggs has always been a musical artist of complexity. Scaggs founded his connection to music through the blues, but his lasting legacy is one of glamorous and romantic pop songwriting. He possessed a somewhat shy and sensitive demeanor never totally at home in the public eye, yet his claim to several chart-topping singles and albums, particularly the millions-selling and critically acclaimed Silk Degrees (1976), demanded constant exposure. The persona he expressed through his music was laid back, effortlessly cool, sophisticated, stylish, romantically charming, and suave. But the immense success he achieved in his career pointed in part to the driven and determined artist within. Lowdown: The Music of Boz Scaggs examines the uniqueness of these contradictions throughout Boz Scaggs's sixty-plus-year career and his rich and diverse musical catalog. Over the decades, Scaggs collaborated with an array of talented heavies, from the Steve Miller Band to the Muscle Shoals Rhythm Section (which included a young Duane Allman) on Boz Scaggs (1969), from the session players on Silk Degrees (1976) who would form the hit band Toto to Donald Fagen and Michael McDonald on the Dukes of September's 2010 Rhythm Revue tour. This first-ever book on Boz is constructed around intensely thorough analysis of his complete discography, and new and exclusive in-depth interviews with a selection of Scaggs's music colleagues from his vast career Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-like-it-s-live--4113802/support.

"Some people call me the space cowboy, yeahSome call me the gangster of loveSome people call me MauriceCause I speak of the pompitous of loveI'm a joker, I'm a smoker, I'm a midnight tokerI sure don't want to hurt no one"No jokes here, just great tunes from Dire Straits, Joe Jackson, Seatrain, Little Feat, The Doors, Rolling Stones, Eagles, Motels, Police, B-52's, Kinks, Van Morrison, Poco, The Band, The Knack, Bob Dylan, Rod Stewart, The Who, The Faces, Steely Dan, The G0-Go's, Talking Heads, Charlie Daniels Band and Steve Miller Band...

Marc and Seth delve into the last Steve Miller Band song they'll ever do..... maybe. The Joker by Steve Miller Band is a self-referential nightmare with made-up words that were stolen from other songs that made up words AND nearly a whole verse that was stolen. And all for.... THIS?

Jude Warne is a rock biographer and music columnist. Jude joined the show a few years back to discuss her book America the Band - An Authorized Biography - an episode I highly recommend. Now she's back with a new book, Lowdown: The Music of Boz Scaggs. ​If you're a Boz Scaggs fan—or just someone who appreciates a deep dive into music history—Jude Warne's book is a must-read. It's a comprehensive exploration of Scaggs's six-decade career, offering insights into his musical evolution from blues roots to pop stardom. Warne delves into Scaggs's collaborations with artists like the Steve Miller Band and the session musicians who would form Toto, providing insight into the artistry behind albums such as Silk Degrees and Middle Man. In this episode, we discuss Skagg's discography and these collaborations that have shaped his enduring musical legacy. Find out more about Jude: https://judewarne.com ⁠Buy the book⁠ Listen to Jude's My Rock Moment episode on America the Band: ⁠Apple Podcasts⁠ ⁠Spotify⁠ Playlist from this episode: 1. "Lowdown" Boz Scaggs 2. “Steppin' Stone” the Steve Miller Band - start at 10 seconds 3. “Rosanna” Toto 4. “Lido Shuffle” Boz Skaggs 5. “Breakdown Dead Ahead” Boz Scaggs 6. “I Will Forever Sing the Blues” Boz Scaggs 7. “Georgia” Boz Skaggs Learn more about your ad choices. Visit megaphone.fm/adchoices

Miss Heard celebrates Season 6, Episode 296 with classic by Steve Miller Band called “Fly Like an Eagle from his album of the same name. You will learn his connection with Boz Scaggs and Paul McCartney, and which famous singer covered this song for a 1996 film called “Space Jam.” You can listen to all our episodes at our website at: https://pod.co/miss-heard-song-lyrics Or iTunes, Stitcher, Spotify and many more platforms under Podcast name “Miss Heard Song Lyrics” Don't Please consider supporting our little podcast via Patreon at https://www.patreon.com/MissHeardSongLyrics or via PayPal at https://www.paypal.com/paypalme/MissHeardSongLyrics #missheardsonglyrics #missheardsongs #missheardlyrics #misheardsonglyrics #podcastinavan #vanpodcast #FlyLikeanEagle #SteveMillerBand #SteveMiller #PaulMcCartney #BozScaggs #SpaceJam   https://www.youtube.com/watch?v=6zT4Y-QNdto https://en.wikipedia.org/wiki/Fly_Like_an_Eagle_(song) https://en.wikipedia.org/wiki/Steve_Miller_(musician) https://www.songfacts.com/facts/steve-miller-band/fly-like-an-eagle

Welcome to Season 13 and the long awaited episode starring boogying inter vertebrates. This is what happens when a sociopath meets School of Rock and Happy Feet. What is an earthworm empath? How many members of the Steve Miller Band are named Steve Miller? And for prom, how many cage dancers and cheap whores is Lukas going to hire? Tune in this week to find out all this and more, but only on "The Good, The Bad, & The Movies"!P.S. Check out these links to stay connected with TGTBTMDiscord: https://discord.gg/rKuMYcKvYoutube: https://youtu.be/Z8IuA-nbbNc

