Podcast appearances and mentions of Steve Winwood

Join Janda on a deep dive into Traffic's “The Low Spark Of High Heeled Boys,” a nearly 12-minute epic song co-written by Steve Winwood and Jim Capaldi that defies any kind of pop logic from the band that has had a lasting impact on progressive rock and beyond. Check out the story in the new 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.

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

On the June 17 edition of the Music History Today podcast, there are debuts from Katy Perry, Sam Smith, and Steve Winwood, and it's the end for Led Zeppelin. Plus, it's Barry Manilow's birthday.For more music history, subscribe to my Spotify Channel or subscribe to the audio version of my music history podcasts, wherever you get your podcasts fromALL MUSIC HISTORY TODAY  PODCAST NETWORK LINKS - ⁠https://allmylinks.com/musichistorytoday⁠ Resources for mental health issues - ⁠https://en.wikipedia.org/wiki/List_of_suicide_crisis_lines⁠ ⁠https://findahelpline.com⁠ Resources for substance abuse issues - ⁠https://988lifeline.org⁠ ⁠https://www.samhsa.gov/find-help/helplines/national-helpline⁠

**Smiffy's A To Z Of Soul Music Replay On www.traxfm.org. This Week Smiffy Featured Soul/Boogie,Contemporary R&B, Funk, Dance Classics Trax From Tortured Soul, Randy Brown, Kool & The Gang, James Holvay (Featured Artist), Steve Winwood, Brass Construction, The Whispers, Yufu, The Time, Carmy Love & More. #originalpirates #boogie #soul #contemporary #rnb #danceclassics #80s #70s #funk Listen Live Here Via The Trax FM Player: chat.traxfm.org/player/index.html Mixcloud LIVE :mixcloud.com/live/traxfm Free Trax FM Android App: play.google.com/store/apps/det...mradio.ba.a6bcb The Trax FM Facebook Page : https://www.facebook.com/profile.php?id=100092342916738 Trax FM Live On Hear This: hearthis.at/k8bdngt4/live Tunerr: tunerr.co/radio/Trax-FM Radio Garden: Trax FM Link: http://radio.garden/listen/trax-fm/IEnsCj55 OnLine Radio Box: onlineradiobox.com/uk/trax/?cs...cs=uk.traxRadio Radio Deck: radiodeck.com/radio/5a09e2de87...7e3370db06d44dc Radio.Net: traxfmlondon.radio.net Stream Radio : streema.com/radios/Trax_FM..The_Originals Live Online Radio: liveonlineradio.net/english/tr...ax-fm-103-3.htm**

En esta entrega de La Ruleta Rusa hemos escuchado y comentado los siguientes álbumes:ÁLBUM DESTACADO. 21st Century Schizoid Band. Pictures of a City, Live in New York (2024).Brant Bjork Trio. Once Upon A Time In The Desert (2024).The Black Crowes. The Southern Harmony And The Musical Companion (1992).Pink Floyd. Live at Pompeii - MCMLXXII (2025).Ángel Ontalva & Vespero, Memories of Sada - Live at Tuneyadets (2025).Steve Winwood & Friends. Dear Mr. Fantasy -Featuring the Music and Legacy of Jim Capaldi- (2007).Bad Company. Straight Shooter (1975).

"Midnight At The Valencia" Before all this rock and roll stuff, Tom Hollister was a highly touted Rugby player from Wales. I'll let him tell you how his career as an athlete was derailed as a young man in Canada, but let me just say this: when he got back to Wales, he channeled all that athletic energy into another sport entirely: the making of music. In 2010, of all the emerging buzzbands, Cardinal Black was one of the buzziest. Guns N' Roses' longtime manager Alan Niven was overseeing the band's activity and let's just say this: it was active. They were invited by Steve Winwood to record at his studio, they played a killer set at Sonisphere and they flew to the U.S. to record an album. But things didn't go as planned and the band hit pause on a career that was about to kick into overdrive. I'll let Tom tell you about that dark time as well, but, and I don't think this is a spoiler, the dark times are over and Cardinal Black 2.0 are in fighting shape and adding brilliant achievements to their resume' with each passing day. They've hit #1 on the iTunes Rock Singles Chart, they've played sold-out headline shows in all over the world, supported Myles Kennedy, The Struts and Peter Frampton thanks to a personal invitation from the man himself, and played Joe Bonamassa's Keeping The Blues Alive rock cruise. The band's new long player Midnight At The Valencia is a smooth blend of simmering soul, bluesy ballads and shimmering, rootsy genius. Hollister's stirring vocals are drenched with heart and with the brilliant guitar playing of Chris Buck weaving throughout the band's compositions, Midnight At The Valencia is one of those records that evades the timeline. When you put it on it could be 1971 or 1993 or now. Or all of it. I love this record and I love this band and Tom is a humble, thoughtful and kind soul. www.thecardinalblack.com (http://www.thecardinalblack.com) www.bombshellradio.com (http://www.bombshellradio.com) www.stereoembersmagazine.com (http://www.stereoembersmagazine.com) www.alexgreenbooks.com (http://www.alexgreenbooks.com) Stereo Embers The Podcast BLUESKY + IG: @emberspodcast Email: editor@stereoembersmagazine.com (mailto:editor@stereoembersmagazine.com)

On this week's episode of The Professional Noticer, Andy hosts the dynamic husband-and-wife duo Sugarcane Jane — Anthony Crawford and Savana Lee. Tune in to hear Anthony and Savana share stories that span decades of music, marriage, and the unexpected joy of finding harmony—in both. From touring with legends like Neil Young and Steve Winwood to raising a family and building a life on Alabama's Gulf Coast, this episode offers a behind-the-scenes look at how two extraordinary talents created something beautifully original—complete with favorite songs, road stories, and reflections on what truly matters. Connect with Sugarcane Jane Online:  Website: https://www.sugarcanejane.com Facebook: https://www.facebook.com/sugarcanejanemusic Twitter (X): https://x.com/sugarcanejane YouTube: https://www.youtube.com/user/sugarcanejane Instagram: https://www.instagram.com/sugarcanejane/

Brian Auger honestly states in this podcast, “Being a professional musician and making a living at it wasn't planned, it just happened.” British Keyboard artist Brian Auger has played with the best of the best - Jimi Hendrix, Jimmy Page, Sonny Boy Williamson, Rod Stewart, Eric Burdon, John McLaughlin , Eric Clapton, Steve Winwood, Spencer Davis just to name a few. His groups were The Trinity with Julie Driscoll and the Oblivion Express as well as playing in many sessions with major artists. In this insightful podcast Brian takes us from being bombed by Hitler's troops  as a young boy in the streets of London to his becoming a world class musician specializing in the Hammond B3 organ. Brian sums up his approach to playing music with the following quote:     “I'm never dissatisfied with the reaction to albums because there are certain albums that I made in the ‘70s and the ‘60s that sold poor and people want them. It seems to pick up different generations as it goes along. I don't worry about that. I just worry that the tracks that we would put, have a meaning to them, they mean something to me. Each album is like a page in my musical diary: Where I am musically at that time. I am not looking to write something for any kind of need in the marketplace or anything like that. I am just trying to make the best music that I can make and put it out there.”

