Podcasts about Swarbrick

The Encore! exhibition looks at ways connection happens through live music: being emotionally moved by a performance, connections between those on stage and those in the crowd, and the feeling of being connected to others in a music community. Some featured music venues in the exhibition include the Auckland Town Hall, Powerstation, Galaxy, Temple Bar, Crystal Palace and more. Join us for a conversation on how central Auckland venues have influenced the city over time, and what challenges and opportunities will define their future role. This panel talk consists of some well-known names such as Taylor MacGregor, Savina Fountain, MP Chlöe Swarbrick, and will be moderated by 95bFM breakfast host Rosetta Stone. Come listen to this fascinating kōrero on the future of our music scene in the city. Recorded Live on April 18, 2026. This Tāmaki Untold talk was part of the 'Opening Act" programming and was held at the Whare Wānanga, Tāmaki Pātaka Kōrero | Central City Library Introduction by Julian Backing Track is Coffee Talk by Dusty Melody

Kaitiaki Hauora has released a new analysis by Dr Jackie Cumming and Dr Bill Rosenberg looking at the funding level likely required to maintain New Zealand's public health system under current pressures. Tonight we are joined LIVE with co-author Dr Bill Rosenberg and spokesperson Dr David GallerGreen Party co-leader Chlöe Swarbrick and Act leader David Seymour discuss the cuts to public serviceThe government has updated its official branding to give greater prominence to English over te reo Māori, following a directive from new Public Service Minister Paul Goldsmith.++++++++++++++++++++Like us on Facebook.com/BigHairyNetwork Follow us on Twitter.com/@bighairynetworkFollowing us on TikTok.com/@bighairynetworkSupport us on Patreon www.patreon.com/c/BigHairyNewsCheck out our merch https://bhn.nz/shop/Donate to our work https://bhn.nz/shop/donation/

I wonder if it's time to ask the question – is Chlöe Swarbrick a bit useless? In the Herald's vast poll churn that produces the chances of the current Government being re-elected at about 88%, is the real revelation that the Greens have been going backwards since the last election? The trouble appears twofold; 1) The falls have been slow. Almost so small and slow you most probably didn't notice them. 2) Chlöe is a media favourite, so no one is really scrutinising her as to whether she's any good. Now, yes, Marama Davidson is a leader as well and I suppose you can blame her as much as you can Chlöe. But to my eye and mind it's Chlöe who is the head leader, despite their best PC intentions to spread the load, or blame. She is also not in Government, so you tend to get, if not a free ride, certainly an easier one. Now obviously I'm not a Green voter so none of this personally matters to me. But I'm all about continual improvement and the Greens are not on a path of any such thing. Under Swarbrick they have drifted. They have not grown. They are not the environmental party they once were under Fitzsimons or Donald. They are essentially angry socialists who campaign for the homeless and downtrodden. They are virtue signallers. She came to prominence because she was young. She was possibly seen as the future. To give her her dues, she has run a good ground game in Auckland Central and won her electorate and that may be her strength – a good local MP. Because she is not a good leader. If the Greens are to excel, they need to be better managed. Obviously, the Tana, Doyle, Kerekere, and Ghahraman shambles adds to the sense the place is a mess. But it's all unfolded under Swarbrick. The good news is if they want to recognise it, they can fix it. Certainly if this had all played out as part of a coalition you would have thought she would have been ejected a long time back. Saving her partially of course is the lack of talent behind her. Do you honestly see Genter or Menendez-March as saviours, or yet more of the same ill-disciplined verbal rabble? When you pare it back, look at the noise versus the outcomes and include the inescapable numbers, she has failed as a leader. So is she a bit useless? Yes. See omnystudio.com/listener for privacy information.

The Green Party's written to Government ministers asking them to use their majority owner status to pressure major gentailers to reduce power prices. Co-leader Chlöe Swarbrick says shareholding ministers, Simeon Brown and Nicola Willis, can write to the gentailers and require them to do more on energy hardship programmes. She suggests they could also call for retail prices not to surpass inflation. Energy economist Geoff Bertram says it's time action was taken to bring down the impact of the major gentailers. LISTEN ABOVESee omnystudio.com/listener for privacy information.