French-American musician and composer Zoé Basha released her debut album Gamble on April 17. Blending storytelling traditions, Appalachian mountain songs, Irish traditional music, and American blues and ragtime, the album is a woozy melange. We talk about her life journey, travelling around the US, joining the Occupy San Francisco protests, moving to Dingle, Dublin, France to learn traditional French timber framing, and back to Ireland. Throughout it all, there's music, though she did fall out of love with it for a while before Rufous Nightjar started up with Anna Mieke and Branwen Kavanagh. And now comes her debut solo album Gamble. From the press release: Zoé's debut is an intimate exploration of identity, grief, the deconstructing of societal norms, and the complexities of human connection, all delivered with a mesmerising voice that echoes the vulnerability and depth of her diverse influences. Inspired by the greats of times passed such as Billie Holiday, The Mills Brothers, Jimmie Rodgers, Joni Mitchell, Texas Gladden, Edith Piaf and The Steve Miller Band– as well as her peers in the Irish folk music scene, Zoé Basha savours the sounds of golden eras with contemporary nuance and shameless honesty. Zoé Basha tour dates: April 24: De Burgos Club, Galway April 25: The Glens Centre, Manorhamilton, Leitrim April 26: The Duncairn, Belfast April 27: The Record Room, Limerick May 1: Fennelly's of Callan, Kilkenny May 2: Bray Jazz Fest, Wicklow May 3: The Crane Lane Theatre, Cork May 4: Blennerville, Tralee, Co. Kerry (co-headling with Rachel Sermanni) Buy Gamble: https://zoebasha.net/album/3407338/gamble

"We were born before the wind Also younger than the sunEre the bonnie boat was won as we sailed into the mysticHark, now hear the sailors cry Smell the sea and feel the skyLet your soul and spirit fly into the mystic"A terrific day to sail or flow into the Mystic with me on this week's Super Sounds Of The 70's. Joining us are Badfinger, Santana, Linda Ronstadt, Roy Orbison, Moody Blues, Jeff Beck, Beatles, Beach Boys, The Band, Yes, The Kinks, Ted Nugent &  The Amboy Dukes, The Allman Brothers Band, Zombies, Hollies, George Harrison, The Move, Joni  Mitchell, Richie Havens, Simon & Garfunkel, Steve Miller Band, Dave Mason, Grateful Dead and Van Morrison... 

You thought we were done with Founders Original? Think again. This week we return by sampling the FOUNDERS ORIGINAL VARIETY BOX. We omitted the Tequila Paloma since it was covered in our previous episode, but we discusses the other drinks in the pack: the bourbon sour, the vodka mule, and the gin bramble. Along the way we talked about: the word "effervescent"; Indian street food; Nintendo Switch 2; Steve Miller Band; Oscar Robertson; spirits our dads' drank; and Tom's gin mishaps. We will return next week with a brand new seltzer lineup! Timestamps:07:31 Drink #1 (BOURBON SOUR)17:57 Drink #2 (VODKA MULE)27:52 Drink #3 (GIN BRAMBLE)52:12 Final Scores54:39 DSPN (sports talk!)01:11:32 Up next on DPOCredits:Intro and closing song: "Drink Beer (Till the Day That I Die)" by Dazie Mae (www.daziemae.com)Artwork: IG @nartsattack (www.natalierivet.com)

Abracadaba... It's time for a mix tape full of all the best songs about MAGIC! (or, you know, some sort of mention or stretched reference)Settle in for some fancy cuts from Steve Miller Band, Olivia Newton-John, America, Smashmouth, Dua Lipa, Lady Gaga, and more!

Kruser talks about one of Steve Miller Band's biggest hits for this week's music anatomy and Bill Meck calls in to figure out if cow-tipping is really just an urban legend in hour 2. See omnystudio.com/listener for privacy information.

"You never give me your moneyYou only give me your funny paperAnd in the middle of negotiationsYou break down"This is only partially true, many of you do but we still need more to keep bringing you the Music you deserve. Please join me this afternoon as I seek your support for the SoCal Sound and Super Sounds Of The 70's. Joining us are  David Bowie, The Moody Blues, Free, Pink Floyd, Jeff Beck, Humble Pie, The Byrds, Robin  Trower, The Grateful Dead, Motels, Talking Heads, Ted Nugent & The Amboy Dukes, Roxy Music, Steve Miller Band, Emerson Lake & Palmer, Ten Years After, Fleetwood Mac, Savoy Brown, Traffic and The Beatles.