It's friend-of-the-show Chris's birthday, and there's nothing he'd rather do on his special day than share his girlfriend Vicki with his lightning-licking comrades. Vicki rules. She shares stories recalling her DJ past in the Detroit scene of yesteryear while adding female-powered cuts to this bonus episode's mixtape. Deon and Jay tackle old and new cuts spanning 7 decades of musical deliciousness, everything from 60's Brazilian bossa nova to 80's pop to 90's hip-hop to a fresh release from an alternative indie heavyweight.Sonic contributors to this very special 26th bonus episode of Lightnin' Licks Radio podcast include: Dave Matthews Band, Jurassic 5, DJ Nu-Mark, Zach Braff, Natalie Portman, Prince Paul, National Public Radio, Beastie Boys, Unknown Mortal Orchestra, Eddie Murphy, Olivia Newton John, John Waters' film Pink Flamingos featuring Divine, David Lochery & Mink Stole, Richard Rodgers, Deborah Kerr & Marni Nixon, Blake Mills, The Rivingtons, Black Thought & El Michaels Affair, Faith No More, MC Breed, Bootleg of the Dayton Family, Pat Finnerty's stink horn, Michelle Zauner,  Ethan Klein, Stevie Wonder, Jimmy Webb, Glen Campbell, The Meters, Lani Hall, The Beatles, The Pretenders, YES, Paul Revere & the Raiders, Guitar Wizards of the Future, Daffy Duck, Squeeze, more Beatles, The Vapors, SRC, John Frusciante, System 7 & Derrick May, Brian Austin Green, Negative Approach, Laughing Hyenas, Mule, Insane Clown Posse, Stone Temple Pilots, Galaxy to Galaxy, Beck, Skinny Puppy, Millie Jackson, Bob Seger System, The Jesus and Mary Chain, James Brown, Betty Jean Newsome, Bob Vylan & Amy Taylor, Greet Death, Ol' Burger Beats, Muddy Waters, Against Me! Operation Ivy,  Neon Trees, No Doubt, Bush, Gwen Stefani, English Beat, The Specials, Bad Manners, Cat Stevens, Steve Winwood, Jimmy Miller, more Pretenders, Sublime, Prince, The Avalaches featuring Camp Lo, Holland-Dozier-Holland, De La Soul, A Tribe Called Quest, William McLean, The S.O.S. Band, Parliament Funkadelic, ZAP, Tamia, LCD Soundsystem, David Bowie, James Murphy, Tom Scharpling, The Turtles, Bob James, The Alkoholiks, Justin Avdek, The Roots, Tori Spelling, and Dipshit Don, accepter of bribes. Jay loves – Missing Persons, Sergio Mendes, Honey Cone, and Newcleus. Deon likes – Japanese Breakfast, Laura Marling, Black Sheep, and The Pool.Vicki digs – Cat Bite, Sincere Engineer, P.P. Arnold, and Robyn.The 26th Bonus Mixtape:LISTEN TO THE MIX ON SOUNDCLOUD OR ON SPOTIFY[SIDE ONE] (1) Cat Bite - Call Your Bluff (2) Black Sheep - Strobelite Honey (3) Sergio Mendes & Brasil '66 - Wichita Lineman (4) Robyn - Dancing on my Own (5) The Pool - Jamaica Resting (6) Honey Cone - Sunday Morning People[SIDE TWO] (1) Japanese Breakfast - Mega Circuit (2) Sincere Engineer - Fireplace (3) Newcleus - No More Runnin' (4) Laura Marling - Don't Let Me Bring You Down (5) P.P. Arnold - The First Cut is the Deepest (6) Missing Persons - Surrender Your HeartA.I. David Silver appears courtesy of the fact that it's 2025 and we can deep fake whoever the flip we want to.Drink Blue Chair Bay. Shop at Electric Kitsch. Be kind to neighbors and strangers alike.

Alles wurde anders, als Steve Winwood den Schritt aus der Isolation seiner englischen Farm machte und nach New York ging. „Higher love““ und „Back in the high life again“ zeugten von Freude an frischer Musik und dem Austausch mit Nile Rodgers, Chaka Khan und James Taylor. Steve Winwood wurde unversehens Mitte der 1980er Jahre ein Star im Hitradio und Musikfernsehen. „Roll with it“ konnte wenig später noch einmal daran anknüpfen. Steve Winwood musste niemandem mehr etwas beweisen, er nahm danach auf, wann und was er wollte: nachdenkliche Bluesfantasien oder raffinierte Jamsessions. Er tauchte immer wieder als Gastmusiker auf. Mit seinem alten Freund Eric Clapton spielte er 2009 sogar eine ausgedehnte Tournee mit alten und neuen Songs. Steve Winwood – hoch geachtet und respektiert – bis heute. Musikliste: Steve Winwood: Steve Winwood (1977): Time is running out, Midland maniac, Let me make something in your life Arc Of A Diver (1980): While you see a chance, Spanish dancer, Night train Talking Back To The Night (1982): Valerie, Talking back to the night, There‘s a river Back In The High Life Again (1986): Higher love, Freedom overspill, Back in the highlife again My love‘s leavin‘ Roll With It (1988): Roll with it, Holding on, Don't you know what the night can do Refugees Of The Heart (1990): You'll keep on searching, In the light of the day Junction Seven (1997): Plenty lovin‘ About Time (2003): Different light, Take it to the final hour, Bully Nine Lives (2008): Fly, Dirty city (with Eric Clapton), Hungry man, Other shore Live From Madison Square Garden (Eric Clapton & Steve Winwood live, 2009) Steve Winwood – English Soul (BBC TV-Documentary, 2010, auf YouTube) Jim Capaldi: Oh How We Danced (1972): Eve, Big thirst Whale Meet Again (1974): It's all right Short Cut Draw Blood (1975): Boy with a problem, Seagull Dave Mason: Alone together (1970): Only you know and I know, Shouldn't have took more than you gave Unser Podcast-Tipp in dieser Folge: Philipps Playlist / https://1.ard.de/philipps-playlist-podcast-cp

