Podcasts about Stonehenge

Send us a textCVH gets into the journey and takes you on a walk FAR greater than the destination. 

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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

It wasn't made by Druids (or Aliens or Merlin the wizard). But it was a garden centre. Get ready for the 10 strangest facts (mostly) about Stonehenge! Maddy Pelling takes Anthony Delaney back among the stones.Edited by Amy Haddow. Produced by Freddy Chick. Senior Producer is Charlotte Long.You can now watch After Dark on Youtube: www.youtube.com/@afterdarkhistoryhitSign up to History Hit for hundreds of hours of original documentaries, with a new release every week and ad-free podcasts. Sign up at https://www.historyhit.com/subscribe.  You can take part in our listener survey here.All music from Epidemic Sounds.

Listeners of The Wolf know that despite the fact that The Wolf lived mere yards (or meters) from Abbey Road, he and Action Jackson aren't huge Beatles fans. While he did go through a Beatles stage in high school, it was really an education on how the band evolved and created some amazing music which is still enjoyed and studied today. However, thanks to a run of 60s rock related movies that ran on Cinemax one night in the 80s, The Wolf became very familiar with Help! as he recorded the movie on VHS and watched it over and over. It was in technicolor, unlike A Hard Day's Night, and showed the boys having fun in exotic locales like Switzerland, The Bahamas, Stonehenge and Buckingham Palace. The seven tunes on the album that were included in the movie all hold up well and are fun to sing along with while you're watching. But the album is the first step moving from being bubble gum pop stars into more respected recording artists. We review the UK version of the album as the US version is shorter with orchestrated score tunes from the movie. The whole first side of the UK album features beloved songs from the movie like the title track, Ticket To Ride, You've Got To Hide Your Love Away and The Night Before. But the second side also features some Beatles classics like Ringo singing Act Naturally, I've Just Seen A Face and the all-time classic Yesterday. It's amazing that the boys were all so young (21-24) and were maturing before our eyes as they were now able to write more robust tunes with more mature themes. Bob Dylan had introduced them to marijuana by now and they'd done their first LSD trips which would show up more on an album from later in 1965, Rubber Soul (and after). But this one has one foot in the old, teenage dream Beatles phase and one in the more mature and experimental Beatles. We can't believe it's turning 60 but we went track x track to celebrate. Check out our new website: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Ugly American Werewolf in London Website⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Threads⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠YouTube⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠LInkTree⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.pantheonpodcasts.com⁠⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

The sun is setting at Stonehenge, and we must bring it back with out wits, a wasp and a jam sandwich! Part 2 in the Summer Solstice series finds the gaggle of puzzlers at Stonehenge just in time for the sun to rise. The only problem is, if they don't perform the ritual correctly, the sun might not rise at all. In this brain-melting, time travel twisting episode, we'll have to master the past, present, and future if we want to make it out in time. In this episode, we're joined by Marcus Richardson and Nathan Hicken, the fantastic hosts of the murder mystery podcast Aurelius Whitlock's Murder Museum. Puzzle Maestro: Mike Collins Solvers: Jamie Gibbs, Mairi Nolan, Marcus Richardson and Nathan Hicken Episode Art: Dom Jordan Editor: Jamie Gibbs All links to our social media profiles and our Patreon programme over at https://linktr.ee/theinfiniteescaperoom Check out Aurelius Whitlock's Murder Museum on: Apple Podcasts Spotify ...and wherever you get your podcasts usually!

Oliver Lavery is an English mythologist, folklorist, traveling professional storyteller, and host of The Story Crow YouTube channel from Wiltshire County, England, the home of Stonehenge. For this summer solstice special, our return guest describes our recent trip to Avebury, Britain's largest Neolithic complex with its stone circles, village-sized henge [ditch], passage graves and giant manmade mound. First we've got to know, who built these mysterious megaliths & ancient earthworks; and for what purpose? Oliver shares a psychedelic vision he had during the annual solstice festivities that correlates with recent metaphysical theories that the stone circles assist the spirits of the dead. With the many burial mounds scattered across the landscape, we hear of uncanny sights & senses while camping amongst them along the ancient Ridgeway Trail. We conclude the highlights of mysterious Avebury with the largest prehistoric artificial mound in Europe, Silbury Hill. From there we muse on crop circles; hallucinogenic goblins; the similarity between bards & shamans; and finally, a little local lore from Wiltshire.Check out Oliver's Story Crow YouTube Channel and follow his van-life Instagram @The_Folk_BusSupport Our Numinous Nature on Patreon.Follow Our Numinous Nature & my naturalist illustrations on InstagramCheck out my shop of shirts, prints, and books featuring my artContact: herbaceoushuman@gmail.com

Researcher and Giants on Record author; Hugh Newman, returns to The Paranormal Peep Show to talk about the archeological discoveries at the famous Gobekli Tepe site in Southern Turkey. But first Hugh tells us about his very own haunted house near Stonehenge. Plates flying off the wall, mysterious men in black knocking at the door and insisting they be let in the house. Bags that end up between the rungs of a chair that seems impossible to place there. Spooky footsteps above his head on the next floor with no one above them. Hugh continues with his recent trip to research the world famous Gobekli Tepe site in Turkey. He mentions how the site was intentionally buried by later civilizations. He reveals the very latest discoveries of the Gobekli Tepe as well as its lesser known but equally intriguing bear by site, Karahan Tepe. These monumental sites predate all other known megalithic constructions by at least 5000 years and are upending our existing knowledge of established human history and the origins of civilization.Hugh's site can be found at https://www.megalithomania.co.uk/The Paranormal Peep Show is part of the Paranormal UK Radio Network at ww.paukradio.comAndy Chaplin's web site is at www.tunedinevents.co.ukBen Emlyn-Jones' HPANWO site is at https://hpanwo-voice.blogspot.com/Neil's artwork can be viewed at www.neilwardart.co.ukBecome a supporter of this podcast: https://www.spreaker.com/podcast/paranormal-uk-radio-network--4541473/support.