In this episode we talk to Kevin Mercer, otherwise known as Posdnuos, or Pos, from the hip hop group De La Soul. The group continues touring and making music after more than three decades, and they have continued after the death of David Jolicoeur, known as Trugoy the Dove, in 2023. De La Soul's 1989 debut album, 3 Feet High and Rising, was a breakthrough at the time and stands today as a hip hop classic for its positivity, intelligence and sample-heavy production that borrowed from Hall & Oates, Steely Dan, Bo Diddly and the Steve Miller Band.  The conversation centered around the group's Jan. 17, 2025 concert at Lincoln Center in Manhattan but also touched on the group's longevity, connecting with younger generations, continuing after Trugoy's death, musical influences and the recent slew of De La Soul reissues. Links: De La Soul home page De La Soul tour dates Jay Gilbert @ Label Logic Glenn Peoples @ Billboard Learn more about your ad choices. Visit megaphone.fm/adchoices

The “I”s have it! And Lightnin' Licks Radio has the “I”s. Ten of them to be exact. Jay and Deon discuss their favorite vinyl records filed under the letter I. It's intimate and intense. It's immersive and inspiring though, ironically, they're idiots.--In the early 1970s, legendary collaborator and self-proclaimed non-musician Brian Eno famously designed a deck of 115 cards containing elliptical imperatives to spark in the user creative connections unobtainable through regular modes of work. He called his creation "Oblique Strategies." For the past half century, countless artists and professionals across the globe have benefited from utilizing the oblique strategies technique when attempting to overcome a lull in creative output. In 2024, idiotic, introverted award-winning* hobby podcasters and self-proclaimed Lightnin' Lickers Jay and Deon found themselves uninspired when contemplating the potential themes of their upcoming thirty-fifth episode. Together, they decided... to default back to the alphabet. Because they have a reasonably solid grasp of the alphabet and how it works. They had previously utilized the letters A thru H, so naturally, they went with I.The “I” mixtape:[SIDE I-1] (1) INTHEWHALE – Animals (2) The Ice Man's Band – People Make the World Go ‘Round (3) Icehouse – Walls (4) Ice Cube – Down for Whatever (5) Instant Funk – Never Let It Go Away [SIDE I-2] (1) Donnie Iris – Joking (2) The Impressions – I'm Loving Nothing (3) The Icicle Works – Starry Blue Eyed Wonder (4) Weldon Irvine – Morning Sunshine (5) Iron & Wine – Upward Over the Mountain [END]Sonic Contributors to the thirty-fifth episode of Lightnin' Licks Radio podcast include: Lee Moses, Brothers Johnson, Holland-Dozier-Holland, James Todd Smith. Grand Puba, Piere Cavalli, Azymuth, Star Wars and Gremlins read-along story books and Sesame Street, Cowboy Junkies, Weldon Irvine, Nina Simone, Donny Hathaway, A Tribe Called Quest, Yasiin Bey, Just Blaze, Memphis Bleek, Jay-Z, Earl Sweatshirt, Icehouse, Ivy Davies, Ice Cude, Leaders of the New School, Fred Gwynne, Joe Pecsi, The Bomb Squad, Da Lench Mob, N.W.A., Grand Master Flash & the Furious Five, Quincy Jones, Instant Funk, Day La Soul, Prince Paul. T-Connection, The Postal Service, Sam Beam, Iron & Wine, Another Nashville Coma. Big Country, The Icicle Works. INTHEWHALE, Sunny Day Real Estate, The Ice Man's Band, The Beatles, The Impressions, Curtis Mayfield, The Funk Brothers, Donnie Iris, The Jaggers, The Cruisers, Steve Miller Band, Ozzy Osbourne. Dres and Black Sheep, Menehan Street Band, The Stylistics, and the Clockers.*Review Magazine Readers' Choice 2023 (someone nominate us for this year please)Drink Blue Chair Bay flavored rums. Buy vinyl, tapes or CDs at Lightnin' Licks Radio's record store of choice Electric Kitsch in Bay City, Michigan, USA.

"Ride the wind let your dream blowIn the stream of the wind flowAnd you will know the reason why I ride the windSee the colors flashing like a rainbow,Drink them in until your senses overflowAnd you will find that you can grow by letting go"It's the 1st Sunday of  Spring so let's ride the wind together with 2 hours of  terrific tunes on this weeks Super Sounds Of The 70's. Joining us are  Batdorf and Rodney, Ben Sidran, Argent, Boston,  Van Morrison,  Queen, Bill Withers, Orleans, Badfinger, Steely Dan, Joe Walsh, Blues Image, Gerry Rafferty, David Bowie, Donovan, Joe Walsh, Steve Miller Band, Doobie Brothers, America, Billy Joel, Spirit, Blood  Sweat & Tears and The Youngbloods.

David Michael Miller hung out with Rockabilly Greg In the Flamingo Lounge on March 12, 2025, playing and talking about his music. David Michael Miller, founder, lead vocalist, guitarist and songwriter for Miller and The Other Sinners, is a well-established musician in the Western New York music scene, for 6 years fronting the band, Dive House Union.  David has shared the stage with artists such as Tedeschi Trucks Band, Steve Miller Band, Joe Bonamassa, Jonny Lang, Gary Clark Jr., Bobby Blue Bland, Jimmie Vaughan, Shemekia Copeland, Eric Gales and many others.  He represented the WNY Blues Society in 2013 and 2014 at the International Blues Challenge in Memphis  in both the Band and Solo/Duo categories.  He continues to participate in the Blues in the Schools program in Western New York.  In 2013, 2014, 2015, 2016 and 2017, he was presented with the best Male Blues Vocalist Award by Buffalo's Night Life Magazine.