WELSH HARD ROCK/ETHEREAL POP GROUP ‘CARDINAL BLACK' ANNOUNCE NEW RELEASE ‘MIDNIGHT AT THE VALENCIA' AND EXTENSIVE TOUR: ZOOM SPECIAL EVENT WITH GUITARIST  CHRIS BUCK FROM THE UK ON INTERVIEWING THE LEGENDS.   The story about Cardinal Black is a wild one: their very first show was attended by Steve Winwood, fresh off a three-night run at Madison Square Garden with Clapton. He was so taken with the performance that he invited them to record at his studio in the English countryside. Their debut single “Tell Me How It Feels” unseated Noel Gallagher's High-Flying Birds from the top of the iTunes rock chart, and they've since shared stages with Peter Frampton (earning a standing ovation at Royal Albert Hall), Myles Kennedy, and Joe Bonamassa. Cardinal Black, the Welsh-formed trio of frontman Tom Hollister, guitarist Chris Buck, and drummer Adam Roberts – take their next monumental step with the announcement of their new album, Midnight At The Valencia – out May 23rd on Thirty Tigers.  Alongside the album news, the band have unveiled their brand new single, ‘Keep On Running', Midnight at the Valencia feels like a document of the band's "10,000 hours" — the dive bars, the near-misses, the personal loss. It was tracked live to vintage analogue gear at Powerplay Studios in Zurich, using a ‘70s-era Disney console, and each song feels unfiltered. PLEASE WELCOME BRITISH GUITARIST WITH CARDINAL BLACK…CHRIS BUCK TO INTERVIEWING THE LEGENDS.   PURCHASE THE NEW ALBUM FROM CARDINAL BLACK Entitled MIDNIGHT AT THE VALENCIA AVAILABLE AT https://www.thecardinalblack.com/store   FOR MORE INFORMATION ABOUT CARDINAL BLACK VISIT https://www.thecardinalblack.com/ official website https://www.instagram.com/thecardinalblack/ Instagram https://www.facebook.com/TheCardinalBlack/ facebook https://open.spotify.com/artist/39oKFGoKzTEZlc8PMP7kQ3?si=KP5gCD0aS0uKpzVwnsu3eg&nd=1&dlsi=5aed507d7c7b4b83 Spotify https://www.youtube.com/c/CardinalBlack?reload=9 YouTube https://x.com/thecardinalblk twitter https://www.chrisbuckguitar.shop/ Chris Buck Guitar Shop https://www.facebook.com/ChrisBuckGuitar/ Chris Buck Facebook   CARDINAL BLACK  TOUR 2025 May 25 Sun Rough Trade Bristol @ 6:30 PM Bristol, United Kingdom May 26 Mon The Lower Third @ 7:00 PM London, United Kingdom Aug 6 Wed Gramercy Theatre @ 7:00 PM New York, NY, United States Aug 6 Wed Mercury Lounge @ 9:00 PM New York, NY, United States Aug 8 Fri Drake Underground @ 7:00 PM Toronto, ON, Canada Aug 9 Sat Kitchener Blues Festival 2025 @ 7:00 PM Kitchener, ON, Canada Aug 12 Tue Schubas Tavern @ 7:30 PM Chicago, IL, United States Aug 14 Thu 7th St Entry @ 8:00 PM Minneapolis, MN, United States Aug 16 Sat Playing with Fire 2025 @ 7:00 PM United States, United States, United States Aug 18 Mon The Basement East @ 7:00 PM Nashville, TN, United States Aug 19 Tue Center Stage @ 8:00 PM Atlanta, GA, United States Aug 21 Thu Antone's @ 8:00 PM Austin, TX, United States Aug 23 Sat The Rebel Lounge @ 8:00 PM Phoenix, AZ, United States Aug 26 Tue Troubadour @ 7:00 PM West Hollywood, CA, United States Aug 29 Fri The Independent @ 8:30 PM San Francisco, CA, United States Aug 30 Sat Delfino Farms 2025 @ 7:00 PM United States, United States, United States Oct 2 Thu Rock City, Nottingham @ 7:00 PM Nottingham, United Kingdom Oct 3 Fri Academy 2 @ 7:30 PM Manchester, United Kingdom Oct 9 Thu Opium, Dublin @ 7:30 PM Dublin, Ireland Oct 10 Fri Limelight, Belfast @ 7:30 PM Belfast, United Kingdom Oct 11 Sat The Garage, Glasgow @ 7:00 PM Glasgow, United Kingdom Oct 16 Thu KK's Steel Mill @ 7:00 PM Wolverhampton, United Kingdom Oct 17 Fri Stylus, Leeds @ 7:00 PM Leeds, United Kingdom Oct 19 Sun Wylam Brewery Tap @ 7:00 PM Newcastle-upon-tyne, United Kingdom Oct 23 Thu SWX, Bristol @ 7:00 PM Bristol, United Kingdom Oct 24 Fri EngineRooms, Southampton @ 7:00 PM Southampton, United Kingdom Oct 28 Tue Concorde 2, Brighton @ 7:30 PM Brighton, United Kingdom Oct 29 Wed Cambridge Junction @ 7:00 PM Cambridge, United Kingdom Oct 30 Thu Koko, London @ 7:00 PM London, United Kingdom Nov 1 Sat The Great Hall, Cardiff @ 7:00 PM Cardiff, United Kingdom Nov 19 Wed Bitterzoet, Amsterdam (Extra Show) @ 7:30 PM Amsterdam, Netherlands Nov 20 Thu Bitterzoet, Amsterdam @ 7:30 PM Amsterdam, Netherlands Nov 23 Sun Bürgerhaus Stollwerck @ 8:00 PM Köln, Germany Nov 24 Mon Bahnhof Pauli @ 8:00 PM Hamburg, Germany Nov 25 Tue Privatclub @ 8:00 PM Berlin, Germany Nov 27 Thu Backstage @ 8:00 PM München, Germany Nov 28 Fri Eventhall-Airport @ 8:00 PM Regensburg-neuprüll, Germany Nov 29 Sat Flex @ 8:00 PM Vienna, Austria Dec 1 Mon Papiersaal @ 8:00 PM Zurich, Switzerland Dec 2 Tue Brotfabrik @ 8:00 PM Frankfurt Am Main, Germany Dec 3 Wed Substage @ 8:00 PM Karlsruhe, Germany Dec 6 Sat SUPERSONIC @ 7:00 PM Paris, France     Support us on PayPal!

Welcome to this in-depth exploration of the life and career of Dave Mason, the legendary British guitarist and singer-songwriter. From his early days in Worcester, England, to co-founding the iconic band Traffic, and his extensive solo career, Dave's influence on rock music is undeniable.

(00:00-19:10) Chris Kerber joins the show talking NHL Playoffs. Stars and Jets. Hellebuyck's issues continue. Blues still in a loaded Central Division. What moves do the Blues make and where do they improve? Broberg and Holloway. Joel Hofer's future. Logo conspiracy theories.(19:18-42:51) Jackson doesn't know much about Steve Winwood. Needs to make his quiver bigger. Sometimes fights break out in the text inbox. Happy birthday, Steve Winwood. Debating the color of Jackson's shirt. Continetnal 'Yoff Talk. Audio of VGK's buzzer beating goal. Audio of the Spittin' Chiclets guys talking about Craig Berube. You win when you leave. Apparently Lern was firing shots at Jackson this morning. Six Flags banning smoking. Smoking on planes.(43:01-55:52) Audio of Oli Marmol talking about the pitching during the win streak. The Red Sox and Rafael Devers having some issues. Doug thinks he should go play first base. But the cutoffs.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Rejoignez Ombline Roche dans ce nouvel épisode passionnant de "La Partition" pour découvrir l'histoire de Steve Winwood, enfant prodige du rock britannique. À seulement 15 ans, ce jeune prodige a déjà conquis le cœur des fans avec le groupe Spencer Davis Group, l'un des fleurons de l'invasion britannique des années 60. Vous allez plonger dans les coulisses de cette aventure musicale incroyable, marquée par la virtuosité et le charisme de ce jeune musicien. Apprenez comment Steve Winwood, avec sa voix soul et son jeu d'orgue et de guitare époustouflant, a contribué à redéfinir les codes du rock'n'roll. Découvrez également le rôle décisif du label Island Records et de sa figure de proue, Chris Blackwell, dans la consécration du Spencer Davis Group. Vous serez surpris d'apprendre que c'est grâce à un coup de pouce des Rolling Stones que le groupe a finalement connu le succès avec le tube "Keep On Running".Malheureusement, l'aventure du Spencer Davis Group va s'essouffler lorsque Steve Winwood, attiré par la nouvelle tendance musicale du psychédélisme, décide de quitter le groupe en 1967 pour fonder le groupe Trafic. Mais son héritage musical reste indélébile, et son talent a continué à briller à travers une carrière solo prolifique.Alors n'hésitez pas, rejoignez-nous pour découvrir tous les secrets de l'ascension fulgurante de Steve Winwood, véritable icône du rock britannique !

Hoy es el cumple de Steve Winwood. Nació en 1948. (Y mañana es el de su tocayo Stevie Wonder que vino al mundo en 1950). Le dedicamos el programa con temas más allá de su carrera en solitario, con sus grupos Spencer Davis Group, Traffic o Blind Faith. Más bien, la conexión de Winwood con estrellas, leyendas del rock contemporáneo y otros amigos: Van Morrison, Marianne Faithfull, Paul Weller, Joe Cocker, Christine McVie, George Harrison o Jimi Hendrix.DISCO 1 TRAFFIC MozambiqueDISCO 2 STEVE WINWOOD ValerieDISCO 3 JOE COCKER Talking Back To The NightDISCO 4 STEVE WINWOOD While You See The ChanceDISCO 5 JIM CAPALDI Tonight You’re MineDISCO 6 VAN MORRISON & STEVE WINWOOD Fire In The BellyDISCO 7 MARIANNE FAITHFULL For Beauty's SakeDISCO 8 CHRISTINE McVIE & STEVE WINWOOD One In A MillionDISCO 9 GEORGE HARRISON Love Comes To EveryoneDISCO 10 TALK TALK Living In Another WorldDISCO 11 ERIC CLAPTON & STEVE WINWOOD Pink Cn't find my way homeEscuchar audio