Listeners of The Wolf know that despite the fact that The Wolf lived mere yards (or meters) from Abbey Road, he and Action Jackson aren't huge Beatles fans. While he did go through a Beatles stage in high school, it was really an education on how the band evolved and created some amazing music which is still enjoyed and studied today. However, thanks to a run of 60s rock related movies that ran on Cinemax one night in the 80s, The Wolf became very familiar with Help! as he recorded the movie on VHS and watched it over and over. It was in technicolor, unlike A Hard Day's Night, and showed the boys having fun in exotic locales like Switzerland, The Bahamas, Stonehenge and Buckingham Palace. The seven tunes on the album that were included in the movie all hold up well and are fun to sing along with while you're watching. But the album is the first step moving from being bubble gum pop stars into more respected recording artists. We review the UK version of the album as the US version is shorter with orchestrated score tunes from the movie. The whole first side of the UK album features beloved songs from the movie like the title track, Ticket To Ride, You've Got To Hide Your Love Away and The Night Before. But the second side also features some Beatles classics like Ringo singing Act Naturally, I've Just Seen A Face and the all-time classic Yesterday. It's amazing that the boys were all so young (21-24) and were maturing before our eyes as they were now able to write more robust tunes with more mature themes. Bob Dylan had introduced them to marijuana by now and they'd done their first LSD trips which would show up more on an album from later in 1965, Rubber Soul (and after). But this one has one foot in the old, teenage dream Beatles phase and one in the more mature and experimental Beatles. We can't believe it's turning 60 but we went track x track to celebrate. Check out our new website: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Ugly American Werewolf in London Website⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Threads⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠YouTube⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠LInkTree⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.pantheonpodcasts.com⁠⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

Ancient observatories and calendars, like those at Stonehenge and the Sun Dagger, support the Bible's account of early advanced humans. These achievements align with Genesis' description of inventive, intelligent people since the day we were created. To support this ministry financially, visit: https://www.oneplace.com/donate/1232/29

In this episode, Holidays After Dark explores the wonders of Stonehenge and investigates its mysterious creation and significance during the Summer Solstice. Buy some merch: https://holidaysafterdark-shop.fourthwall.com/ and https://www.etsy.com/shop/HolidaysAfterDarkEmail your holiday stories to kristin@holidaysafterdark.com. Follow on Twitter and Instagram: @holidayspodcast Like on Facebook: Holidays After Dark Buy a Simulockrum Lock Picking Game here: https://www.etsy.com/shop/TemporalTravels?ref=shop-header-name&listing_id=1520054429&from_page=listingThis episode is sponsored by BetterHelp. Get 10% off your first month at betterhelp.com/holidaysafterdark.   Special thanks to Night Owl Productions for producing and editing the podcast!Thank you to Pete Byrnes for composing the theme song!

A body is found at Stonehenge. It's the skeleton of a man - an archer - who lived at the time when it was built. How did he die? What secrets does his skeleton reveal about his life and the purpose of Stonehenge?In today's episode, Anthony and Maddy investigate a 4,000 year-old murder mystery, as well as exploring the big questions that surround Stonehenge: how was it built? Who built it, and why?!A special thanks to Adrian Green, Director at Salisbury Museum.Edited by Tomos Delary. Produced by Stuart Beckwith. Senior Producer is Charlotte Long.You can now watch After Dark on Youtube: www.youtube.com/@afterdarkhistoryhitSign up to History Hit for hundreds of hours of original documentaries, with a new release every week and ad-free podcasts. Sign up at https://www.historyhit.com/subscribe.  You can take part in our listener survey here.All music from Epidemic Sounds.

This is Part 2! For Part 1, check the feed!This week we're turning to history to find people unfortunate enough to have had a really daft death. We've got sixteenth-century Danish astronomer Tycho Brahe, Alexander Pushkin's totally avoidable end and we'll hear all about the sad but, in some respects, happy demise of Greek philosopher Chrysippus. Plus we're chatting Stonehenge this week. Got a crackpot theory on what it is? Got a good fact? Ever been there for a rave? Well, we're desperate to hear more: hello@ohwhatatime.comIf you fancy a bunch of OWAT content you've never heard before, why not treat yourself and become an Oh What A Time: FULL TIMER?Up for grabs is:- two bonus episodes every month!- ad-free listening- episodes a week ahead of everyone else- And much moreSubscriptions are available via AnotherSlice and Wondery +. For all the links head to: ohwhatatime.comYou can also follow us on: X (formerly Twitter) at @ohwhatatimepodAnd Instagram at @ohwhatatimepodAaannnd if you like it, why not drop us a review in your podcast app of choice?Thank you to Dan Evans for the artwork (idrawforfood.co.uk).Chris, Elis and Tom xSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

This week we're turning to history to find people unfortunate enough to have had a really daft death. We've got sixteenth-century Danish astronomer Tycho Brahe, Alexander Pushkin's totally avoidable end and we'll hear all about the sad but, in some respects, happy demise of Greek philosopher Chrysippus. Plus we're chatting Stonehenge this week. Got a crackpot theory on what it is? Got a good fact? Ever been there for a rave? Well, we're desperate to hear more: hello@ohwhatatime.comIf you fancy a bunch of OWAT content you've never heard before, why not treat yourself and become an Oh What A Time: FULL TIMER?Up for grabs is:- two bonus episodes every month!- ad-free listening- episodes a week ahead of everyone else- And much moreSubscriptions are available via AnotherSlice and Wondery +. For all the links head to: ohwhatatime.comYou can also follow us on: X (formerly Twitter) at @ohwhatatimepodAnd Instagram at @ohwhatatimepodAaannnd if you like it, why not drop us a review in your podcast app of choice?Thank you to Dan Evans for the artwork (idrawforfood.co.uk).Chris, Elis and Tom xSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

The gang find themselves on the summer solstice in Wiltshire, at Stonehenge no less! There's a great festival happening to celebrate the longest day, but before they can get there they'll have to enter through the gift shop. Before the night is up, they'll have to perform the ritual to get the sun to rise again. Easier said than done! In this episode, we're joined by Marcus Richardson and Nathan Hicken, the fantastic hosts of the murder mystery podcast Aurelius Whitlock's Murder Museum. Puzzle Maestro: Mairi Nolan Solvers: Mike Collins, Jamie Gibbs, Marcus Richardson and Nathan Hicken Episode Art: Dom Jordan Editor: Mike Collins All links to our social media profiles and our Patreon programme over at https://linktr.ee/theinfiniteescaperoom Check out Aurelius Whitlock's Murder Museum on: Apple Podcasts Spotify ...and wherever you get your podcasts usually!