Well, Winston let the cat out of the bag on Friday afternoon with Heather du Plessis Allan. Oh, we're scrapping fees free in the third year, he said, you'll find that in the budget. And Finance Minister Nicola Willis has confirmed that yes indeed, the scheme will be ditched in the upcoming budget. Those students completing their tertiary studies this year in their final year will remain eligible for fees free. So, all well and good. It was a dog of a scheme, it was an absolute bribe, we all knew that. It was one of those nice policies that Labour brought in and ultimately, yet again, it didn't work. On paper it looked as though it might, but it didn't. It's a nice to have and right now we are a country that cannot afford nice things. Had it been doing what it was intended to do, what on paper it looked like it might do, then the coalition government might have found the money to continue the scheme. However, it never did, never achieved the goal of increasing the number of students participating in tertiary education. It was also really bad at getting people who were disadvantaged to take up the scheme and that was the intention behind it when Jacinda Ardern announced the policy at a decile 5 school all those years ago. Didn't work when it was first year fees free. It was a flagship policy from Labour to pay for the first year of tertiary education and then as the numbers swelled and children from decile 1 schools trooped off to university and raised themselves to the excellence they needed to find within themselves and just be fabulous, it was going to be free for anybody to go to university. Didn't work. The original intentions were to help people overcome economic barriers to higher education while also growing the numbers of those enrolled. In fact, the disparity between university entrance from low decile schools and higher decile schools got worse. The Herald applied under the Official Information Act and it showed that in 2017 the year prior to the scheme being introduced, 38% of first year students at uni came from school deciles 1 to 5, the remaining 62% from deciles 6 to 10. In 2021 that gap had widened, there were just 28% taking up the fees free policy coming from deciles 1 to 5, 72% from deciles 6 to 10. So, you know, there's any number of reasons for that. It was a period of high unemployment in 2021 because we hadn't been opening the borders to workers so you might go straight into work rather than uni. There's a number of reasons for that, but ultimately the reason for the scheme being introduced was to have a greater representation of young people from lower socioeconomic backgrounds. Didn't work. And it also doesn't work having the final year fees free in terms of encouraging people to complete their degrees because we've still got about a third of bachelor's degree level students not completing their qualifications even if they take six years to do it. So that's not working. I thought the final year fees free might encourage people to to stay on. No, data shows it hasn't. So let's be done with it. Absolutely let's be done with it. Put the money where it can better support the education and vocational needs of young people maybe. I mean university just does not have the cachet it once had and that's because it's a bums on seats model. It used to be that universities were centres for higher academic learning. And they're not now. It used to be that only a few people went to university and the taxpayer paid for them, all of their fees. Now hundreds of thousands of people go to university with a third of them never even completing their degree while the taxpayer picks up the tab for 80% of the course costs. Are we getting value for money? I don't think we are. As a model, and because the world is moving so fast, a lot of what young people are learning is out of date by the time they sit down and open their textbooks. It's not for everyone, so put that money, a lot of that money into where it can most be used by young people. I think, you know, universities still have a place, absolutely, but changing the focus away from higher academic learning to, 'hey anyone can have a go', I don't think is serving the young people, I don't think it's serving the universities and I don't think it's serving the taxpayer. The Greens have called the decision outrageous. Co-leader Chlöe Swarbrick says the Greens will fight to reinstate fees free support. They say it's a fantastic, wise and smart investment to invest in tertiary education for students and communities. Is it? The way it is right now, I don't I'm not entirely sure it is. I mean even 25-30 years ago I remember the the guy from Spark saying they don't take people from university in their technology and innovation and, I mean I'm sure they take some from other other areas, but if you're looking at the tech side of things they don't take them from university. They'd far rather have bright young things go from school into their departments, having new ideas, new innovations. And that was 25 years ago. So it's a nice to have the fees free tertiary education. If it was delivering, you might think about finding the money. It's not, not on any metric, not on any level. And if the Greens think it's a smart investment, you'd have to worry about their financial nous, wouldn't you? LISTEN ABOVESee omnystudio.com/listener for privacy information.

Duncan and the panel dive into the massive reaction following our interview with Chlöe Swarbrick. We hear from Andrew, a Dunedin business owner who says politicians are trading on "vibes" while real people pay the price. Plus, we discuss the government scrapping the BSA and the growing calls for a social media ban for under-16s. Learn more about your ad choices. Visit megaphone.fm/adchoices

We're diving deep into the state of New Zealand Politics. Duncan questions why we're importing thousands of workers while 215,000 Kiwis sit on Job Seeker support. It's lazy policymaking that leaves taxpayers picking up the bill while businesses avoid training locals. Green Party co-leader Chlöe Swarbrick joined us to discuss a very different path forward. She's backing a wealth tax on the "tippy top" 3% of New Zealanders to fund income tax cuts for the other 91%. The ambition from the Greens is clear; they aren't content being the junior partner anymore. Chlöe has her sights set on the Finance Minister role, promising to "electrify everything" to bring down power bills and take a tougher stance on corporate profits. Whether New Zealanders are ready for such a radical shift in the tax system remains the big question for the upcoming election. Learn more about your ad choices. Visit megaphone.fm/adchoices