By the mid-70's the Beach Boys appeared to be a band that had been left behind.  Sales had been only moderate for their previous albums, and the band was struggling to determine their direction musically.  In the summer of 1973 the movie "American Graffiti" featured several Beach Boys songs, creating nostalgia for the earlier surfing music.Between the revived interest sparked by "American Graffiti" and the success of the Beatles "Red" and "Blue" compilation albums, the Beach Boys released a collection of hits from their early 60's catalogue called Endless Summer.  This featured songs from their Capitol Records days, 1962-1965.  It was a near-instant success reaching the top of the charts in the United States four months after its release, and becoming their second number 1 album on the US charts.  After the success of Endless Summer, the Beach Boys would reposition themselves as an oldies act, continuing in this vein for many years.  Brian Wilson would pen one further Beach Boys studio album in 1977 which would meet with meager sales.  Afterwards the band would focus on their classics until seeing a resurgence in the late 80's generated from another popular film, Tom Cruise's "Cocktail" Wayne brings us this surfin' themed compilation for this week's podcast. Catch A WaveA true surfing song, this tune is about being on a surfboard, waiting for the right wave to come along.  This song was originally released on the 1963 album "Surfer Girl," and a rewritten version was recorded by Jan and Dean as "Sidewalk Surfin."Little Deuce CoupeThis track is about a 1932-vintage Ford model 18 hot rod used in drag racing on the streets of California.  "American Graffiti" had featured the deuce coupe prominently, along with the Beach Boys song.  The lyrics were written by local radio DJ Roger Christian.Shut DownAnother song about drag racing, "shut down" means you are about to beat the person in the race.  The phrase "tach it up" may have lost some meaning in the era of automatic transmission, but the tachometer would run high for a drag race.  The song is told from the perspective of the driver of a 1963 Corvette Sting Ray in a race against a 1962 Dodge Dart.Fun, Fun, FunThe inspiration for this song was a story the Beach Boys heard during a radio interview.  The station owner described his daughter "borrowing" his 1963 Thunderbird to go to a drive-in hamburger shop.  The opening riffs were inspired by Chuck Berry's "Johnny B. Goode."   ENTERTAINMENT TRACK:Uptown Saturday Night by Dobie Gray (from the motion picture “Uptown Saturday Night”)Sidney Poitier starred in and directed this action comedy which co-starred Bill Cosby, Harry Belafonte, Richard Pryor, and Flip Wilson. STAFF PICKS:The Joker by the Steve Miller BandLynch leads off the staff picks with a well known song from Steve Miller.  The names in the first line reference several of Miller's previous songs, as well as the made-up word "pompatus."  It barely cracked the top 40 in the US, hitting 40 on the Billboard Hot 100.  Miller borrowed some lyrics from the song "Lovey Dovey" when he talks about wanting to "shake your tree."The Air that I Breathe by the HolliesRob brings us a slow burning but iconic ballad that the Hollies covered.  The original was from Albert Hammond, and previously covered by Phil Everly.  The Hollies version was the most successful, going to number 6 on the Billboard Hot 100.  Alan Parsons was the engineer on this song.Hollywood Swinging by Kool & the GangBruce's staff pick is the first number 1 R&B Single from Kool & the Gang.  It was a crossover hit as well, going to number 6 on the Billboard Hot 100.  Rick Westfield is the keyboardist for it and sings lead.  The song is a true story of the keyboardist wanting to become "a bad piano-playing man" with the group. Rock and Roll Heaven by The Righteous BrothersWayne's features an ode to the rock stars who had died at an early age. This song is another example of a song that was covered, and did better than the original.  Climax performed this song in 1973 but did not chart, while the Righteous Brothers took it to the top 10 in the United States.  Lyric would be added in the years to come as more rock stars passed. INSTRUMENTAL TRACK:Chameleon by Herbie HancockThis jazz funk instrumental track closes out the podcast for the week.  Thanks for listening to “What the Riff?!?” NOTE: To adjust the loudness of the music or voices, you may adjust the balance on your device. VOICES are stronger in the LEFT channel, and MUSIC is stronger on the RIGHT channel.Please follow us on Facebook https://www.facebook.com/whattheriffpodcast/, and message or email us with what you'd like to hear, what you think of the show, and any rock-worthy memes we can share.Of course we'd love for you to rate the show in your podcast platform!**NOTE: What the Riff?!? does not own the rights to any of these songs and we neither sell, nor profit from them. We share them so you can learn about them and purchase them for your own collections.