This week we take a look at Stonehenge! Were you aware of all the different activity that is said to happen there? We normally only hear about the UFO/Alien lane when talking about Stonehenge, we rarely hear about the spirits that are there! Cowboy Revolution: https://cowboyrevolution.com/?ref=adamgyt (code ADAMGYT) Sponsors Rula: Rula.com/grave Ollie Pet: Ollie.com/GRAVE (code: GRAVE) Fum: TryFum.com/tales (Code: tales) Check out our sources below for more info and to continue learning! Please Rate & Review us wherever you get your Podcasts!  Mail us something:  GYT Podcast PO Box 542762 Grand Prairie, TX 75054 Leave us a Voicemail or shoot us a text! 430-558-1304 Our Website WWW.GraveYardPodcast.com Patreon https://www.patreon.com/GraveYardTales Youtube: Youtube.com/c/GraveYardTales Rumble – GraveYard Tales Podcast Do you want GraveYard Merch?!?! Go to https://graveyardtales.dashery.com/ to get you some!  Thank You Darron for our Logo!! You can get in touch with Darron for artwork by searching Darron DuBose on Facebook or Emailing him at art_injector@yahoo.com Thank you to Brandon Adams for our music tracks!! If you want to hear more from Brandon check him out at: Soundcloud.com/brandonadamsj Youtube.com/brandonadams93 Or to get in touch with him for compositions email him at Brandon_adams@earthlink.net Our Contacts WWW.GraveYardPodcast.com Email us at: GraveYardTalesPodcast@gmail.com Find us on social media: X(Twitter): @GrveYrdPodcast Facebook: @GraveYardTalesPodcast Instagram: @GraveYardTalesPodcast Sources https://www.britannica.com/topic/Stonehenge https://www.wiltshire.gov.uk/media/10251/South-Wiltshire-Landscape-Character-Assessment-2008-pages-27-56/pdf/South_Wiltshire_Landscape_Character_Assessment_2008_-_pages_27-56.pdf?m=638029026833270000 https://www.ancient-origins.net/news-history-archaeology/stonehenge-landscape-0016701 https://frametoframe.ca/2017/01/our-visit-to-the-stonehenge-ruins-on-salisbury-plain/ https://www.english-heritage.org.uk/visit/places/stonehenge/history-and-stories/timeline/ https://www.britishmuseum.org/exhibitions/world-stonehenge/stonehenge-timeline https://www.aboutstonehenge.info/stonehenge-construction-periods https://www.bbc.com/news/uk-england-wiltshire-53580339 https://www.ucl.ac.uk/news/2021/feb/research-stonehenge-first-stood-wales https://www.english-heritage.org.uk/visit/places/stonehenge/history-and-stories/building-stonehenge/ https://www.britishmuseum.org/blog/how-was-stonehenge-built https://www.smithsonianmag.com/smart-news/did-stonehenges-builders-use-lard-move-stonehenge-boulders-place-180972662/ https://historicconcepts.co.uk/current-projects/monolith-moving-experiment-at-stonehenge/ https://www.britannica.com/topic/Stonehenge/First-stage-3000-2935-bce https://www.nationaltrust.org.uk/visit/wiltshire/stonehenge-landscape https://www.english-heritage.org.uk/visit/places/woodhenge/ https://www.thetravel.com/best-ancient-sites-near-stonehenge/ https://www.nationaltrust.org.uk/visit/wiltshire/stonehenge-landscape https://www.english-heritage.org.uk/learn/histories/prehistoric-monuments/ https://www.english-heritage.org.uk/visit/places/stonehenge/history-and-stories/understanding-stonehenge/ https://www.spookyisles.com/the-supernatural-side-of-stonehenge/ https://weird-wiltshire.co.uk/2022/06/12/astral-projection-at-magical-stonehenge/ https://www.bbc.com/news/uk-england-wiltshire-61876944 https://blog.stonehenge-stone-circle.co.uk/tag/ufo/ https://www.npr.org/2023/06/21/1183408306/summer-solstice-brings-druids-pagans-and-thousands-of-curious-people-to-stonehen https://www.bbc.com/culture/article/20221102-englands-mysterious-ancient-pathways https://content.time.com/time/specials/packages/article/0,28804,2072479_2072478_2072515,00.html

In this episode of the Big Bad Broadcast, we dive into a lighthearted and humorous conversation with our guest, Cris Johnson, a versatile magician known for his work in paranormal magic, corporate shows, and kid-friendly performances. The episode kicks off with some banter about personal tragedies, including Mike's coffee maker's untimely demise. We reminisce about our experiences in the magic community, touching on the camaraderie among magicians compared to the competitive nature of comedians. Chris shares his innovative murder mystery magic show, which cleverly misleads corporate audiences into thinking they're in for a clown performance before revealing a comedic twist. As we explore various topics, including our experiences at conventions, the challenges of magic exposure, and the art of performance, we also delve into personal anecdotes, such as my daughter's success in the entertainment industry and our shared experiences at iconic locations like Niagara Falls and Stonehenge. Throughout the episode, we maintain a playful and engaging atmosphere, filled with laughter and witty exchanges. Chris's unique perspective on magic, combined with our shared stories, makes for an entertaining and insightful episode that highlights the joys and challenges of being a performer in today's world. Support The Professional Magician Club helps magicians book more shows at higher fees through more effective marketing.   TheProfessionalMagicianClubPro.com Support the Nex Generation Surfing School, we specialize in both beginner and intermediate surf Instruction, All ages and experience levels are welcome! Located in Cocoa Beach, Florida, where the conditions are ideal for learning to surf. The Big Bad Broadcast