The Green Party wants us to electrify everything, saying the current fuel crisis is a good reason to produce as much of our own energy as possible. Which, by the way, is kind of ironic don't you think? The Greens wanting us to produce our own energy, but not wanting us to drill for oil and gas? Nevertheless, that's what co-leader Chlöe Swarbrick said in the party's State of the Planet speech yesterday. She wants to kick things off with solar panels. And one of the Greens' policies in this year's election will be cheap government loans for solar panels and batteries. Which I think is one of those ideas that sound good but, when you think about it for more than five minutes, the cracks start to appear. Nevertheless, Chlöe Swarbrick says cheap government loans would cut the upfront cost barrier that stops people going solar. And she says it could cut household power bills by $1,000-a-year. Which all sounds fine. But would it be enough to make me go solar? Probably not. Because the thing i can't get past with solar, is the upfront cost and the mystery that surrounds the so-called financial benefits. You will have seen and heard the stories I'm sure about people paying all the money to get solar panels on the roof at home and not seeing their power bills get any cheaper. There are also the conflicting reports about the merits of selling solar energy back into the national grid. Whether the payback is worth it. Until that murkiness no longer exists, I don't see myself rushing to go solar anytime soon. As for this idea of cheap government loans for solar panels and batteries, here's the issue I have with it. Yes, it would take away the upfront cost. But debt is debt. Irrespective of how low the interest rate is. And, while the greens claim you might end up with cheaper power bills, you'd still have this debt to service. So your monthly power bill might be cheaper, but you'd still have to service the loan from the government. According to the energy efficiency and conservation authority, a small-to-medium solar set-up will cost somewhere between $8,500 and $11,500. That's just for the panels. The batteries, on top of that, can range from $5,000 to $15,000. So let's go with the median prices and say that your panels will cost you around about $10,000 and the battery around about $10,000, as well. So, $20,000 all up. In the scheme of things, that isn't all that much. But, according to the energy efficiency and conservation authority, it takes on average seven-to-10 years for solar to pay for itself. For the money saved on power to pay back the upfront cost of installing solar. And that's where this policy from the greens doesn't stack up. Because if it's going to cost $20,000 upfront and they say people are going to save $1,000 a year on their power bills, then it's going to be 20 years before their solar set-up pays for itself. And that, for me, is enough to say thanks, but no thanks. LISTEN ABOVESee omnystudio.com/listener for privacy information.

The PM spent much of his Monday morning talking about the TVNZ poll and his leadership. There was one change in this weeks conversations and that is that both Chris Bishop and the PM have confirmed that there 1s a faction in National who are speaking to the media about Luxon's leadership, what that means though is anybody's guess.Chris Bishop joined Jack Tame on the weekend to talk about the ructions in National confirming there were some calls coming from within the house and also defended changes made to the Clean Car Rebate and promise to build charging stations even though they have made our electrification of NZ much, much worseThe Green Party co-leaders Marama Davidson and Chlöe Swarbrick have delivered their 'State of the Planet' speeches in Wellington on Sunday where they are calling for a national plan to electrify homes, transport and industry with natural energy, as a response to the fuel crisis.++++++++++++++++++++Like us on Facebook.com/BigHairyNetwork Follow us on Twitter.com/@bighairynetworkFollowing us on TikTok.com/@bighairynetworkSupport us on Patreon www.patreon.com/c/BigHairyNewsCheck out our merch https://bhn.nz/shop/Donate to our work https://bhn.nz/shop/donation/

Energy security is shaping up to be the hottest item on this year's election agenda, and with good reason. Ask any business who's about to renew an energy contract, any transport business who's battling the price of diesel, or any factory or mill thinking about mass layoffs and shutting up shop. In Hawke's Bay, CEOs are organising an energy summit in June. Their business leaders voted energy as their top concern. Bombing in the Middle East might be in pause, bar Beirut, but the energy price battle is far from over. And it's time for our politicians to put their swords down and agree on a long term energy strategy that addresses the new world we're living in. Post ceasefire, oil is still more than 30% more expensive than it was before the war. Gas is 40% higher. There's a piece in The Economist, well worth a read, that sets out the problem well. Infrastructure's been damaged and takes time to repair. When the tankers start moving, the insurance premiums will cost an arm and leg. That's before ships take the risk of sailing in the opposite direction back into the Gulf again while a shaky ceasefire is in play. We've now all learnt that a few drones and terrorists with speed boats is all it takes to choke supply. Oil will find a way, from other regions, or overland by pipes, but all this takes time and costs money. I had Chlöe Swarbrick and David Seymour in my show yesterday and they both disagreed with each other on what mix of energy solutions we need to keep trucks, factories, and businesses moving. But the fact is they both have valid points and all parties should compromise and agree on an energy plan we can all agree on. Whether that's LNG, over-building renewables (as Sir Rod Drury argues), more drill baby drill, tanks at Marsden Point, coal for Huntly, or a combination of all of the above, political consensus is the missing ingredient to make ensure NZ Inc can keep the lights on. See omnystudio.com/listener for privacy information.

Nicola WIllis was on Breakfast talking about the fuel crisis, she had a particularly bad moment when Tova O'Brien challenged her about NZ families spending $100m more per week on petrol without help for most from the government.Carmel Sepuloni and Christopher Bishop went head-to-head this morning on Winston's surge and the placement poverty that students are facing at the moment.Chloe Swarbrick and David Seymour spar on NZ Herald NOW over the TPU poll and the cease fire leaving NZ exposed due to our fuel dependence++++++++++++++++++++Like us on Facebook.com/BigHairyNetwork Follow us on Twitter.com/@bighairynetworkFollowing us on TikTok.com/@bighairynetworkSupport us on Patreon www.patreon.com/c/BigHairyNewsCheck out our merch https://bhn.nz/shop/Donate to our work https://bhn.nz/shop/donation/

Shower Thoughts -- this is where we find an expert to answer your curious questions about the world and how it works. And tonight, we're prying open the doors of parliament to ask how do you ask and get a question answered in parliament.  Joining Emile to explain it all are MPs Chris Penk and Chlöe Swarbrick.

As the cost of fuel continues to rise, the Green Party is offering its support to National, to pass a relief package. Co-leader Chlöe Swarbrick spoke to Ingrid Hipkiss.