Es ging ihnen nicht um Hits, sondern um musikalische Abenteuer. Steve Winwood fand sich Anfang der 70er erneut mit Jim Capaldi und weiteren Musikern zur Band „Traffic“ zusammen. Tempi-Wechsel, Tonartsprünge, Einflüsse aus Folklore und Jazz – die Ideen der Formation waren scheinbar grenzenlos. Traffic wurde eine der beliebtesten Live-Bands der Zeit, Steve Winwood konnte im Kollektiv seine Talente ausleben. Nach gesundheitlichen Problemen und zunehmendem Drogenkonsum einiger ging der Band allerdings die Energie aus. Steve Winwood zog sich zurück aufs Land und bastelte lange an einem ersten Solo-Album. Erst das zweite sollte jedoch das Publikum überzeugen: „Arch of a Diver“, auf dem er alle Instrumente selbst einspielte, seine Formel für folgende Alben. Seine Stimme wurde nun oft kombiniert mit Synthesizern, die bei ihm aber nicht kühl klangen. „Valerie“ und „While you see a chance“ wurden Hits, Steve Winwood hatte sich neu und verändert präsentiert. Musikliste: Traffic: Paper Sun (Single, Mai 1967) Hole in My Shoe (Single, August 1967) Mr. Fantasy (1967): Heaven is in your mind, No face, no name, no number, Dear Mr. Fantasy, Coloured rain Traffic (1968): Pearly queen, Who knows what tomorrow may bring, Feelin‘ alright?, Roamin‘ thru‘ the Gloamin‘ with 40.000 headmen Last Exit (1969): Medicated goo John Barleycorn Must Die (1970): Glad, Freedom rider, Empty pages, John Barleycorn must die Welcome To The Canteen (Live, 1971): Shouldn't have took more than you gave, Dear Mr. Fantasy, Gimme some lovin‘ The Low Spark Of High Heeled Boys (1971): The low spark of high heeled boys, Many a mile to freedom Shoot Out At The Fantasy Factory (1973): Evening blue, (Somtetimes I feel so) Uninspired On The Road (Live, 1973): Glad/Freedom rider, The low spark of high heeled boys When The Eagle Flies (1974): Walking in the wind Far From Home (1994): Here comes a man, Far from home, Holy ground, State of grace Unser Podcast-Tipp in dieser Folge: Wie gewinnt man den ESC? / https://1.ard.de/wiegewinntmandenesc

In this episode of the Way Out Podcast, Killian Ann No shares her profound journey of recovery and the mission of Recovery Cafe. The conversation explores the essence of recovery, emphasizing that everyone is recovering from something, whether it be mental health issues, trauma, or substance use. Killian discusses the importance of community, connection, and intentionality in the recovery process, highlighting how Recovery Cafe serves as a nurturing space for individuals to find love, support, and healing. The dialogue also delves into the challenges of maintaining joy amidst loss and the significance of discernment in relationships. Ultimately, the episode is a heartfelt exploration of love, acceptance, and the ongoing journey of recovery.TakeawaysRecovery is about addressing core causes and conditions.Connection with ourselves and others is vital for healing.We are all recovering from something, not just substances.Intentionality in choosing love over fear is crucial.Community plays a significant role in the recovery process.Discernment is necessary for understanding love in relationships.Forgiveness is a daily practice in recovery.Experiencing loss is a part of the recovery journey.Finding joy amidst suffering is essential.Every individual has a divine love within them.Reach out to Killian Noe, Co-Founder of Recovery Cafe andRecovery Cafe Network and a person Committed to the spiritual and recoveryjourney:https://recoverycafenetwork.org/ Recovery literature (quit-lit) recommendation: Invitation toLove by Thomas Keating - https://a.co/d/dJulhkq Best piece of Recovery advice: Don't waste too much timegetting yourself and others all cleaned up, acceptance does more for healingthen trying to fixing each other.Song that symbolizes Recovery to Killian: Bring Me a HigherLove by Steve Winwood - https://youtu.be/k9olaIio3l8 Don't forget to check out “The Way Out Playlist” availableonly on Spotify. Curated by all our wonderful guests on the podcast! https://open.spotify.com?episode/07lvzwUq1L6VQGnZuH6OLz?si=3eyd3PxVRWCKz4pTurLcmA (c) 2015 - 2025 The Way Out Podcast | All Rights Reserved. ThemeMusic: “all clear”(https://ketsa.uk/browse-music/)byKetsa(https://ketsa.uk)licensed under CCBY-NC-ND4.0 (https://creativecommons.org/licenses/by-nc-nd)

Send us a text"Unveiling the Legends: Russ Titelman on Artists On Record | ADIKA Live!"Join us for an exclusive sneak preview of "Artists On Record" featuring the legendary Russ Titelman!

Der Junge aus Birmingham konnte den Begriff „Wunderkind“ nicht leiden. Aber was der sehr junge Steve Winwood an der Gitarre, an der Orgel oder beim Gesang zeigte, legte diese Bezeichnung einfach nahe. In der Band seines älteren Bruders zeigte er schon als Teenager, wie alter Soul und Blues klangen. In der Spencer Davis Group steuerte er gleich noch als Autor die Hits bei. Klar, dass das Talent des Steve Winwood nach weiteren musikalischen Abenteuern verlangte. Mit Traffic fand er Mitstreiter, die ebenso experimentieren und die Musik sprechen lassen wollten: Grenzen zu Jazz, R 'n' B, lateinamerikanischen Klängen, Weltmusik und Elektronik waren offen. Beim Zwischenspiel in der sogenannten „Supergroup“ Blind Faith kreuzte er für ein Album und viele Live-Auftritte seine Fähigkeiten mit denen etwa von Eric Clapton und Ginger Baker. Steve Winwood aber, der lieber ein Musiker als ein Star war, fand sich danach erneut mit Traffic zusammen. Sein musikalischer Weg war noch lange nicht zu Ende. Musikliste: The Spencer Davis Group: Their First LP (1965): Dimples, Every little bit hurts, It hurts me so The Second Album (1966): Keep on running, Georgia on my mind, Let me down easy, Hey Darling Autumn '66 (1966): Nobody knows you when you're down and out, On the grren light, Somebody help me Gimme Some Lovin‘ (Single, Oktober 1966) I'm a Man (Single, Januar 1967) Blind Faith: Blind Faith (1969): Had to cry today, Can't find my way home, Presence of the Lord Unser Podcast-Tipp in dieser Folge: Der Kunstkaten - Kultur aus MV / https://www.ardaudiothek.de/sendung/der-kunstkaten-kultur-aus-mv/61478668/

Rob is once again joined today in the studio with his friend PAUL SUTT (Special Effects Master  / Actor / Film maker)  Our segments on the show today are: 1 - GIVE IT A LISTEN - MARK FREDSON Mark Fredson's new single "company man" is off the new album of the same name.  Steve Winwood vibes.. baby! *** 2 - MUSIC NEWS SEX PISTOLS return PAUL COME GET YOUR DEMO NEW BEATLES BIO PIC CAST SELECTION *** 3 - TOP TEN FROM THE WEEK ENDING APRIL 19, 1975! Paul and Rob go thru each song on the list and tell you some interesting facts and Rob gives his interpretation of what some of the songs mean... and it's usually not good. and more! *** 4 - MUSIC PRODUCTS Some interesting music products for yourself or as a gift for the music lover ********* Be sure to check out the exciting trailer for Paul Sutt's upcoming film HUNT CHASE KILL! https://www.youtube.com/watch?v=8IcUvHhvfsc Follow Paul on Facebook @paul.sutt and Instagram @paul_dog_of_war Be sure to also follow Paul on YouTube for all the news on his new film and upcoming projects.  www.youtube.com/@paulsuttfilms ********* KNOW GOOD MUSIC can be found on Podbean (host site), Spotify, Apple Podcasts, Iheart Radio, Pandora, YouTube (link below) and almost anywhere you listen to podcasts. Links to more sources at Link Tree - www.linktr.ee/knowgoodmusic  Help support our Podcast by purchasing some cool merch: https://www.teepublic.com/user/knowgoodmusic Visit our YouTube Channel where you can see video segments from all of our interviews.  Just search "know good music" TURN OFF THE TV - TURN UP THE MUSIC!  