On this week's Bonus Episode - the last one of Series 6 - we're talking all things Midsummer!Folding in the history of the term 'Litha' which is sometimes also applied to the day, we're talking Gerald Gardner and the birth of Wicca, the parts Aleister Crowley, the Druids, and the Rosicrucians had to play in the revival/creation of pagan traditions, and reminding ourselves what being a "pagan" means and why!We also unpick knotty changes in the English calendar, including the layers of festivals as mentioned by the Venerable Bede and initiated by the early Christian church. Though, at the same time, what vestiges of Roman custom might we have carried forward? What about prehistoric celebrations, linked to megalithic monuments like Stonehenge? And then there's the shift from the Julian to the Gregorian calendar, which meant moving just about every festival to a new place in a rejigged month... Midsummer is a total mess! Yet, surely it's incredibly simple? The Celts understood; it's the longest day, and therefore a day for worshipping sun and heat. In which case, why is Beltane the modern fire festival, and Midsummer about... nature spirits like the Oak and Holly King?It's a rich topic, we hope you enjoy our chat about it, and that you also like Martin's story written specially for the episode, "John Barleycorn." Like the folk song says, we all drink his blood and know that he must die! The Three Ravens is an English Myth and Folklore podcast hosted by award-winning writers Martin Vaux and Eleanor Conlon.Released on Mondays, each weekly episode focuses on one of England's 39 historic counties, exploring the history, folklore and traditions of the area, from ghosts and mermaids to mythical monsters, half-forgotten heroes, bloody legends, and much, much more. Then, and most importantly, the pair take turns to tell a new version of an ancient story from that county - all before discussing what that tale might mean, where it might have come from, and the truths it reveals about England's hidden past...Bonus Episodes are released on Thursdays (Magic and Medicines about folk remedies and arcane spells, Three Ravens Bestiary about cryptids and mythical creatures, Dying Arts about endangered heritage crafts, and Something Wicked about folkloric true crime from across history) plus Local Legends episodes on Saturdays - interviews with acclaimed authors, folklorists, podcasters and historians with unique perspectives on that week's county.With a range of exclusive content on Patreon, too, including audio ghost tours, the Three Ravens Newsletter, and monthly Three Ravens Film Club episodes about folk horror films from across the decades, why not join us around the campfire and listen in?Learn more at www.threeravenspodcast.com, join our Patreon at www.patreon.com/threeravenspodcast, and find links to our social media channels here: https://linktr.ee/threeravenspodcast Hosted on Acast. See acast.com/privacy for more information.

Stonehenge ranks among Britain's most iconic landmarks, drawing nearly a million visitors yearly to marvel at the mysterious stone formation that has stood for over 4,000 years. We share everything you need to know about visiting this UNESCO World Heritage Site, from transportation options to insider tips that will enhance your experience.• Two types of stones make up Stonehenge - sarsen stones from 25 miles away and bluestones transported an incredible 150 miles from Wales• The stones align perfectly with both summer and winter solstices, showcasing remarkable astronomical knowledge• Visitors arrive at a dedicated visitor centre located 1.5 miles from the actual stones• The excellent museum provides crucial context about the site's history and significance• Free shuttle buses run every 10 minutes between the visitor centre and the monument• You cannot touch the stones even with special inner circle access tours• Weather protection is essential as you'll be completely exposed on Salisbury plain• Multiple transport options exist, including train to Salisbury, plus tour bus, driving, or organised tours• The nearby Avebury stone circle offers a complementary experience where you can touch the stones• Book tickets in advance, especially during peak summer months, to guarantee entry• English Heritage and National Trust members receive free entryFor more information about visiting Stonehenge and other UK destinations, join our UK Travel Planning Facebook community where we share tips, answer questions and help you plan your perfect UK trip.

Back for his FOURTH appearance, prehistory researcher and YouTuber Mathew Chinn https://www.youtube.com/@MatApocalypse/featured returns to The Amish Inquisition to reveal his latest findings on ancient geodesy—the forgotten science that may have allowed civilizations to map the globe with astonishing precision!

The ancient temple of Stonehenge is one of the most famous archaeological sites in the world and one of the most visited sites in the UK.    Yet, despite hundreds of years of archaeological investigation and speculation, to some extent it remains a mystery. And it is a mystery that is deep at the heart of the British psyche, for Stonehenge has been a gathering place for thousands of years, and remains a nexus where prehistoric culture, mainstream culture and counterculture interact - and sometimes collide.    40 years ago, in June 1985, an incident occurred near Stonehenge that saw the largest mass arrest of civilians in Britain's history. Over 1000 police, many in riot gear, some with their IDs covered so they couldn't be held accountable for what happened, clashed with a raggle-taggle convoy of travellers, hippies and bohemian folk heading towards the Stones to hold the free Festival, which had happened at Stonehenge every year since the early 70s.   It was brutal   Women with babies were dragged from their mobile homes, others were pulled through smashed windscreens. Vehicles were trashed. People were truncheoned to the floor.   There were huge numbers of arrests, but in the end, virtually nobody was found guilty of a crime, although the police themselves were subsequently taken to court and lost.    Matt Pike came to the Bureau to tell us all about it. Matt has an official role at Stonehenge, as a guardian of the stones, as a guide to visitors and is the official writer in residence of the site. He also has an unofficial role as social historian and archivist of a huge amount of information, oral testimonies and lesser-known histories of Stonehenge and the things that has happened there, including 'The Battle of the Beanfield', the shameful incident 40 years ago, when the British state turned its security forces on its own people as a warning to the counterculture of the times.   Matt's Youtube Channel Matt's Instagram   Photos: Andy Worthington #Stonehenge #BureauOfLostCulture #BattleOfTheBeanfield #policestate #freefestival #wallyhope #thatcher #counterculture #Stonehengefreefestival    

June 2025: Secular AA's monthly world-tour of speaker meetings is hosted by the Stonehenge Steps of the UK. Our speakers this month are:Alan HKenji KRebekka K..with Antonia C as emcee.Following these talks is sharing from around our agnostic/atheist/freethinkers AA world. This is an open and welcoming meeting inviting others to share their thoughts about the speakers' shares and should be interesting for anyone, newcomer and long-timer alike (or just curious).Next month's Secular AA Global Speaker Tour will be featuring the "Alcohólicos Anómimos Ateos" from México on Sunday, July 6th with simultaneous translation at:2 pm EST1 pm CST12 pm AZ11 am PST7 pm UK6 am AEDT (Monday)Everyone is welcome to join our monthly open/public secular AA meeting.ZOOM ID 864 4074 0033Passcode 121212(CON TRADUCCIÓN SIMULTÁNEA INGLÉSESPAÑOL)For more info on secular AA including Zoom meetings, in-person meetings, and virtual gatherings, check out:- https://aasecular.org- secularAA@gmail.comSecular AA is AA sobriety that is neither religious nor irreligious, focusing on the practical, humanist tools of Alcoholics Anonymous and borrowed from the wider recovery community. Secular AA is a growing subculture within AA, offering 100 agnostic/atheist/freethinkers AA meetings every day + regional events and the International Conference of Secular AA (ICSAA). More @ https://aasecular.org