"If the rain comes they run and hide their headsThey might as well be deadIf the rain comes, if the rain comesWhen the sun shines they slip into the shadeAnd sip their lemonadeWhen the sun shines, when the sun shines"Well, the Rain has finally subsided and the Sun has made an appearance so lets get ready for Spring with 2 hours of terrific tunes on a Saturday afternoon in SoCal. Joining us are The Black Keys, Pat Metheny, Spirit, Steve Miller Band, The Paul Butterfield Blues Band, Phil Collins, The Beach Boys, Jean Luc Ponty, Paul McCartney, The Doors, Guess Who, Paul Revere & The Raiders, Don Henley, The Police, Grateful Dead, Steely Dan, Isaac Hayes, Sergio Mendes & Brasil 66, Simply Red, Simon & Garfunkel and The Beatles...

Leading in with reference to The Steve Miller Band, Neil shares some background on Florida Panthers head coach Paul Maurice which further sheds light on how he got into coaching.X: https://twitter.com/NHLWraparoundNeil Smith: https://twitter.com/NYCNeilVic Morren: https://www.linkedin.com/in/vic-morren-7038737/NHL Wraparound Instagram:https://www.instagram.com/nhlwraparound/#NHLWraparound #ShortShifts #NYCentric #NeilSmith #VicMorren #NHL #PaulMaurice #WindsorSpitfires #PatJablonski #PeterKarmanos #RalphKreuger #2016WorldCupofHockey #TeamEurope #AdamGraves #PeterDeBoer #FloridaPanthers #HenryGraves #SteveMillerBand

Host Bill Donohue talks with former New York Knicks forward Kiki VanDeWeghe, who shares insights into his illustrious basketball career and familial connections to the sport. Notably, he reminisces about his father's legacy with the Knicks and reflects on his own journey, including his time with the Denver Nuggets and the Portland Trail Blazers. Following this enlightening conversation, we shift our focus to the musical realm with Les Dudek, a distinguished singer, songwriter, and guitarist. Dudek recounts his experiences performing alongside renowned acts such as The Steve Miller Band and his contributions to iconic songs like “Ramblin' Man!” and “Jessica.” This episode not only delves into the intricacies of professional sports and music but also highlights the intertwining of personal stories and historical contexts that enrich both fields.Show Details:The illustrious history of the New York Knicks is celebrated in this engaging discourse, as host Bill Donohue welcomes Kiki VanDeWeghe, a former Knicks forward and esteemed coach, to the program. VanDeWeghe, whose legacy includes being a two-time NBA All-Star, reflects on his upbringing in a family steeped in basketball tradition. He recounts tales of his father, Ernie VanDeWeghe, a Knicks player who navigated the challenges of early NBA life, and how those experiences shaped his own aspirations to don the Knicks jersey. The conversation traverses the evolution of basketball strategies, particularly under the influence of innovative coaches like Larry Brown, who introduced a more dynamic offensive approach. VanDeWeghe's insights extend beyond personal anecdotes, touching upon the electric atmosphere of Madison Square Garden and the profound impact of playing alongside legends such as Patrick Ewing and Charles Oakley. The dialogue encapsulates not just memories of games and rivalries but also the enduring spirit of a franchise that has captivated fans for generations. As the episode transitions to its second segment, the tone shifts towards the realm of music, introducing Les Dudek, a celebrated guitarist and songwriter with a rich history of collaboration with iconic artists like the Steve Miller Band and the Allman Brothers. Dudek's narrative intertwines with the cultural fabric of the 70s rock scene, offering listeners a glimpse into the creative processes behind timeless hits like “Ramblin' Man” and the genesis of “Jessica.” Together, these luminaries share their journeys, illustrating the intersections of sports and music, and the indelible mark they leave on their respective fields.Takeaways: Kiki VanDeWeghe shared personal stories about his family's deep connection to basketball, emphasizing the influence of his father's career with the Knicks. The show featured a nostalgic reflection on Wilt Chamberlain's legendary 100-point game, which took place on March 2, 1962, against the New York Knicks. Les Dudek discussed his significant contributions to the Allman Brothers Band, particularly his involvement in creating the iconic song 'Jessica'. Kiki illustrated the electric atmosphere of Madison Square Garden, particularly when the Knicks are performing well and the crowd is engaged. Les Dudek recounted his experiences working with notable artists, highlighting the collaborative nature of the music industry and his friendship with Cher. Throughout the episode, both guests emphasized the importance of mentorship in their careers, showcasing how relationships shaped their paths in sports and music.