In today's edition of Fuel Watch, the Green Party is offering its votes to the National Party to get on with passing what the Greens call a sensible and urgent fossil fuel crisis relief package. And you know what, it is quite sensible. They're not suggesting a horse and cart for every home - that's sensible. With the Greens and National's combined 63 votes, the Greens say you don't need any other political party to get this through. Their proposed package includes making public transport free for users, not forever, just while the Straits of Hormuz are compromised, a relief payment for low income people or people who live rurally to help meet additional transport costs, a windfall profits tax to prevent corporate price gouging, that's particularly Green, I think you'd be fair to say, reversing changes to school bus eligibility and routes, temporary expansion of eligibility for school buses, reversing the government's intended reduction in total mobility support for disabled people, and increasing the mileage rates to the 23,000 care and support workers to meet their actual travel costs, which we discussed the other day. Now, none of these are particularly silly, are they? Chlöe Swarbrick, the Green Party co leader, says New Zealanders expect politicians to do everything we can to support people through this immediate crisis and to minimise future vulnerability by reducing fossil fuel dependence. And she's not wrong. You know, normally we would probably be able to weather this particular storm. It won't last forever, there'll be a resolution one way or the other. And, normally families would be able to accommodate this, but it's been five years of scrimping and saving and compromising for many, many working families. You know, they've had to cope with inflation and increases in mortgage payments or rents, increased food costs, increased insurance, increased rates, things that you simply cannot compromise on. These are things you have to have, they're not nice-to-haves, they're must-haves, and it's been tough going. And for many families, this is like the straw that breaks the camel's back. It wouldn't be forever, the sort of relief they're talking about. It wouldn't be, I suppose they'd quite like to see, you know, public transport being free forever, but you know, I think that's not what they've said. They've said that there are people right now who are hurting, who cannot, cannot make any further compromises in their budgets, and they need assistance. I don't think there's a lot wrong with what they're suggesting. I know this coalition government, quite rightly, is wary of throwing money out to all and sundry, as we saw with the Covid spend up, but I'm absolutely certain they have the tools and the philosophy to target assistance where it should be targeted, as the Prime Minister bangs on, you know, timely, targeted, and temporary. So that's precisely what the Greens are suggesting. Nicola Willis, the Finance Minister, has ruled out across the board price cuts, fair enough, not everybody does need support. We grabbed the PM on his way out after chatting to Mike and said, well come on, what about the Greens? And he said, "yes, yes, yes, we're already working on some of these measures", but all very well and good. The people who need support needed it last week, not yes, yes, yes, we're working on it, you know, in the future. People need it now to get to work. And people are willing to use the buses. I don't know what's happening in your city, but in Auckland, it recorded its busiest day on public transport in seven years, and that was last Tuesday. 7,000 more trips than the previous busiest day, which was two weeks ago. So people are, are feeling it. And if they can make alternative transport arrangements, they will. And if they find, through trying out public transport, that it actually works for them, that's got to benefit everybody. The road users, public transport, people's pockets. Just because the Greens suggest something, I don't think it should be dismissed or snorted at, you take every suggestion on its merits, and in this particular case, I think the Greens have got a point. I note that their targeted assistance didn't cover the food producers, and I think they could probably do with a break. I think John talked about that when he was doing the show. You know, and they may well be able to get through this without having to hoick the prices up too much. I suppose it's a bit much to expect the Greens to offer targeted assistance to food producers. They seem to think we should all be breatharians, but does this cover off the Green's suggestion, the public transport free for users for a certain amount of time, a relief payment for low income people or people who live rurally, increasing the mileage rates for the care and support workers? I don't see that as being particularly egregiously extravagant or silly or nonsensical. These are the people who need help, who need it now, and who need that help while the oil prices are going through the roof and consequently the price at the pump is going through the roof. There's only so much people can take, and they've taken a lot, these working families, for the last five to six years. LISTEN ABOVE See omnystudio.com/listener for privacy information.

New Zealand works harder than ever - so why does it feel like we're falling behind?In this episode, we sit down with Chlöe Swarbrick, co-leader of the Green Party, to unpack wealth tax, inequality, productivity, housing, KiwiSaver, capital gains, and why New Zealand's economy is stuck in a loop of speculation instead of innovation.Chlöe does not endorse any products or services provided as per Parliamentary standards.For more money tips follow us on:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠The content in this podcast is the opinion of the hosts. It should not be treated as financial advice. It is important to take into consideration your own personal situation and goals before making any financial decisions.