Traducción EspañolaJune 2025: Secular AA's monthly world-tour of speaker meetings is hosted by the Stonehenge Steps of the UK. Our speakers this month are:Alan HKenji KRebekka K..with Antonia C as emcee.Following these talks is sharing from around our agnostic/atheist/freethinkers AA world. This is an open and welcoming meeting inviting others to share their thoughts about the speakers' shares and should be interesting for anyone, newcomer and long-timer alike (or just curious).Next month's Secular AA Global Speaker Tour will be featuring the "Alcohólicos Anómimos Ateos" from México on Sunday, July 6th with simultaneous translation at:2 pm EST1 pm CST12 pm AZ11 am PST7 pm UK6 am AEDT (Monday)Everyone is welcome to join our monthly open/public secular AA meeting.ZOOM ID 864 4074 0033Passcode 121212(CON TRADUCCIÓN SIMULTÁNEA INGLÉSESPAÑOL)For more info on secular AA including Zoom meetings, in-person meetings, and virtual gatherings, check out:- https://aasecular.org- secularAA@gmail.comSecular AA is AA sobriety that is neither religious nor irreligious, focusing on the practical, humanist tools of Alcoholics Anonymous and borrowed from the wider recovery community. Secular AA is a growing subculture within AA, offering 100 agnostic/atheist/freethinkers AA meetings every day + regional events and the International Conference of Secular AA (ICSAA). More @ https://aasecular.org

In this episode of the Anglotopia podcast, host Jonathan Thomas speaks with Gillian Healey, an expert guide in Dartmoor National Park. They discuss Gillian's journey to becoming a Dartmoor guide, the unique features of Dartmoor, and why it should be on every American's travel bucket list (there are several important American connections!). Gillian shares her experiences in international hiking, the importance of qualifications for guiding, and the diverse attractions Dartmoor offers, from its rich history to its wildlife. The conversation also touches on conservation challenges, land ownership issues, and the cultural significance of Dartmoor, including its connections to literature and history. Listeners are encouraged to explore Dartmoor through personalized walking tours that provide a deeper connection to the landscape and its stories. Links Dartmoor Walking Tours - Gillian Healey's Website Dartmoor National Park Visit Dartmoor Down Tor | A Long Dartmoor Walk | 4K Walking Tour The Dartmoor Massacre — Why an 1815 Slaughter of American POWs in a British Prison Was All But Forgotten Takeaways Gillian Healey is a qualified Hill and Moorland leader. Dartmoor offers a unique blend of history, wildlife, and natural beauty. Personalized walking tours can cater to different interests and fitness levels. Dartmoor's landscape is a living history with ancient sites. The Dartmoor ponies are a unique and cherished part of the ecosystem. Conservation efforts are crucial for maintaining Dartmoor's natural beauty. Land ownership in Dartmoor is complex and affects access rights. Dartmoor is a place where visitors can connect with history in a tangible way. Guided walking tours provide a deeper understanding of the landscape. Dartmoor's cultural connections include literature and film. Sound Bites On Getting Lost and Finding Purpose: "The notorious Dartmoor mist came down and I was with my friends and we got a bit lost, I have to say. And they all looked to me to say, Gillian which way? And I turned around and said, I have no idea. So at that point, I just thought, you know, I love Dartmoor, but I really, if people are looking to me to get them out in and out of Dartmoor safely, I need to gain some qualifications." The Perfect Sales Pitch for Americans: "Imagine hiking through vast open moorland where you've got wild ponies roaming free and you can climb up ancient granite tors for huge panoramic views while stumbling across Bronze Age stone circles which are older than the pyramids. You know, there are no crowds there. They're just space, stories and sky." On Dartmoor's Living History: "It's not just about the nature and the views, it's also a living layered landscape where you can walk amongst Bronze Age villages and medieval farmsteads and Victorian quarries and you can come across standing stones that are older than Stonehenge and ancient clapper bridges that are still in use today." Why Walking Beats Driving: "When you're on foot you really feel the contours of the land, you feel the soft peat beneath your feet and that peat is from thousands and thousands of years of degraded trees and flora... you hear the silence between the wind and the birdsong of the skylarks and you notice the detail that are just invisible from the car window." On Land Access Rights: "Everything you say is privately owned. And they're saying, yes, but it's a national park. How can it be privately owned? Then I kind of delve into our history of 1066. William the Conqueror comes in, conquers and divides upon our land... leading to what we still have today, which is only access to 8% of our land." The Landscape Holds Memory: "It isn't just a national park, it's a walk through time... And it's just this plethora of history everywhere that you can see that you won't experience anywhere else." Chapters 00:00 Exploring Dartmoor: A Unique Landscape 05:16 Guiding Experience: Skills and Qualifications 08:58 Why Americans Should Visit Dartmoor 11:21 Personalized Tours: Tailoring Experiences 13:06 Favorite Routes: Discovering Dartmoor's Essence 15:58 Historical Context: The Dartmoor Massacre 17:20 Dartmoor Ponies: A Unique Species 19:48 Preparing for Tours: Research and Recce 22:39 Conservation Challenges: Dartmoor's Ecosystem 24:52 Land Ownership: Understanding Dartmoor's Rights 29:33 Dartmoor vs. National Parks: A Unique Experience 31:16 Connecting with History: Engaging American Visitors 32:45 Cultural Influences: Literature and Dartmoor 34:52 Walking Tours: A Deeper Connection to Dartmoor 36:55 anglotopia-podcast-outro.mp4 Video Version

Episode #329 | BCC's Big Strange Vacation begins! Guest co-host Steve Berg joins Michael and Riley for a look into the fascinating history of Stonehenge! Plus: Steve shares his encounter with a possible cryptid in Colorado, the debut of "History or Mystery?" and the arrival of the Buga Sphere!  Big Strange Vacation Merch! Watch this Episode on YouTube Michael's eBay Shop Buga Sphere -- SHOW INFORMATION Bigfoot Collectors Club is produced by Riley Bray. Patreon - BCC The Other Side: https://bit.ly/3CGjYcd YouTube Channel: https://www.youtube.com/@bigfootcollectorsclub Merch: https://bigfoot-collectors-club-podcast-shop.fourthwall.com Listener-Files Submissions: BigfootCollectorsClub@gmail.com. Instagram: https://bit.ly/3W7izlL | Blue Sky: https://bsky.app/profile/bccpodcast.bsky.social Our theme song is “Come Alone,” by Suneaters, courtesy of Lotuspool Records. Follow Suneaters on Spotify https://bit.ly/3XnD4vS Learn more about your ad choices. Visit podcastchoices.com/adchoices