Leo Sidran is a multi instrumentalist musician, producer, arranger, composer, recording artist, and podcast host.The Third Story podcast features long-form interviews with creative people of all types.Their stories of discovery, loss, ambition, identity, improvisation, risk, and reward are deeply moving and compelling for all of us as we embark on our own creative journeys.He was born and raised in Madison, Wisconsin, which is sometimes referred to as 70 square miles surrounded by reality. His father, Ben Sidran, another multifaceted music man, provided my early musical sustenance. His mother, a weaver and travel agent, provided texture and safe passage.He got his start writing songs professionally as a teenager when the Steve Miller Band recorded four of his songs for their 1993 Wide River album. His father was working with Miller at the time, which is how he made the connection, but even then, at the ripe old age of 15, he was interested in production. So, Steve invited him to play keyboards, guitars and drums on the record. He co-produced the Academy Award Winning song, "Al Otro Lado Del Rio" from the film The Motorcycle Diaries with Jorge Drexler in 2005. After the Oscar win, he made a move to Brooklyn and not only started producing records for other artists, but also composing music for film and television commercials amassing a catalog of 100s of major TV ads for clients like Coca-Cola, Visa, Lincoln, McDonalds, Stella Artois, Ford, Garnier and over a dozen film scores for outlets such as ESPN 30 for 30, Discovery, IFC, Sundance, and PBS. As a drummer, he has played and recorded with jazz luminaries including Phil Woods, Howard Levy, David Fathead Newman, Clark Terry and Dave Grusin, and as an engineer he has worked with artists ranging from Snarky Puppy to Massive Attack.To learn more about Leo and his music and work, visit http://www.leosidran.comTo learn more about Leo's podcast, visithttp://www.third-story.com

Listener suggestions are rated on the Yachtski Scale, with songs by Pieces, Jimmy Osmond, and Steve Miller Band.

-It's a Bugaboo Tuesday…what's bothering Bill today?-Also, SONG OF THE DAY (sponsored by Sartor Hamann Jewelers): "Take the Money and Run" - Steve Miller Band (1976)Show sponsored by SANDHILLS GLOBALOur Sponsors:* Check out Hims: https://hims.com/EARLYBREAKAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

This week we bring you the magical, mystical song that is Abracadabra by the Steve Miller Band released way back in May of 1982. We thought it was an innocent, if a bit forgettable song, that was until Tim had a life altering incident in Sedona and everything changed.  Also in this prepisode music news of the weird, listener emails and we announce next week's album. In this episode we discuss hot fashion, Aleister Crowley (way too much), Boz Scaggs, various Halls of Fame, Bohemian Grove, magic vs magick?, hummus breath, the future, the Grammys, ranking Oreos, Spinal Tap, why Oasis is dumb and so much more!  Hatepod.com | TW: @AlbumHatePod | IG: @hatePod | hatePodMail@gmail.com Episode Outline: Quick update on the goings on at the world headquarters Discuss our history with the song/band Song discussion - lyrics and music Music Video How the song did worldwide Amazon reviews Listener email (just 2) Music news of the weird Announce next week's album

Bill Riker's hard-on gets crushed when Deanna Troi's long lost fiance shows up, but before any knots can be tied, an old plauge ship shows up threatening to give everyone small pox. Will the wedding go on? How many Steve Miller Band jokes can one podcast make? Play along with our Starfleet Academy Cadet Challenge -- Share this episode using the hashtag #StarfleetChallenge on social media! Visit our website at humanisttrek.com Support the show at patreon.com/humanisttrek Pick up your merch at humanisttrek.com/merch Socials Bluesky Mastodon Discord YouTube Starfleet Officer maker by @marci_bloch 5:40 - Teaser 10:02 - Act 1 23:36 - Act 2 33:43 - Act 3 43:21 - Act 4 50:23 - Act 5 1:01:48 - Humanist Themes 1:06:06 - Patron Shout Outs 1:07:42 - Starfleet Academy Cadet Challenge

Steve Miller Band once quipped “Time keeps on slippin’, slippin’, slippin’ into the future.”  How much future do you have ahead of you?  When you hear today’s headline volley you might wonder if you want to be fat, dumb and happy for a short time or suffer through a life that lasts a bit longer.  That’s on the Chris and Joe Show.

In this Friday Quick Fix, Sonny celebrates his Birthday for 1976 when he takes a look at the music and events that were happening during his special day. The Friday Quick Fix Concept: The Friday Quick Fix is your single dose of Rock n Roll in 15 minutes or less to get your weekend off to a rockin' start. Every Friday, we will deliver a different segment  that focuses on albums, songs, movies, Playlist,  and generally just about anything we find entertaining and want to share with you. You will still get a regular full length episode every Sunday as usual Please Consider Supporting The Artist We Feature In This and Every Episode: (You can support them by purchasing Music, Merch, or A Concert Ticket) In This Episode You Heard: Wild Cherry, The Steve Miller Band, Y&T Reach Out To Us: Email: growinuprock@gmail.com Follow Us@: Facebook Loud Minority Group Twitter Instagram Website: https://growinuprock.com Pantheon Podcast Network A Special THANK YOU to Restrayned for the Killer Show Intro and transition music!! Restrayned Website Please consider leaving us a five star review in one of the following places to help the podcast get discovered by others: GUR On Apple Podcast GUR On Podchaser GUR On Spotify Learn more about your ad choices. Visit megaphone.fm/adchoices

"I pulled my harpoon out of my dirty red bandanaI was playing soft while Bobby sang the bluesWindshield wipers slapping time, holding Bobby's hand in mine .We sang every song that driver knew.."Let's singalong together, please join us on this year's 1st  musical journey back to the 70's. Hitching a ride are Spooky Tooth, Eric Burdon & War, Little Feat, Tower Of Power, Steve Miller Band, Peter Frampton, Savoy Brown, Foreigner, Marshall Tucker Band, Humble Pie, Fleetwood Mac, Gordon Lightfoot, Rolling Stones, Allman Brothers, Jethro Tull, The Kinks, Lynyrd Skynyrd, The Police, Doobie Brothers, Earth Wind & Fire and Janis Joplin...