Winston Peters is moving to make English an official language in law, and the reaction from the Greens has been an absolute meltdown. Duncan and the panel dive into why this administrative tweak is being framed as a moral emergency. Plus, we look at the deeply disturbing job market numbers and the latest push for censorship on social media. Learn more about your ad choices. Visit megaphone.fm/adchoices

INTERVIEW: Chlöe Swarbrick on talk @Pearl Diver, general election strategy and proposed natural gas terminal by Zac Hoffman on Radio One 91FM Dunedin

Mangakahia sisters Leah Timoko and Kirsty Tuhiwai join us tonight to talk about their new employment platform that aims to flip the recruitment model on its head. Instead of jobseekers having to submit one “soul-sucking” job application after another and employers having to sift through hundreds of applications, You Will Find is a candidate-focused database where employers can search through candidates and approach the most appropriate. Check out the site at www.youwillfind.co.nzFinance Minister Nicola Willis has denied playing politics with her announcement that a review into the Reserve Bank's Covid response would be released in September, just months before the election. Green Party co-leader Chlöe Swarbrick described the timing as “a bit sus”.New Zealand First will campaign on a referendum to determine the future of the Māori seats in the lead-up to November's general election. Party leader Winston Peters said in contemporary times, the seats built a more representative Parliament but with record levels of Māori MPs in the House, they were redundant.++++++++++++++++++++Like us on Facebook.com/BigHairyNetwork Follow us on Twitter.com/@bighairynetworkFollowing us on TikTok.com/@bighairynetworkSupport us on Patreon www.patreon.com/c/BigHairyNewsCheck out our merch https://bhn.nz/shop/Donate to our work https://bhn.nz/shop/donation/

The headline on one of the stories this morning said, "vital or bonkers?". Is the new liquefied natural gas terminal announced by the Government yesterday a vital piece of infrastructure that will save New Zealand households hundreds, shore up gaps in our energy supply, give confidence to our manufacturers, or as the Greens are saying, absolutely bonkers for the planet and for our country's energy resilience? Energy Minister Simon Watts announced yesterday that the new terminal to be built in New Plymouth should be ready by next year, and will mean that Kiwis no longer need to suffer through an endless series of winter bill shocks. The idea is that liquid natural gas can be imported in large volumes, we'll store it, and then it will be re-gasified to be used when shortages occur during dry years. It's expensive. It's an expensive way of doing it. An expensive “just in case”, but Simon Watts says, well we can't afford not to, otherwise it means the end of businesses. Greens co-leader Chlöe Swarbrick says the decision to build a terminal is cooked. Well, you wouldn't be able to cook it unless there was some form of energy supply, so it's not a terribly good analogy because something can only be cooked when there's energy, and what they're doing is providing energy. She said Christopher Luxon has once again chosen to throw New Zealanders' money at fossil fuels, which is bad for power bills, energy security, and the planet. But as Simon Watts told the Mike Hosking Breakfast this morning, this will quite literally power New Zealand's economy and we can't afford not to do it. “The reality is renewables are nice, but the sun doesn't shine during the night and that's when we need firming capacity and thermal capacity. In a dry year when we don't have enough water in those lakes, we have to make that from either gas, diesel, or coal. Coal only covers 50% of us, we've still got a massive gap. That's why there's a price premium in people's bills. Having the certainty of supply of gas to come into that market when we need it means that that risk is mitigated and therefore that price premium that's in people's bills comes off. That's the rationale of what we're doing here. “This is a strategic investment also for national security because guess what, if you can't have energy then other aspects of your economy is at risk and we've got to protect those industries that can't run on coal and surprisingly can't run on electricity. There's a lot of industry, heavy industry that needs gas and if we haven't got it domestically in the short term, we need to be able to import it.” Yeah. Like absolutely phase out fossil fuels, totally, let's do it and we've been talking about it since probably the 70's – possibly earlier than that. I mean that's when I first started reading newspapers when I was at primary school and that's when I can remember talking about the need not to rely on fossil fuels. All for it. But you have to have a reliable alternative – a sustainable, inexpensive alternative. You can't just stop producing energy without providing another sustainable source of power. Hoping and wishing for something better and nicer and cleaner and greener is not a strategy. You can't just legislate sustainable energy out of thin air. Look at the disastrous result of various governments around the world legislating to force car manufacturers into producing more EVs to save the planet. Major automakers and EV startups have collectively incurred more than $114 billion , and those are real dollars, $114 billion in losses on EVs in the US and Europe, in basically three and a half years between 2022 and early 2026, driven by aggressive government electrification targets that outpaced consumer demand. People weren't convinced. Show me the electrical network that can sustain me being able to power these vehicles. Show me that they're safe. Show me that they're suitable for all terrains and all weather. As of February 2026, the cumulative financial hit from vaporised EV bets, write downs, and production cuts for the big three Detroit automakers GM, Ford, and Stellantis is estimated at roughly $52.1 billion. You might have heard Mike talking about Stellantis shares going down the toilet this morning. You can't just make people do things. This is a top down decision from the governments – we will not use fossil fuels. The people at the bottom who are making stuff, generating exports, providing jobs, driving to get from point A to point B, either driving their exports to different ports or driving to work to produce the exports, have to be convinced and confident that there's another source of energy that is reliable, sustainable, and relatively inexpensive that doesn't put their exports beyond the reach of buyers. And until such time, they're not going to they're not going to fall into line because it would be financial suicide. It's a nice idea, it absolutely is, and we make the most of what we have, the resources around us, where they're renewable, yes let's use them. But the Greens won't let us put in any hydro dams. Can you imagine? I think my grandchildren's grandchildren probably wouldn't live to see that. There's not enough sun, as Simon Watts said, it's dark at night. The wind is not consistent. It's pie in the sky. Until such time as we have sustainable, inexpensive alternative fuel sources, we need to shore up the energy supply we have now. Sure, save the planet, but if there's nobody bloody on it, what's the point? See omnystudio.com/listener for privacy information.