“This is not a place for grieving; it is a place for rest.” Part one of the longest notes Darien has ever compiled for the show. Other topics include Egypt being really old with a lot going on, the true purpose of pyramids, Darien refusing to be distracted by DJ's shenanigans, a brief pitstop to look up all Seven Wonders of the Ancient World, how annoying it would be to get call in for pyramid duty on your day off, celebrations of corn and leavened bread, and some perhaps unfair criticism of Stonehenge.Content Warning: This episode contains mentions of and conversations about death, the afterlife, homophobia, transphodia, imperialism, and colonization. Learn more about the Human Rights Campaign: https://www.hrc.org/Once Upon a Dream: A Twisted Tale bonus episode available NOW on Patreon! https://www.patreon.com/musesofmythologyAbout UsMuses of Mythology was created and co-hosted by Darien and DJ Smartt.Our music is Athens Festival by Martin Haene. Our cover art is by Ranpakoka. Find him on Instagram @Ranpakoka Love the podcast? Support us on Patreon and get instant access to bloopers, outtakes, and bonus episodes! Patreon.com/musesofmythologyGet you hands on podcast merch at Musesofmythology.com/merchFind us @MusesOfMyth on Instagram. Find all of our episodes and episode transcripts at MusesOfMythology.com----------------------- Support the show

Dale Vince is a former new age traveller. In 1985 he was beaten up by police and arrested during the infamous Battle of the Beanfield at Stonehenge. And he's also the inventor a string of transformative technologies: the world's first green energy company, the electric supercar, and the Electric Highway charging network. The last of […]

It took seven seasons, but it finally happened with Gillian Anderson's writing and directing debut, "all things". The FIRST X-FILES EPISODE DIRECTED BY A WOMAN is a poetic meditation on coincidence, circumstance, Buddhism, transcendence and healing. It's got a soundtrack featuring 90s electronic stalwart Moby. And Mulder goes to Stonehenge in it! Plus, there's some sexy stuff too! Join us as we discuss the episode, its place in time, and take dips into the MouthGarf Report and I See What You Did There!Please give us a 5 star rating on Apple Podcasts! Want to ask us a question? Talk to us! Email debutbuddies@gmail.comListen to Kelly and Chelsea's awesome horror movie podcast, Never Show the Monster.Get some sci-fi from Spaceboy Books.Get down with Michael J. O'Connor's music!Next time: First Legend of Zelda

Stonehenge, Chichen Itza, Angkor Wat... These Monolithic sites were built  to celebrate the Solar calendar, but even right here in Northern Arizona ancient cultures were documenting the movement of the Sun and changing of the seasons!  Check out Solstice Mesa in this month's Backyard Astronomer. #solstice #Prescott #arizona #indigenous #astronomy #STEM Follow us at facebook.com/BackyardAstronomerAZ Check out the NAZ Astro mission of STEM education at facebook.com/NAZAstro Support STEM education patreon.com/NAZAstro Our awesome sponsors: facebook.com/manzanitains www.Manzanita-Insurance.com www.ManzanitaAccounting.com

Gene and cohost Tim Swartz present a super special paranormal roundtable discussion featuring Paul Dale Roberts, Paranormal Soul Brother (Xandean X)  and Phil D'Asaro. Paul is also known as The Demon Warrior and is a Fortean Investigator who investigates all things paranormal from ghosts to demons to cryptids to UFOs. He has investigated loads paranormal hot spots that include  Area 51; Skinwalker Ranch, Stonehenge and even the victim locations of well-known serial killers. Paul writes for Costa Rican Times, Un-X Magazine, Phenomena Magazine, Outer Limits Magazine and Paranormal Underground Magazine. Paranormal Soul Brother is known for his acting career on WKRP Cincinnati. In addition to his YouTube channel, he is a professional dancer and performer. He also works as a podcaster and Fortean investigator that investigates ghosts, demons, UFOs/UAPs and cryptids. Phil D'Asaro is a USMC veteran, computer engineer, and an award-winning documentary filmmaker. His books include: "Sacramento City of Blood" (2019) and "My Dog Julio" (2022). Phil's podcasts include "Cities of Blood Podcast" and "The Waiting room 2024-2025." The discussion will focus on a range of topics, including the most notorious location for serial killers and various paranormal encounters.Become a supporter of this podcast: https://www.spreaker.com/podcast/the-paracast-the-gold-standard-of-paranormal-radio--6203433/support.

Total sexy! Im lustigsten Schmuddelpodcast des beginnenden Sommers parlieren die beiden spätpubertierenden Best-Ager, Comedygiganten und besten Komiker Deutschlands gut gelaunt und bildgewaltig (nur zu sehen auf YouTube) vor der Kulisse des sagenhaften Lago Maggiore über alles und nichts und bauen Stonehenge nach. Viel Spaß beim #bestpodcastever

Max Pearson presents a collection of the week's Witness History interviews from the BBC World Service. Our guest is Dr Nivi Manchanda, a reader in international politics at Queen Mary University in London.First, a moment when two cultures clashed in 1985 at Stonehenge.We hear about an English language novel from 1958, called Things Fall Apart.Then, the 1992 creation of the iconic Champions League anthem.Plus, how police raided the popular but controversial file-sharing website The Pirate Bay in 2006.Finally, how Canadian rock band The Tragically Hip went on one final tour, after their guitarist was given months to live in 2015.Contributors: Helen Hatt - one of more than 500 people arrested at the Battle of the Beanfield. Dr Nivi Manchanda - reader in international politics at Queen Mary University in London. Nwando Achebe - Chinua Achebe's youngest daughter. Tony Britten - composer of the Champions League anthem. Peter Sunde - co-founder of The Pirate Bay. Rob Baker - lead guitarist in the Tragically Hip.(Photo: Stonehenge protests. Credit: PA/PA Archive/PA Images)