En esta entrega 14.2025 hemos comentado y escuchado la música de;Yang. Rejoice! (2024)Sour Widows. Revival of a Friend (2024) Anekdoten. Shooting Star (2016) Yes. Close to the Edge -Super DeLuxe Edition by Steven Wilson- (2025) Causa Sui. Loppen 2024 (2025) Steve Winwood. Nine Lives (2008)The Kinks. The Kink Kontroversy (1965)

NEW FOR APRIL 1, 2025 Fiddling with this and that . . . Fiddlin' About - The Best Radio You Have Never Heard Vol. 505 1. Selections from Tommy (live) - The Who 2. Young Man Blues (live) - Foo Fighters 3. The Seeker - Rush 4. Getting In Tune (live) - The Who w/ Eddie Vedder 5. Baba O'Reily - Nektar and Jerry Goodman 6. Alaska / Time To Kill (live) - U.K. 7. Travels With Myself - And Someone Else (live) - Bruford 8. The Gates Of Delirium (live) - Jon Anderson and The Band Geeks 9. Objects Outlive Us Objects Meanwhile - Steven Wilson 10. In My Room - Catherine Campbell 11. Girl From The North Country (live) - Crosby, Stills and Nash 12. Fall At Your Feet (live unplugged) - Crowded House 13. Under The Milky Way - The Church 14. Poor Poor Pitiful Me (live) - Warren Zevon and Timothy B. Schmidt 15. The Spy - The Doors 16. Highland Sweetheart - Love Tractor 17. Soon - My Bloody Valentine 18. Little Wing (live) - Eric Clapton, Pete Townshend, Steve Winwood, Ron Wood et al The Best Radio You Have Never Heard. Home of the fiddlers three. Accept No Substitute. Click to leave comments on the Facebook page.

This week is the great guitarist Paul Pesco! What hasn't Paul done? Even he loses track of it all. He was an "unofficial" member of the System, the Breakfast Club, and C+C Music Factory (he also played on their big songs). He's toured with Madonna, Steve Winwood, Atlantic Starr and many others. He's contributed to everyone from U2 to James Ingram to Mariah Carey. He was in the Hall and Oates stable for a while (and discusses why he left Live From Daryl's House) and he's in several all-star bands currently like Sonic Boom Squad and Supersonic Tortoise. The guy doesn't sit still! He shared all the great stories including how he was almost a Chili Pepper. Enjoy!  www.paulpesco.com www.patreon.com/c/thehustlepod

"Come down off your throne and leave your body aloneSomebody must changeYou are the reason I've been waiting so longSomebody holds the keyAnd I Can't Find My Way Home"No worries, I have a musical compass that will guide us this afternoon on "Super Sounds Of The 70's". Joining us are Carly Simon, Traffic, Dire Straits, Todd Rundgren, Humble Pie, T. Rex, The Byrds, Eagles, Doors, Faces, Bob Dylan, Savoy Brown, Steve Winwood, Little Feat, Led Zeppelin, Mountain, Frank Zappa, Tom  Petty & The Heartbreakers, The Marshall Tucker Band, Jeff Beck Group, Jethro Tull, Talking Heads, Rolling Stones and Blind Faith.

Guests: Dan Ropek, Author of Tragic Magic: The Life of Traffic's Chris WoodTraffic was the most enigmatic British band of their day. Formed in early 1967 by Chris Wood, Steve Winwood, Jim Capaldi, and Dave Mason, they rejected the bright lights of London in favor of a run-down, supposedly haunted cottage in the country - a place to live communally and write music.With Chris especially intent on channeling the vibes of England's landscape into their sound, days would be spent getting high, exploring, playing, and working in varying proportions. Against all odds, this eccentric model paid off - songs such as "Dear Mr. Fantasy" and "John Barleycorn Must Die" would lift Traffic into the upper echelons of the rock world.As they brushed shoulders with Jimi Hendrix, The Beatles, and the Grateful Dead, and with Dave dropping in and out of the band, Traffic's music evolved from a synthesis of Steve's innate musicality, Jim's atmospheric lyrics, and Chris's special brand of congenial mysticism. Record sales boomed, and tours carried them back and forth across the Atlantic. Everything seemed to be going to plan—a dreamlike fairy tale come true.But for Chris, a toll would be exacted. Amid the clashing egos, wearing road trips, stressful break ups, and a complex personal life, he vacillated precariously between bursts of exquisite creativity and torrents of self-destruction; a paradoxical dance which continued until he died in 1983. For a man who found artistic expression everything, and for whom suffering for it was an expectation, Chris would stare fully into Medusa's face of the music industry, paying a higher price than perhaps any of his contemporaries.Author Dan Ropek provides an in-depth look into Wood's life in his book Tragic Magic. Researched and written over ten years, it offers the only definitive account of Traffic's story and Chris Wood's quietly extraordinary life, something Dan shares here in a one-hour interview."Reading is Funktamental" is a monthly one-hour show about great books written about music and music-makers. In each episode, host Sal Cataldi speaks to the authors of some of the best reads about rock, jazz, punk, world, experimental music, and much more. From time to time, the host and authors will be joined by notable musicians, writers, and artists who are die-hard fans of the subject matter covered. Expect lively conversation and a playlist of great music to go with it. "Reading Is Funktamental" can be heard the second Wednesday of every month from 10 – 11 AM on Wave Farm: WGXC 90.7 FM and online at wavefarm.org. It can also be found as a podcast on Apple, Spotify and other platforms. Sal Cataldi is a musician and writer based in Saugerties. He is best known for his work with his genre-leaping solo project, Spaghetti Eastern Music, and is also a member of the ambient guitar duo, Guitars A Go Go, the poetry and music duo, Vapor Vespers, and the quartet, Spaceheater. His writing on music, books and film has been featured in The New York Times, Rolling Stone, PopMatters, Seattle Times, Huffington Post, Inside+Out Upstate NY, and NYSMusic.com, where he is the book reviewer.

JR has drummed on over 200 US Billboard Hot 100 songs and 50 Grammy winning tunes. He was in Rufus w/ Chaka Khan in the late 70s/early 80s, has released two solo albums, written for soundtracks, produced other artists, and has led various combos over the years. He is currently promoting his auto-biography King of the Groove. We discuss "Gonna Be Alright" from The Bronx, USA soundtrack (2020), "Flight 81" from his first solo album, Funkshui (2004), and "You're Really Out of Line" by Rufus from Seal in Red (1983). End song: "Tal Shia" by SRT from Vanguards of Groove (2023). Intro: "Higher Love" by Steve Winwood (1986). More at johnjrrobinson.com. Hear more Nakedly Examined Music. Support us on Patreon.

For almost 30 years Paul Rappaport worked at Columbia records in the promotion department. That job led him to crossing paths with Bob Dylan, Bruce Springsteen, Pink Floyd and many others. His new book (out April 1st) is called "Gliders Over Hollywood" and is available for pre-order.

Vamos a profundizar en un disco clásico e impresionante, que originalmente sería el primer album solista de Steve Winwood pero que terminó siendo de Traffic: John Barleycorn Must Die, publicado en julio de 1970. Presenta Ricardo Portman. Se escuchan Glad, Freedom Rider, Empty Pages, Stranger To Himself, John Barleycorn y Every Mother’s Son + Bonus tracks (Backstage & Introduction, Who Knows What Tomorrow May Bring, Sittin´ Here Thinkin´ Of My Love, I Just Want You To Know). Recuerden que nuestros programas los pueden escuchar también en: Nuestra web https://ecosdelvinilo.com/ La Música del Arcón - FM 96.9 (Buenos Aires, Argentina) miércoles 18:00 (hora Arg.) Radio M7 (Córdoba) lunes 18:00 y sábados 17:00. Distancia Radio (Córdoba) jueves y sábados 19:00 Radio Free Rock (Cartagena) viernes 18:00. Radio Hierbabuena (Lima, Perú) jueves 20:00 (hora Perú)

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: Not Like Us by Kendrick Lamar (2024)Song 1: Private Eyes by Daryl Hall & John Oates (1981)Song 2: Lawdy Miss Clawdy by Lloyd Price (1952)Song 3: Into the Mystic by Van Morrison (1970)Song 4: Sleep Walk by Santo & Johnny (1959)Song 5: Queen by Perfume Genius (2014)Song 6: The Way It Is by Bruce Hornsby & the Range (1986)Song 7: He's So Fine by The Chiffons (1963)Song 8: Higher Love by Steve Winwood (1986)Song 9: Say Yes to Heaven by Lana Del Rey (2023)Song 10: Only You (And You Alone) by The Platters (1955)

Denny has a deep-diving conversation with Michael Shrieve, a founding member of Santana, best known for his amazing live performance on Soul Sacrifice at Woodstock. He had just turned 20 years old when he played Woodstock, making him the youngest musician to perform at the festival. That drum solo during Soul Sacrifice has been described as electrifying, as is his new album, Drums of Compassion, which features performances by great drummers including Olatunji (Drums of Passion), who inspired Michael. He also discusses some of the other groups he's been a part of: Automatic Man, Novo Combo, Go with Steve Winwood, and the short-lived Hagar Schon Aaronson Shrieve Band. Learn more about your ad choices. Visit megaphone.fm/adchoices

Kruser talks about the greatness of Steve Winwood on this week's music anatomy and Bill Meck joins the show to talk about a tractor crash at a New Jersey strip club in hour 2. See omnystudio.com/listener for privacy information.