Labour and the Greens joined forces at Waitangi today to make their priorities clear ahead of the upcoming general election. Labour leader Chris Hipkins describes the party as fractured, and says the parties need to work through their internal issues. Green Party co-leader Chlöe Swarbrick says there's a lot of things the parties can work together on and they'll stand side by side to prove that to voters. "New Zealanders are going to be paying attention. That is a really exciting proposition for us as a country, and I don't think politicians or any political party is entitled to absolutely anything and I make that point, particularly, about the legacy parties." LISTEN ABOVESee omnystudio.com/listener for privacy information.

With a Pharmac advisory panel provisionally recommending funding weight loss drug Wegovy, we spoke with Auckland University Professor of Global Health and Nutrition Boyd Swinburn. Plus, we asked Labour leader Chris Hipkins what he does and doesn't like about the proposed free trade agreement with India. The opposition is calling for more transparency over New Zealand's talks with the United States about the supply of rare and critical minerals, we spoke with Green Party co-leader Chlöe Swarbrick. Lucy Naylor from the Auckland Primary Principals Association talked us through the changes to school reports, and major insurance company AA has confirmed it isn't offering new home insurance policies in Woodend; we spoke with Amanda Newson.

Today’s farmer/politician panel discusses Fred Dagg, a big RMA announcement tomorrow, changes to micro abattoir rules, a hornet update, doing battle with Chlöe Swarbrick over emissions and Shane’s latest flip-flop on fishing.See omnystudio.com/listener for privacy information.

Last time we yarned, he coined the phrase “a demonic egg beater” when referring to Chlöe Swarbrick. What will he call her, and who will be in the firing line today? The Prince of the Provinces, Matua Shane, also tackles the failed ETS auctions of 2025, ridding us of the “green banshees” and the regional councils, capping local body rates at 2-4%, and selling off state assets, including Pāmu.See omnystudio.com/listener for privacy information.

Green Party co-leader Chlöe Swarbrick says recent changes to the Zero Carbon Act and emissions reductions plans don't add up and will leave New Zealanders paying billions to meet international climate obligations. Swarbrick spoke to Corin Dann.

Nicola Willis and Tangi Utikere joined Morning Report this morning for the Weekly Political Panel; Green Party co-leader Chlöe Swarbrick says recent changes to the Zero Carbon Act and emissions reductions plans don't add up and will leave New Zealanders paying billions to meet international climate obligations. Swarbrick spoke to Corin Dann; The NZ Breakers have made a collective decision not to wear the rainbow Pride flag on their uniform during next year's NBL Pride Round. Ian Roberts, Australia's first openly gay NRL player and advocate spoke to Ingrid Hipkiss; A patient advocate has suggested many Kiwis would be willing to pay more tax, if it can be ring fenced to only be spent on health. Malcolm Mulholland spoke to Ingrid Hipkiss; A rare pink grasshopper has been spotted hopping through Canterbury's Mackenzie Basin. Department of Conservation ranger Jen Schori spoke to Corin Dann.

Have you ever looked at someone wildly successful & thought “There's no way they have ADHD”?Well my friend, buckle up… because in this episode we're celebrating 14 big achievers who all have ADHD (some with a little extra neuro-spice too!). Their success isn't in spite of ADHD - it's often because of it.From world-class athletes like Simone Biles and Michael Phelps, to powerhouse entrepreneurs like Mel Robbins, Steven Bartlett, Gary Vee &Richard Branson, to creatives and change-makers like Anika Moa, Will.i.am, Chlöe Swarbrick & David Goggins - each one has learned to harness their fast, curious, restless, sparkly brain and turn it into fuel for greatness.You'll hear: Why ADHD traits like hyper-focus, impulsivity & drive can become huge advantages How late diagnosis transformed lives & careers Why success can look more zig-zaggy for ADHD brains & why that's not a bad thingYou know that saying: you are the sum of the five people you spend the most time with?As you listen, think about who you want to be the sum of. Who inspires you, motivates you & reminds you what's possible for your life?

Auckland Central MP Chlöe Swarbrick has raised concerns with the Government's proposed solutions for rough sleepers - and says they won't solve the actual problem at hand. While details are scarce, reports show the Government and Auckland Council are working on moving homeless people out of public spaces in the CBD for destructive behaviour. Chlöe Swarbrick says it's time to get to the core root issues and invest in sensible solutions. "Right now, it seems like, really, the only place these people can end up being put is being held overnight in the cells. Again, that doesn't go anywhere near towards resolving the problem." LISTEN ABOVESee omnystudio.com/listener for privacy information.

On the Heather du Plessis-Allan Drive Full Show Podcast for Thursday 6th November - Auckland Central MP and Green Party co-leader Chlöe Swarbrick tells Heather why she thinks there's "hysteria" around the rough sleeper issue. Police Minister Mark Mitchell reacts to Jevon McSkimming pleading guilty to possessing objectionable material. Famed New Zealand chef Ben Bayly celebrates the Michelin Guide coming to our shores. And the Huddle debates whether taxpayer money should be going to bring Michelin to New Zealand. Get the Heather du Plessis-Allan Drive Full Show Podcast every weekday evening on iHeartRadio, or wherever you get your podcasts. LISTEN ABOVESee omnystudio.com/listener for privacy information.