On 1 June 1985, a convoy of New Age Travellers set off for the ancient stone circle of Stonehenge in the south of England. They were planning to hold a festival there for the summer solstice, but they were stopped by police blocking their access to the site. The authorities had heard the travellers were carrying chainsaws and petrol bombs. The police smashed the hippies' vans and tents in what became known as the Battle of the Beanfield. It was a turning point for British alternative culture. Lucy Burns speaks to Helen Hatt who was one of more than 500 people arrested that day.Eye-witness accounts brought to life by archive. Witness History is for those fascinated by the past. We take you to the events that have shaped our world through the eyes of the people who were there. For nine minutes every day, we take you back in time and all over the world, to examine wars, coups, scientific discoveries, cultural moments and much more. Recent episodes explore everything from football in Brazil, the history of the ‘Indian Titanic' and the invention of air fryers, to Public Enemy's Fight The Power, subway art and the political crisis in Georgia. We look at the lives of some of the most famous leaders, artists, scientists and personalities in history, including: visionary architect Antoni Gaudi and the design of the Sagrada Familia; Michael Jordan and his bespoke Nike trainers; Princess Diana at the Taj Mahal; and Görel Hanser, manager of legendary Swedish pop band Abba on the influence they've had on the music industry. You can learn all about fascinating and surprising stories, such as the time an Iraqi journalist hurled his shoes at the President of the United States in protest of America's occupation of Iraq; the creation of the Hollywood commercial that changed advertising forever; and the ascent of the first Aboriginal MP.(Photo: The Battle of the Beanfield. Credit: Getty Images)

Seit Tausenden von Jahren stehen sie als stumme Zeugen längst vergangener Kulturen mitten unter uns. Die Rede ist von den Megalithen. Sicherlich kennt fast jeder Stonehenge in England, aber allein in Schleswig-Holstein lassen sich über 300 Strukturen finden. Warum wurden diese Bauwerke errichtet? Wie hat sich ihre Bedeutung im Laufe der Jahrtausende verändert und welchen Einfluss hatte die Christianisierung Europas? Antworten auf diese Fragen liefert André Kramer in seinem neuen Buch. Ihr könnt dreimal das Buch „Die Erben der Megalithen“ aus dem Sequoia-Verlag gewinnen. Dafür schickt eure Gewinnspielmail mit dem genannten Betreff bis zum 12.06.2025, 23:59 Uhr an: info(at)hoaxilla(dot)com. Wie man uns unterstützen kann, könnt ihr hier nachlesen. Zum HOAXILLA Merchandise geht es hier QUELLEN Story der Woche: Die versteinerten Sowjet Soldaten Thema der Woche: Der Youtube-Kanal der GEP mit Andrès Analysen Die weiteren Bücher von André * *Affiliate Link

Ryan and Suzanne are back to bring you the latest UFO and space-related news, including: - David Grusch "bitch slaps" UFO insiders in a SCIF.- A UFO crashed into a fighter jet.- AARO explores new options to better track UFO reports.- Crop circle discovered AGAIN near Stonehenge.- Spielberg talks DISCLOSURE with Steven Colbert.- Thomas Jane talks upcoming Contact in the Desert event.Please take a moment to rate and review us on Spotify and Apple.Book Ryan on CAMEO at: https://bit.ly/3kwz3DOPatreon: http://www.patreon.com/somewhereskiesByMeACoffee: http://www.buymeacoffee.com/UFxzyzHOaQPayPal: Sprague51@hotmail.comDiscord: https://discord.gg/NTkmuwyB4FBluesky: https://bsky.app/profile/ryansprague.bsky.socialTwitter: https://twitter.com/SomewhereSkiesInstagram: https://www.instagram.com/somewhereskiespod/Tik Tok: https://www.tiktok.com/@ryansprague51Order Ryan's new book: https://a.co/d/4KNQnM4Order Ryan's older book: https://amzn.to/3PmydYCStore: http://tee.pub/lic/ULZAy7IY12URead Ryan's articles at: https://medium.com/@ryan-sprague51Opening Theme Song by SeptembryoCopyright © 2025 Ryan Sprague. All rights reservedSupport this show http://supporter.acast.com/somewhere-in-the-skies. Hosted on Acast. See acast.com/privacy for more information.

Have you ever had a bad day - or even just an uninspired day - that was completely turned around by one tiny act of kindness? A compliment from a stranger that leads to a 10-minute chat about your favourite neighborhood shops? A heartfelt email from a client thanking you for helping them achieve a big breakthrough? Or even something as simple as a barista giving you a complimentary still-warm-from-the-oven cookie?These moments of human connection are SOOO meaningful because they show us we're SEEN and appreciated in a world that can feel disconnected!

Who were the Beaker People? What was their contribution to the building of Stonehenge? And did their arrival in Britain really lead to the obliteration of the indigenous population? Here, in conversation with Spencer Mizen, Mike Parker-Pearson answers the most pressing questions on the prehistoric culture that changed Britain for good. The HistoryExtra podcast is produced by the team behind BBC History Magazine. Learn more about your ad choices. Visit podcastchoices.com/adchoices

High Cities | CGI characters | Rubbish Recorders!Recorder song link: https://www.youtube.com/watch?v=nF7lv1gfP1QBecome the smartest person in the room - for ten minutes! Protect your brain by using it. Memorise these epic facts!You can learn about woolly mammoths and whether they lasted long enough to see Stonehenge being built. We talk about diamond sales, engagement rings, and end up with some cryptic clues for clothing items. Truly, 10 of the best pub quiz questions out there!Exciting news coming soon!---Created and Presented by James at Quiz Coconut.Music and Editing by Jules at Abstract Source: abstractsource.co.ukDesign by Ben at Ich Bin Ben: ichbinben.comQuiz CoconutUK: www.quizcoconut.co.ukCanada: www.quizcoconut.caWorldwide: www.quizcoconut.comEmail james@quizcoconut.co.uk to talk to us!

Congratulations! You've won an all-expenses-paid vacation with Griffin, David, Ben, and Jon Gabrus to Europe! Only downside is…well, you have to watch this movie. From the strange cultural stereotypes to the unfortunate lack of jokes, Amy Heckerling's sequel to National Lampoon's Vacation isn't the smoothest trip. But, it certainly gives us an excuse to talk about one of the most beloved franchises of the 1980s! Join us for Stonehenge stories, a deep dive into Beverly D'Angelo's incredible biography, travel talk, and a whole lot of Chevy chat. Listen to Action Boyz and Staying Alive Sign up for Check Book, the Blank Check newsletter featuring even more “real nerdy shit” to feed your  pop culture obsession. Dossier excerpts, film biz AND burger reports, and even more exclusive content you won't want to miss out on. Join our Patreon for franchise commentaries and bonus episodes. Follow us @blankcheckpod on Twitter, Instagram, Threads and Facebook!  Buy some real nerdy merch Connect with other Blankies on our Reddit or Discord For anything else, check out BlankCheckPod.com  Learn more about your ad choices. Visit megaphone.fm/adchoices

Philippians 2:10 mentions things under the earth. What is there? Is there something more? Today, the men talk about this and other connected issues like the pyramids and Stonehenge.