Ian Whitcomb talks about his hit You Turn Me On Connect the Dots Neil Sedaka remembers songs he wrote for other artists The Five Second Quiz Director Richard Lester remembers working on the Beatles movie A Hard Day's Night Spencer Davis remembers seeing Steve Winwood playing before he was famous Behind the Hits - My Girl by Smokey Robinson and The Temptations Farewell

This week on Who Deserves to be in the Rock & Roll Hall of Fame, we look at the case for putting Steve Winwood into the Rock & Roll Hall of Fame as a solo artist. For more music history, subscribe to my Spotify Channel or subscribe to the audio version of my music history podcasts, wherever you get your podcasts from ALL MUSIC HISTORY TODAY PODCAST NETWORK LINKS - https://allmylinks.com/musichistorytoday

By the late 70s, drummer Dony Wynn thought his music career might be over. Nothing was really happening and he wasn't holding down gigs. Then the great Robert Palmer heard him and everything changed. Dony joined the fray around the Secrets album in 1979 and stuck around for the next 15 years or so. Dony joins us this week to tell us what it's like working for Robert during his peak (and post peak) period, why they had that magic and his times working with Robert Plant, Steve Winwood, Wang Chung, Dr. John, Josie Cotton and more. These days, Dony is more focused on writing and photography, but he can sure tell a good story! Enjoy! www.donywynn.com www.patreon.com/c/thehustlepod

Rebecca Downes - Crazy (Single) - 2024 Parker Barrow – Back to Birmingham - Jukebox Gypsies - 2023 Prince - While My Guitar Gently Weeps  with Prince, Tom Petty, Jeff Lynne and Steve Winwood - 2004 tribute to George Harrison - 2021 remasterWes Jeans - Me & My WomanGreg Koch - Red HouseGA-20 - Cryin' & Pleadin'Jax Hollow – Changing Suits - Come Up Kid – 2024John Popper – The auguries - Back Alley Amusers (EP) - 2024 Sheryl Youngblood - Red Hot woman in Blues - 2024 – singleBlues Caravan - Alastair Greene, Eric Johanson & Katarina Pejak – Come on in my Kitchen – 2024Will Wilde - Wild Man

Blind Faith was a supergroup formed from Cream members Eric Clapton and Ginger Baker, Traffic founder Steve Winwood, and Family bassist/violinist Ric Grech.  Cream collapsed after increasing strife between members, particularly Baker and bassist Jack Bruce.  Traffic went on hiatus, and Winwood began jamming with Clapton in his basement.  Baker sat in on a session shortly after they moved to Traffic's rehearsal space in Berkshire, and was added to the lineup after some reluctance from Clapton was overcome.  Finally, Grech was invited to join, and  left the Family in the middle of a U.S. tour, creating understandable grievances.  The group created blues-oriented and psychedelic rock for their eponymously named Blind Faith debut album.  A summer tour was launched, but it was a challenging thing.  Clapton didn't want to do long jam sessions on the tour, but their single album was not a lot of material for a concert.  As a result, they wound up playing a significant amount of Cream and Traffic songs.  This delighted the audience, but irritated and distanced Clapton.  Despite great buzz from critics and fans alike, the group was destined to only last a few months.  Clapton began drifting away while on tour, spending more time with opening act Delaney & Bonnie.  He would eventually join that group prior to launching Derek & the Dominos.  Ginger Baker would move on to form Ginger Baker's Air Force, bringing in Winwood and Grech for a short stint before Winwood rejoined Traffic.  Rob brings us this short-lived supergroup in this week's podcast. Had to Cry TodayThe title track dispenses with the 3-minute single format in favor of a long form jam written by Steve Winwood.  The lyrics are ambiguous, and could reference a dying relationship, or perhaps a friend drifting away.Can't Find My Way HomeWinwood also wrote this well-known single from the album, covered by a number of artists including Joe Cocker, Alison Krauss, and Bonnie Raitt.  Winwood has been asked about the meaning of the lyrics, but has said that discussing song lyrics is a little like explaining a joke - it doesn't add anything to the experience.  Clapton leaves his electric guitar in favor of a rare acoustic one for this song.Well All RightThis track is the only one not written by members of Blind Faith.  Buddy Holly, Norman Petty, Jerry Allison, and Joe B. Mauldin wrote this song, and Holly sang it in 1958.  Clapton takes lead vocal duties on this song.Sea of JoyA piece of Winwood's writing also leads off side two of the album.  While some believe the song references hallucinogens, a simpler meaning would be simply the joy of being on the water.  “And I'm feeling close to when the race is run.  Waiting in our boats to set sail.  Sea of joy.” ENTERTAINMENT TRACK:Pfft You Were Gone (from the variety show “Hee Haw”)This country comedy and music show premiered on CBS in this month.  Buck Owens and Roy Clark led an ensemble of regulars and guests in this variety show. STAFF PICKS:These Eyes by The Guess WhoWayne starts out the staff picks with a song co-written by lead singer Burton Cummings and lead guitarist Randy Bachman.  This was their breakout song, with lyrics that describe the devastating feeling in the days following a long relationship break-up.Badge by CreamLynch reminds us that while Cream may have disbanded by this time, their music was still on the charts.  Eric Clapton and George Harrison wrote this song.  It was supposed to be called "Bridge," but was named "Badge," due to a misreading of the handwritten title.  George Harrison plays rhythm guitar, credited as "D'Angelo Misterioso" to avoid contractual issues.Oh Happy Day by the Edwin Hawkins SingersBruce features the first gospel song to hit the charts, reaching number 4 on the US singles chart.  Edwin Hawkins took a hymn originally written by Phillip Doddridge in 1755, and updated it with a piano introduction inspired by Sergio Mendes and lyrical improvisations influenced by James Brown. See by The Rascals Rob finishes the staff picks with the fuzzy lead off and title track to the Rascals sixth studio album.  Between 1966 and 1968, the Rascals released a number of soul-inspired singles.  This album marked a change in the band's focus from blue-eyed soul to psychedelic rock. COMEDY TRACK:Gitarzan by Ray StevensOne of the earliest comedy singles from Stevens closes out our podcast this 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.

This week is synth pioneer Peter Godwin! In the 70s he was a part of the very arty and European band Metro who are best known for being the originators of the song "Criminal World" that was covered by Bowie for the Let's Dance album. Peter went solo and recorded the worldwide hit "Images of Heaven" that still lives on today as well as an album and some EPs, but the rest of his career has been sort of mysterious. Recently, Cherry Red released a 2-disc set of this fruitful period called The Polydor Years that includes all the songs and remixes you could want. We also discuss other artists he's worked with like Steve Winwood, his songs being placed in TV shows, and how living in France energizes him. Enjoy!    www.cherryred.co.uk/peter-godwin-the-polydor-years-2cd?srsltid=AfmBOopTpSlkuNEUi_0JND1IajHqkFBpsYnfePYGbhrhv99NRqTpk3AX   www.patreon.com/c/thehustlepod

Welcome to a little bonus episode with James and his best friend Jesse. This episode they attempt to break down "Back In The High Life Again" by Steve Winwood and what that song means to them. Then the conversation takes a turn to mental health and the highs and lows of life. This episode has a little bit of everything, and it mainly shows the positivity of always kicking out at two! So sit back, relax, and let Jesse and James ease your mind and remind you that you matter because its YOUR SHOW so live your life to the fullest!