Today's program features tuneage from Radiohead, Counting Crows, Joni Mitchell, John Lennon, Dire Straits, Buffalo Springfield, Bob Dylan, The Mark Almond Band, Chicago, Blood Sweat & Tears, Cream, Earth Opera, Steppenwolf, Ten Years After, Steve Miller Band, The Cars, Move, Faces, Traffic,  Vanilla Fudge, The Who, Kinks and Searchers. 

Season 5 Episode 9 Kevin Raubenstine Music https://linktr.ee/kevinraubenstine Happy New Year and welcome to 2025! All three of us were in studio and talked about our holidays and New Year resolutions. This episode is a little different, we welcome to the CPP Kevin Raubenstine Music . Kevin shares with us his talent and we talk about his musical journey, his local gigs and of course, some beer! Tune in and listen to some great music and how to book him for your venue or show. Kevin shared with us a few cover tunes from the Eagles, Van Morrison, Gin Blossoms, Smashmouth, Steve Miller Band and Better Than Ezra! Give Kevin a follow and look for him at a local venue in the Central Pennsylvania area playing acoustic covers of popular alternative, rock and pop music. We sampled an IPA, Double IPA, Winter Ale and barrel-aged stout. Check us out on ⁠⁠Hopped Up Network⁠⁠ Join us as we take you on our beer sampling through the local beers and let's all Be Bonded by Beer! Have a suggestion on a beer or brewery we need to highlight? Leave us a reply in the comments or email us at centralpapour@gmail.com Check out our ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Merch Store⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and help support the program Special Thanks to York's own, Gallowglas for our awesome new music: Scraps Check them out on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠YouTube

This week on The Metro, Rev Jeff Ivins brings songs from TV shows and movies to your ears. Featuring the following people/bands: Jan Hammer, Glenn Frey, Bill Medley /w Jennifer Warnes, Bob Seger & The Silver Bullet Band, Joe Cocker /w Jennifer Warnes, El DeBarge, Steve Miller Band, Joey Scarbury, Lionel Richie /w Diana Ross, Mike + The Mechanics, Peter Cetera /w Amy Grant, Phil Collins, Will To Power, and finishing off with Bette Midler.

Seth and Marc pull the lyrics for Steve Miller Band's Abracadabra out of a big ol' hat to tatalk about how terrible they are. Apparently about a variety of things including Diana Ross, the Original Amateur Hour, and panties with angels' faces on them, this song is a doozy. Unfortunately, they are not able to make them disappear.

Join host James Cox and guest Jeff Whisnant for an engaging conversation that weaves through tales of friendship, haunted attractions, and the world of music. This episode explores the duo's shared experiences and diverse tastes, touching on everything from eerie encounters to iconic tunes.Key Themes:Haunted House Adventures:Dive into James' and Jeff's thrilling visits to haunted attractions such as Broken Toys and Scream Makers.Hear firsthand accounts of spine-tingling experiences and the allure of these eerie escapades.Musical Journeys and Influences:Analyze the impact of “Abracadabra” by the Steve Miller Band, discussing its chart-topping success and influence on artists like Eminem.Explore the transformation of Sugar Ray from their early funk and metal roots to mainstream success with hits like “Fly,” and their 2019 album “Little Yachty.”Band Dynamics and Tragedy:Delve into the history of Eagles of Death Metal, co-founded by Jesse Hughes and Josh Homme, and the irony behind their name.Reflect on the tragic 2015 Paris concert attack, remembering victims like Nick Alexander and the resilience of the band members who survived.Cover Song Critique:Discuss the challenges and creativity involved in producing successful cover songs.Compare Sugar Ray's rendition of “Abracadabra” to that of Eagles of Death Metal, expressing a preference for Sugar Ray's version.Listener Engagement:Encourage listeners to share their favorite songs for future episodes.Promote podcast merchandise, offering discounts on coffee and therapy services to enhance the listener experience.Closing Remarks:Tune in for a mix of haunting tales and musical insights as James and Jeff navigate the worlds of haunted attractions and the ever-evolving music scene. Don't miss this captivating episode!