Thousands of years ago, ancient cultures across Europe built massive stone structures with extraordinary precision. Scottish engineer Alexander Thom discovered these sites all used the same exact unit of measurement: 2.72 feet, which he called the Megalithic Yard. This measurement appeared everywhere, from Stonehenge to the Scottish Isles, at sites separated by thousands of miles and built across thousands of years. These structures weren't just monuments - they were sophisticated machines that tracked celestial movements with astonishing accuracy. How did ancient people without writing or advanced tools achieve such mathematical precision? Why does this measurement connect to fundamental constants of the universe? And most puzzling: why did they suddenly stop building these structures? https://www.youtube.com/watch?v=B70KYVTJ1is&t=125s Sources: Bright Insight: You Won't Believe This Disturbing Gobekli Tepe Update    • You Won't Believe This Disturbing Gob...  Bright Insight: The Gobekli Tepe “Situation” is WORSE Than I Thought    • The Gobekli Tepe “Situation” is WORSE...  Atlantis Rises, Lemuria Falls: The War that Sank a Continent    • Atlantis Rises, Lemuria Falls: The Wa... 

Deep in the wilds of Karelia, Russia there is an unassuming Mountain with a mysterious secret. It is called – Mount Vottovaara, aka ‘Russia's Stonehenge' where mysterious stone stacks frame the solstice sun. Cameras fail, compasses spin, the air feels heavy and time seems to warp.  Sámi lore calls it a sacred portal to “other worlds.” Modern hikers report lost hours, eerie orbs, and phantom figures on horseback.  Plus we have listener stories that include time loss during a close call with fae in the forest, a spontaneously combusting violin, and a paranormal cold war era political drama over ‘The Pumpkin Papers'. Watch the Video Version here. Have ghost stories of your own? E-mail them to us at twogirlsoneghostpodcast@gmail.com New Episodes are released every Sunday at 12am PST/3am EST (the witching hour, of course). Corinne and Sabrina hand select a couple of paranormal encounters from our inbox to read in each episode, from demons, to cryptids, to aliens, to creepy kids... the list goes on and on. If you have a story of your own that you'd like us to share on an upcoming episode, we invite you to email them to us!  If you enjoy our show, please consider joining our Patreon, rating and reviewing on iTunes & Spotify and following us on social media! Youtube, Instagram, TikTok, Facebook, and Discord. Edited and produced by Jaimi Ryan, original music by Arms Akimbo! Disclaimer: the use of white sage and smudging is a closed practice. If you're looking to cleanse your space, here are some great alternatives! Learn more about your ad choices. Visit podcastchoices.com/adchoices

Sally Heart “From Mary Magdalene To The Dragon Realms” Sally is a gifted psychic who works with a range of higher vibrational beings such as Star Family, Unicorns and dragons as well as ascended masters such as Mary Magdalene and Mother Mary. She can channel their wisdom through by speaking or automatic writing. She offers 1-1 spiritual development sessions, womb healing with Mary Magdalene, women's circles, and an online meditation circle and is going to be starting an online women's circle soon. Sally has started offering guided tours to sacred sites in her area in the UK (near Glastonbury and Stonehenge) and channels through messages and information for the group. You can connect with Sally via her website or on social media. www.heaven2heart.com Sally Heart (@heaven2heart_) • Instagram photos and videos

This conversation delves into the mysteries of Stonehenge, exploring its construction phases, the theories surrounding its purpose, and the enigmatic Kentucky meat shower. The discussion highlights archaeological findings, historical significance, and various conspiracy theories that have emerged over time.

What's up, Land of the Living? Today the DIE team is talking about Stonehenge! How did it get there? What was it used for? How does it relate to death? Explore this ancient mystery with us!Thanks for listening, Land of the Living! Subscribe, and follow us on Instagram @die.podcast  for updates! Check out deathiseverything.com for merchandise, our mailing list, and more!#deathiseverything #DeathIsEverythingPodcast  #DIEwithMarianne #DIEwithMarianneandChris #DIEwithMCA #deathinpsiration #deathpodcast #LApodcast #takingchances #landoftheliving #stonehenge

Join us as we explore the iconic Stonehenge! We delve into its history and significance, share our personal experience visiting the site, and round things off with some funny negative reviews and a look at future research. It's a mix of history, adventure, and laughs you won't want to miss!LinksStonehenge English Heritage website'I visited this popular UK landmark - it was a total rip off and massively disappointing'Just how far did Neolithic Britons carry Stonehenge's most famous boulder?ContactChris Websterchris@archaeologypodcastnetwork.comRachel Rodenrachel@unraveleddesigns.comRachelUnraveled (Instagram)ArchPodNetAPN Website: https://www.archpodnet.comAPN Discord: https://discord.com/invite/CWBhb2T2edAPN on Facebook: https://www.facebook.com/archpodnetAPN on Twitter: https://www.twitter.com/archpodnetAPN on Instagram: https://www.instagram.com/archpodnetAPN ShopAffiliatesMotion

What do you do if the weather gets scary? Many RVers were caught in the significant storms throughout the midwest, including us, so this week we've got some tips for staying safe while RVing when the weather gets angry. While we're avoiding these storms, our guest Emily looks for storms and the weather we run from - she's fascinating! Plus we visit the mother of all punsters at the Hillbilly Gardens where they have a toilet Stonehenge, a lawn mower version of the Cadillac ranch and so much more. You can find this week's podcast at our home on the web or wherever you enjoy getting podcasts: https://www.stresslesscamping.com/podcast/0302 The StressLess Camping podcast is a weekly RV lifestyle podcast with information, travel tips, road trips, and tricks to help every RVer and camper enjoy some StressLess Camping.

Te aseguro que no querrás ni pestañear, pues cada palabra te llevará a un universo de secretos que desafían la lógica. Desde los enigmáticos y antiguos lugares como Stonehenge hasta los terroríficos encuentros que nos aguardan en el departamento del Antipodcast. Además, exploraremos relatos escalofriantes de fantasmas y los oscuros misterios del fenómeno paranormal que, te aseguro, cambiarán tu perspectiva para siempre. Prepárate para escuchar todo lo que este gran invitado de lujo, el Dr. Miguel de  @elantipodcast  tiene para revelarnos.

Is Adam's Calendar the oldest manmade structure on Earth—or a pile of stones hyped up by ancient alien fans? We dig into South Africa's strangest mystery to find out what's real. Learn more about your ad choices. Visit megaphone.fm/adchoices