Send us a textHere in Episode 195 of the No Name Music Cast, it is Tim's turn to pick the topic and he chooses to talk about some recent additions to his Spotify library.We cover Janet Jackson, Buffalo Springfield and Steve Winwood to name only a few.We also cover customs charges, cowbells, Barack Obama, CD Players and Low-Fi!https://www.facebook.com/NoNameMusicCast/Support the show

Phil Manzanera has had a remarkable life. Best known as the lead guitarist in Roxy Music, he's also worked as a writer, producer and/or performer with the likes of David Gilmour, Steve Winwood, Nico, Brian Eno and many more. He's just released a mammoth box set of his solo work which dates back to 1975's “Diamond Head” album. The box, entitled “50 Years Of Music”, comes at a time of reflection for Manzanera. He recently released a memoir, in which he detailed his childhood in Cuba at the time of Batista's overthrow in 1959, and his suspicion that his Dad, who ostensibly worked for BOAC airlines, was actually a spy. Manzanera lived in different parts of the Americas as a child and later went to boarding school at Dulwich College in London. Phil went on to explore his Latin American roots in his music, and another bizarre twist occurred in 2011 when Kanye West and Jay-Z sampled a guitar part from his 1978 “K-Scope” album for their track “No Church In The Wild”. Manzanera has claimed this one sample earned him more money than his entire time in Roxy Music. Anyway, I was sure Phil would have great stories to share and I hope you enjoy our conversation. Visit Manzanera.com for more information on the box set.Instagram: @sendingsignalspodcast

Deep dive into the Moldovan election meddling - how to win (or avoid) arguments with conflict resolution - experts' 80s and ‘90s memorabilia prices (Sonic Youth shirts for £900?!) and the best pub quiz dream team— Spoiler alert - Tom Petty, Steve Winwood, and Prince.For more info and tracklisting, visit: https://thefaceradio.com/dad-la-soul-extra-time/Tune into new broadcasts of Dad La Soul Extra Time, Opposite Sundays from 6 - 8 AM EST / 11 AM - 1 PM GMT.//Dig this show? Please consider supporting The Face Radio: http://support.thefaceradio.com Support The Face Radio with PatreonSupport this show http://supporter.acast.com/thefaceradio. Join the family at https://plus.acast.com/s/thefaceradio. Hosted on Acast. See acast.com/privacy for more information.

Mark King and Level 42 have just announced 2025 tour dates and he talks to us here about … … the value of what you learn in covers bands from being ignored. … why being thrown out of home for being thrown out of school was the best thing that ever happened to him. … Level 42's first gig, kicked off after four songs. … Chile, Turkey and other new markets on the “flatter world” tour circuit. ... supporting the Police, Tina Turner, Queen and Madonna in the ‘80s. … how John McLaughlin (from Doncaster) and Allan Holdsworth (Bradford) inspired other people “from far-flung places like us”. … Rockin' Robin, Long-Haired Lover From Liverpool and playing three nights a week in an Isle of Wight novelty act, aged 11. … the onstage dynamic between Dave Grohl and Taylor Hawkins. … the complications of having to book big venues two years in advance. … being the bassist in the Prince's Trust house band backing Bowie and Mick Jagger. … Billy Cobham, Chick Corea, Stanley Clarke and “the genius” of Steve Winwood. Level 42s World Machine 40th Anniversary Tour here:https://www.level42.com/Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Mark King and Level 42 have just announced 2025 tour dates and he talks to us here about … … the value of what you learn in covers bands from being ignored. … why being thrown out of home for being thrown out of school was the best thing that ever happened to him. … Level 42's first gig, kicked off after four songs. … Chile, Turkey and other new markets on the “flatter world” tour circuit. ... supporting the Police, Tina Turner, Queen and Madonna in the ‘80s. … how John McLaughlin (from Doncaster) and Allan Holdsworth (Bradford) inspired other people “from far-flung places like us”. … Rockin' Robin, Long-Haired Lover From Liverpool and playing three nights a week in an Isle of Wight novelty act, aged 11. … the onstage dynamic between Dave Grohl and Taylor Hawkins. … the complications of having to book big venues two years in advance. … being the bassist in the Prince's Trust house band backing Bowie and Mick Jagger. … Billy Cobham, Chick Corea, Stanley Clarke and “the genius” of Steve Winwood. Level 42s World Machine 40th Anniversary Tour here:https://www.level42.com/Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Miss Heard celebrates Season 6, Episode 268 with Steve Winwood's iconic “Higher Love.” You will see the connection to this song to a Hershey's Chocolate ad, and why Whitney Houston hit number one on Billboard magazine's Dance Club Songs chart, making it Houston's highest-charting posthumous release to date. 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 forget to subscribe/rate/review to help our Podcast in the ratings. 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 #SteveWinwood #HigherLove #ChakaKhan #WhitneyHouston #RussTitelman https://www.youtube.com/watch?v=k9olaIio3l8 https://en.wikipedia.org/wiki/Higher_Love https://en.wikipedia.org/wiki/Steve_Winwood https://en.wikipedia.org/wiki/Russ_Titelman

On November 28, 1983 Jimmy Page walked onstage in Dallas, Texas for his first American appearance in more than 7 years. He was newly free of the chains that heroin addiction had weighing him down, and he was working on getting back to fighting fettle. Paul Rodgers is joining him for this tour, as Steve Winwood was in the studio and couldn't reprise his Royal Albert Hall performances. We have the gestation of The Firm as Jimmy and Paul debut Midnight Moonlight, for the first live performance ever.

World-renowned, Grammy-winning musician John "J.R." Robinson is widely considered the most recorded drummer in history, playing on albums that have sold well over 500 million copies. He is the drummer on 20 number-one pop songs by artists such as Michael Jackson, Whitney Houston, Lionel Richie and Steve Winwood, and has been the drummer on more than 100 Grammy-winning tracks. Rolling Stone Magazine featured J.R. in their list of The Top 100 Drummers of All Time. J.R. is the drummer on many other Top-40 hits with artists such as Madonna, Lady Gaga, Diana Ross, Daft Punk, David Lee Roth, Rufus & Chaka Khan, The Pointer Sisters, Wilson Philips, Peter Cetera, George Benson, and Quincy Jones. In this episode, JR talks about:    His new book “King of The Groove”    Reflecting back on his previous episode #424    The process of writing the book Here's our Patreon Here's our Youtube Here's our Homepage

NEW FOR SEPTEMBER 15, 2024 Think a thought of music . . . Cognitive Dissonance - The Best Radio You Have Never Heard Vol. 492 1. Goodnight Saigon - Billy Joel 2. Release / Won't Back Down (live) - Pearl Jam 3. Hey Joe (live) - Patti Smith 4. Physical (Your So) - Nine Inch Nails 5. Boogies (Hamburger Hell) - Todd Rundgren 6. Once Upon A Dream - Jon Anderson w/ The Band Geeks 7. Cosmik Debris (live) - Frank Zappa 8. The Staircase - Maxx McGathey 9. Voodoo Child (live) - Eric Clapton and Steve Winwood 
10. Green Onions (live) - Buddy Guy and Junior Wells 11. Sahara - Devon Allman 12. Are You Going With Me (live) - Pat Metheny Group 13. Downtown (live) - Bill Bruford's Earthworks 14. Kissing the Ring of Potus - The The 15. Helplessly Hoping (live) - Crosby, Stills, Nash and Young 16. Have You Ever Seen The Rain (live) - R.E.M. The Best Radio You Have Never Heard. Deep musical thoughts since 2004. Accept No Substitute Click to leave comments on the Facebook page.