Tonight on The Huddle, Jordan Williams from the Taxpayers' Union and Ali Jones from Red PR joined in on a discussion about the following issues of the day - and more! The Michelin Guide is coming to New Zealand - and it cost Tourism New Zealand over $6 million to get it going. Is this good news for tourism? And is this a worthy investment? Auckland Central MP Chlöe Swarbrick has raised concerns with the Government's proposed solutions for rough sleepers - and labelled the Government's response 'hysterical'. What do we make of all this? LISTEN ABOVESee omnystudio.com/listener for privacy information.

At the end of each week, Mike Hosking takes you through the big-ticket items and lets you know what he makes of it all. Attention seekers: 1/10 What a dreadful week as we gave far too much energy to narcissists who masquerade as people with causes, both at sea and on land. Noeline: 2/10 Still nothing. How badly handled can a badly handled scandal be handled? Winston Peters: 7/10 In between cleaning up the glass on his dog, his Pacific reset speech was a reminder of what a considered and sensible Foreign Minister he is. Chlöe Swarbrick: 1/10 The party under her leadership really has become farcical. If Palestine was a national park, it might make sense. Chris Hipkins: 3/10 Telling us how appalling it was that Winston's house got smashed but then didn't vote for the new protest law. H.Y.P.O.C.R.I.T.E. LISTEN ABOVE FOR MIKE HOSKING'S FULL WEEK IN REVIEW See omnystudio.com/listener for privacy information.

This week on The Whip, panellists Annabelle Lee-Mather, Guyon Espiner and Peter Dunne discuss all the major political stories of the week. They start by examining the squabble between Winston Peters and Chlöe Swarbrick over protesters outside his house. Then they look at the impending MEGA strike of Nurses, healthcare assistants working in hospitals, prisons and senior doctors and dentists, alongside primary and secondary teachers. Is this the biggest strike in New Zealand's history? They then move on to the state of the job market and Wallace asks: do we need a John key style 'jobs summit'? Finally, they examine how Toitū Te Tiriti cut ties with Te Pāti Māori and what that means for the party's 'reset'.

Today on the show...recent controversy surrounding Greens Co-leader Chloe Swarbrick's business class flight to London. Despite her anti-elite and pro-environment stance, Swarbrick accepted a business class ticket funded by the Insurance Council of New Zealand, sparking accusations of hypocrisy. The panel scrutinizes the political ramifications and double standards involved. They also touch upon other significant topics including earthquake legislation reforms, national electricity market reforms, the apparent disarray in the Te Pāti Māori, and job losses in regional communities.Get in touch with Duncan - duncan@rova.nz and join us on the socials. Website: https://www.rova.nz/podcasts/duncan-garner-editor-in-chief-live Instagram: @DuncanGarnerpodcast TikTok: @DuncanGarnerpodcast Learn more about your ad choices. Visit megaphone.fm/adchoices

Tonight on The Huddle, Ali Jones from Red PR and Infrastructure New Zealand CEO Nick Leggett joined in on a discussion about the following issues of the day - and more! Teachers say they're seeing an alarming rise of students with extreme ideologies, including misogynistic views promoted by Andrew Tate. How can we handle this? The oil and gas ban has been reversed and the applications are rolling in. Can this fix our energy crunch? Chlöe Swarbrick was spotted flying business class and the rest of the Greens are outraged. What do we make of this? Budget airline Ryanair is banning paper boarding passes - and some travellers think it's disgraceful. Do we use them? LISTEN ABOVESee omnystudio.com/listener for privacy information.

The Prime Minister ponders the about-turn on agriculture in schools, farmer confidence, an FTA with India, the polls and the chances of governing with Chlöe Swarbrick, Debbie Ngarewa-Packer and Rawiri Waititi.See omnystudio.com/listener for privacy information.

Last week, Green Party co-leader, Chlöe Swarbrick, was kicked out of Parliament for a week for refusing to withdraw her comments calling for MPs to get “a spine”.  Her comments came during a debate on recognising Palestine as a state. She also urged MPs to support her member's bill, which would sanction Israel for its war crimes in Gaza. This comes as Australia, Canada, France, and the United Kingdom have indicated their own plans to recognise a Palestinian state. Australian Prime Minister Anthony Albanese told the media last week that “a two-state solution is humanity's best hope to break the cycle of violence in the Middle East and to bring an end to the conflict, suffering and starvation in Gaza.” Despite stating that Israeli Prime Minister Benjamin Netanyahu has “lost the plot”, our own Prime Minister Christopher Luxon has refused to commit to recognising a Palestinian state. Caeden spoke to Palestine Solidarity Network Aotearoa co-chair Maher Nazzal about Swarbrick's removal from Parliament and the need for Aotearoa to take action for Palestine