BANG! @southernvangard radio Ep416! THANK YOU DJ CLARK KENT, GOD'S FAVORITE DJ. WE THAAAAANK YOU and WE'RE WAAAAALCOME!!!!! Three WORLD EXCLUSIVES this week from MILKCRATE, ANKHLEJOHN, EL GANT, SHYSTE, ILL BILL, JEFF HEFFERNAN & PATEN LOCKE - not to mention a Halloween themed Twitch Only set this week - if ya missed it you're SOL and YOU WAAAAALCOME! #SmithsonianGrade #WeAreTheGard // southernvangard.com // @southernvangard on all platforms #hiphop #undergroundhiphop #boombap Recorded live October 28, 2024 @ Dirty Blanket Studios, Marietta, GA southernvangard.com @southernvangard on all platforms #SmithsonianGrade #WeAreTheGard twitter/IG: @southernvangard @jondoeatl @cappuccinomeeks Pre-Game Beats - Dirty Art Club Talk Break Inst. - "Children Of The Nomo" - Sol Messiah "Southern Vangard Theme" - Bobby Homack & The Southern Vangard All-Stars "Eyes Closed" - A-F-R-O x Stu Bangas "Money Call" - King Magnetic (prod. Haze Attacks) "Magic" - Philmore Greene ft. RJ Payne (prod. Sir Williams) "Knowledge Born (MiLKCRATE Remix)" - Ankhlejohn ** WORLD EXCLUSIVE ** "Hollah Looyuh" - Spit Gemz (prod. Aye Win) "Let Me Ride" - Kaimbr & DJ Applejac Talk Break Inst. - "Ashoka Movements" - Sol Messiah "Necessity" - El Gant & Shyste ft. Ill Bill (prod. Jim Heffernan)** WORLD EXCLUSIVE ** "Ain't It Great" - DJ Rude One ft. Ynot Dusable "Let The Goblin Out" - Swamp Thing (prod. Savilion) "Widdit" - Paten Locke ** WORLD EXCLUSIVE ** "Three Ronin" - Eff Yoo ft. G.S. Advance & Jus-P (prod. Goldenchild) "I Get's Busy - Mark Ski ft. Homeboy Sandman & Booda French "So Supreme" - Kaimbr & DJ Applejac Talk Break Inst. - "NaZca Pyramid Blaster" - Sol Messiah "The Pepsi Challenge" - Eff Yoo (prod. Wavy Da Gawd) "The Unconquered Sun" - Spit Gemz (prod. Kut One) "Tan Hue" - Bub Styles & Vinyl Villain ft. Lukah "Talking Dirty" - UFO Fev & Spanish Ran ft. Tree Mason & Tek "Don't Need Pants For The Beat It Up Dance" - Chris Crack (prod. HEP) Talk Break Inst. "Vimana Rise" - Sol Messiah ** TWITCH ONLY SET ** "Abracadabra" - Steve Miller Band "She Blinded Me With Science" - Thomas Dolby "Sweet Dreams (Are Made Of This)" - Eurythmics Somebody's Watching Me" - Rockwell "Ghostbusters" - Ray Parker Jr. "Freaks Come Out At Night" - Whodini "Tubular Bells" - Mike Oldfield "Spooky" - Dusty Springfield "Superstition - Stevie Wonder "Bad Moon Rising" - Creedence Clearwater Revival "Mind Playing Tricks on Me" - Scarface, Willie D & Bushwick Bill "Da Graveyard" - Big L "Devil's Son" - Big L

Richie Onori from The Sweet and Kenny Lee Lewis from Steve Miller Band

Chuck and Roxy are back and open with some corretions and your Toy Hall Of Fame nominees! Next it's time to "Meet the Littles" as out hosts welcome Andrew Bader to the podcast. (16:30) TWITTER: @Andrew_B_Bader Donors Choose: https://www.donorschoose.org/classroom/andrew-bader Then our hosts close out the show with Chuck's "Tony Moment," some TV talk and your emails / notes. (43:00) SONG: "Madhouse" by Lorenza Wildcard INSTAGRAM & TWITTER: @lorenzawildcard EMAIL: lorenzawilcard@gmail.com JINGLE: Cry Like An Eagle A parody of a song by Steve Miller Band.Recorded by joeythejammer in Ellicott City, MDRecorded: 01/16/2024  Released: 01/16/2024  First aired: unaired Podcast Website - www.loyallittlespod.com   Podcast Email - WTFCPODNET@GMAIL.COM Twitter:@loyallittlespod Instagram: @theloyallittlespodcast PODCAST LOGO DESIGN by Eric Londergan www.redbubble.com Search: ericlondergan or copy and paste this link! https://www.redbubble.com/people/ericlondergan/shop --- Support this podcast: https://podcasters.spotify.com/pod/show/loyallittles/support

It's the song that put the word “pompatous” into our collective consciousness, a made-up word that was actually a mishearing of ANOTHER made up word. But it sounds great in “The Joker,” proving once again that in rock and roll, if it sounds good no one will bat an eyelash to question it. In fact, “The Joker” was the Steve Miller Band's first number one hit on the Billboard singles chart, and we've been singing along to it since 1973. Let's get into the story of this ever-popular song in this episode of the Behind The Song podcast.  Learn more about your ad choices. Visit podcastchoices.com/adchoicesSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

It's the song that put the word “pompatous” into our collective consciousness, a made-up word that was actually a mishearing of ANOTHER made up word. But it sounds great in “The Joker,” proving once again that in rock and roll, if it sounds good no one will bat an eyelash to question it. In fact, “The Joker” was the Steve Miller Band's first number one hit on the Billboard singles chart, and we've been singing along to it since 1973. Let's get into the story of this ever-popular song in this episode of the Behind The Song podcast.  Learn more about your ad choices. Visit megaphone.fm/adchoices