MUSICIn the wake of Thursday's announcement that Linkin Park have a new singer, drummer, single, album and tour, singer Cedric Bixler-Zavala of The Mars Volta posted on social media a reminder that new vocalist Emily Armstrong had gone to court in support of now-convicted rapist actor Danny Masterson, who is serving a 30-years-to-life prison sentence.Linkin Park guitarist Brad Delson has announced he'll be sitting out the band's tour in support of From Zero. On Instagram, he posted, "I've always felt deeply connected to and proud of our live performances. Over the years I've realized I thrive most when I'm actively working with my bandmates behind the scenes––in the studio, collaborating on our new music, and helping build our live show." Tickets to Linkin Park's September 11th gig at LA's Kia Forum sold out in less than one hour. Oasis management might regret giving Liam Gallagher control of his Twitter/X account again. Kendrick Lamar will headline the 2025 Apple Music Super Bowl 59 Halftime Show on Feb. 9, 2025, in New Orleans, Louisiana.Patti Scialfa, Bruce Springsteen's wife of 33 years and bandmate for over 40, has revealed that she's had a rare form of blood cancer know as multiple myeloma since 2018. The news came out during the premiere showing of the film Road Diary: Bruce Springsteen and the E Street Band at the Toronto International Film Festival (TIFF) on Sunday. Scialfa finally talks about her diagnosis and how its affected her ability to tour with the band in the documentary.There's yet another Jimi Hendrix documentary in the works. Jimi, which is authorized by the Hendrix estate, will cover the launch of his career and be directed by Bao Nguyen, who helmed the Emmy-nominated Netflix doc The Greatest Night in Pop about the recording of "We Are the World."QUICK HITS:RIP: Lyricist and Songwriters Hall of Fame member Will Jennings died in his home in Tyler, Texas Friday at the age of 80. Jennings won two Best Original Song Oscars — in 1983 for "Up Where We Belong" and in 1997 for "My Heart Will Go On." He also co-wrote "Tears in Heaven" with Eric Clapton and collaborated with Steve Winwood on his four solo albums from 1980 to 1990, including the number-one singles "Higher Love" and "Roll With It."RIP: Bassist Herbie Flowers passed away. He played the iconic bass line in Lou Reed's "Walk on the Wild Side", which was repurposed for the song "Can I Kick It" by A Tribe Called Quest. TVRIP: YouTube subscribers to firearms expert Paul Harrell learned that he died at 58 from pancreatic cancer - from Harrell himself. MOVING ON INTO MOVIE NEWS:Beetlejuice Beetlejuice grossed a huge $110 million in its opening weekend – giving it a $10 million dollar revenue, since it cost $100 million to produce. AND FINALLY – you will need to wait a little longer for Grand Theft Auto 6ComicBook.com says we won't be playing 'Grand Theft Auto 6' next year.  AND THAT IS YOUR CRAP ON CELEBRITIES!Follow us @RizzShow @MoonValjeanHere @KingScottRules @LernVsRadio @IamRafeWilliams > Check out King Scott's band @FreeThe2SG and Check out Moon's bands GREEK FIRE @GreekFire GOLDFINGER @GoldfingerMusic THE TEENAGE DIRTBAGS @TheTeenageDbags and Lern's band @LaneNarrows http://www.1057thepoint.com/Rizz Learn more about your ad choices. Visit podcastchoices.com/adchoicesSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

MUSIC In the wake of Thursday's announcement that Linkin Park have a new singer, drummer, single, album and tour, singer Cedric Bixler-Zavala of The Mars Volta posted on social media a reminder that new vocalist Emily Armstrong had gone to court in support of now-convicted rapist actor Danny Masterson, who is serving a 30-years-to-life prison sentence. Linkin Park guitarist Brad Delson has announced he'll be sitting out the band's tour in support of From Zero. On Instagram, he posted, "I've always felt deeply connected to and proud of our live performances. Over the years I've realized I thrive most when I'm actively working with my bandmates behind the scenes––in the studio, collaborating on our new music, and helping build our live show."  Tickets to Linkin Park's September 11th gig at LA's Kia Forum sold out in less than one hour.  Oasis management might regret giving Liam Gallagher control of his Twitter/X account again.  Kendrick Lamar will headline the 2025 Apple Music Super Bowl 59 Halftime Show on Feb. 9, 2025, in New Orleans, Louisiana. Patti Scialfa, Bruce Springsteen's wife of 33 years and bandmate for over 40, has revealed that she's had a rare form of blood cancer know as multiple myeloma since 2018. The news came out during the premiere showing of the film Road Diary: Bruce Springsteen and the E Street Band at the Toronto International Film Festival (TIFF) on Sunday. Scialfa finally talks about her diagnosis and how its affected her ability to tour with the band in the documentary. There's yet another Jimi Hendrix documentary in the works. Jimi, which is authorized by the Hendrix estate, will cover the launch of his career and be directed by Bao Nguyen, who helmed the Emmy-nominated Netflix doc The Greatest Night in Pop about the recording of "We Are the World." QUICK HITS: RIP: Lyricist and Songwriters Hall of Fame member Will Jennings died in his home in Tyler, Texas Friday at the age of 80. Jennings won two Best Original Song Oscars — in 1983 for "Up Where We Belong" and in 1997 for "My Heart Will Go On." He also co-wrote "Tears in Heaven" with Eric Clapton and collaborated with Steve Winwood on his four solo albums from 1980 to 1990, including the number-one singles "Higher Love" and "Roll With It." RIP: Bassist Herbie Flowers passed away. He played the iconic bass line in Lou Reed's "Walk on the Wild Side", which was repurposed for the song "Can I Kick It" by A Tribe Called Quest.  TV RIP: YouTube subscribers to firearms expert Paul Harrell learned that he died at 58 from pancreatic cancer - from Harrell himself.  MOVING ON INTO MOVIE NEWS: Beetlejuice Beetlejuice grossed a huge $110 million in its opening weekend – giving it a $10 million dollar revenue, since it cost $100 million to produce.  AND FINALLY – you will need to wait a little longer for Grand Theft Auto 6 ComicBook.com says we won't be playing 'Grand Theft Auto 6' next year.   AND THAT IS YOUR CRAP ON CELEBRITIES! Follow us @RizzShow @MoonValjeanHere @KingScottRules @LernVsRadio @IamRafeWilliams > Check out King Scott's band @FreeThe2SG and Check out Moon's bands GREEK FIRE @GreekFire GOLDFINGER @GoldfingerMusic THE TEENAGE DIRTBAGS @TheTeenageDbags and Lern's band @LaneNarrows http://www.1057thepoint.com/Rizz Learn more about your ad choices. Visit megaphone.fm/adchoices

Steven and Ian open this week's episode by talking about pontoon boats -- Steven was on one this week, and he listened to Steve Winwood's "Back In The High Life Again" on a loop. Ian shares his own pontoon story about someone named Uncle Zippy (2:05). After a brief look at the Fantasy Albums Draft (5:05) -- Steven has records from Sabrina Carpenter, The Spirit Of The Beehive, and Illuminati Hotties out this week -- they talk about a recent article charting the pop culture events of the Obamacore era. Steven asks Ian for his take on artists like Tune-Yards, Chance The Rapper, and Run The Jewels -- are they Obamacore? What is Obamacore, anyway (14:47)?After that, they talk about Romance, the new album from Irish rock band Fontaines DC. Is this the record that finally gets the guys on board with a band they are otherwise indifferent about? (It is for one of them!) (36:10). In the mailbag, a listener corrects some misinformation about a recent Ween concert (46:35). Steven and Ian also answer an email about driving long distances to concerts when you live in a small town. (They also discover the Canadian hardcore band Dayglo Abortions, for better or worse.) (48:39)In Recommendation Corner, Ian talks about the latest from Magdalena Bay while Steven stumps for BBsitters Club (56:38).New episodes of Indiecast drop every Friday. Listen to Episode 203 here and subscribe wherever you get your podcasts. You can submit questions for Steve and Ian at indiecastmailbag@gmail.com, and make sure to follow us on Instagram and X (formerly Twitter) for all the latest news. We also recently launched a visualizer for our favorite Indiecast moments. Check those out here.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.