A couple of weeks ago in our weekly catch-up with the ACT Party's Simon Court, we discussed multiple countries moving to formally recognise Palestinian Statehood, and what New Zealand's plans were in this regard. Last week, Foreign Minister, Winston Peters, said the country would carefully weigh its position over the next month in recognising the state of Palestine. During a debate in Parliament, the government's delay in recognising a Palestinian state, as opposed to other countries such as France, the UK, Canada, and Australia, led Green Party co-leader, Chlöe Swarbrick, to refer to the country as “outlier,” and called for the government MPs “with a spine” to “stand on the right side of history”. This led to her being ordered to leave Parliament by Speaker Gerry Brownlee, after refusing to apologise for her statement. As well as this, last week, Education Minister, Erica Stanford, announced cancelling the early-reading book At the Marae from its Ready to Read Phonics Plus series.  The government's reasoning for this is through “mixed” evidence suggesting that learning both English and te reo Māori for young learners could confuse them. The move has been widely criticised by linguists, academics, and educators, for being “an act of racism” and “white supremacy”. For our weekly catch-up with the ACT Party's Simon Court, Producer Castor spoke to Simon about both these topics, starting with recognising a Palestinian state. Find out more about the Māori words which are a part of the official Oxford English Dictionary here

Greens coleader Chlöe Swarbrick was kicked out of the house this week for speaking against the genocide in Gaza. Meanwhile NZ media aligns itself against teachers and healthcare workers to support the lies of the National coalition government in increasingly overt ways.This episode's co-hostsKyle, PhilipTimestamps0:00 Opening 1:44 Spineless15:10 Media Bias25:38 Palestinian Journalists 28:40 Royal Commission38:55 Teacher Payrates42:55 Losing Money Over Text48:18 ACT Lead Government1:00:30 ClosingsIntro/Outro by The Prophet MotiveSupport us here: https://www.patreon.com/1of200

Last week the Speaker made a series of new rulings and interpretations on the fly in punishing an MP who dared governing party MPs to demonstrate some spine regarding Israel and Gaza. We survey and analyse the incident and aftermath. Go to this episode on rnz.co.nz for more details

Today on the show...-Chloe Swarbrick has only one way back into Parliament... apologize or she can't return to the house. Surely she's got no option here. Even Winston Peters says, sorry, so he can carry on. -My panel with ASHLEY CHURCH & STUART NASH on this weeks recap-Plus special guest martin devlin from the DSPN Podcast to chat RUGBYGet in touch with Duncan - duncan@rova.nz and join us on the socials. Website: https://www.rova.nz/home/podcasts/duncan-garner---editor-in-chief.html Instagram: @DuncanGarnerpodcast TikTok: @DuncanGarnerpodcast Learn more about your ad choices. Visit megaphone.fm/adchoices

Green Party co-leader Chlöe Swarbrick has been 'named' by the Speaker, one of the most serious punishments Parliament can hand out. Swarbrick returned defiantly to Parliament today, refusing to apologise for her comments yesterday suggesting coalition MPs grow a spine and sanction Israel. It was all part of what turned into a tense afternoon at parliament, with the Prime Minister dishing out some tough words about his Israeli counterpart, saying Benjamin Netanyahu has lost the plot. Giles Dexter reports.

There was drama in Parliament today after Greens co-leader Chlöe Swarbrick doubled down and refused to apologise for comments made yesterday. She was kicked out of the House for again not apologising for saying Government MPs with a spine should support sanctioning Israel more over Gaza. She was 'named', which means her pay will be docked. Newstalk ZB senior political correspondent Barry Soper says everyone's talking about Chlöe Swarbrick's conduct, which is what she wanted. LISTEN ABOVESee omnystudio.com/listener for privacy information.

There was drama and controversy in the House today, after Greens co-leader Chlöe Swarbrick doubled down and refused to apologise for saying MPs with spines would act on Gaza. Swarbrick has since been booted from Parliament for not apologising. Former Speaker Sir David Carter says he should have asked Prime Minister John Key to withdraw - when he told the Opposition to 'get some guts' in 2015. "In hindsight, when you get a chance to review the tape and hear it again - yes, I would have asked him to withdraw and apologise. I would have settled the House down if I'd done that." LISTEN ABOVESee omnystudio.com/listener for privacy information.

Tonight on The Huddle, Auckland Councillor Maurice Williamson and Jack Tame from ZB's Saturday Mornings and Q&A joined in on a discussion about the following issues of the day - and more! Jacinda Ardern, Chris Hipkins, Grant Robertson have all declined to be interviewed publicly by the Covid inquiry. Should they have fronted? Did Chlöe Swarbrick deserve to get booted out of Parliament today? Should she have apologised? What did we make of Debbie Ngarewa-Packer dropping the C-word in Parliament? The Education Minister is cutting Māori words from five-year-olds' school phonics books. Is this a bad look? LISTEN ABOVESee omnystudio.com/listener for privacy information.

Parliament is becoming increasingly divided over the situation with Palestine. Greens co-leader Chlöe Swarbrick was barred from Parliament yesterday when she suggested MPs not backing her bill to sanction Israel were spineless. She believes an apology from her isn't needed, and is engaging with Speaker Gerry Brownlee about returning to the House today. Deputy Prime Minister David Seymour raised the question to Mike Hosking of how can you call for an international rules-based order when you can't follow the basic rules in your own workplace. Swarbrick has been a Member of Parliament for more than half her life, he said, so she should be able to debate on the issues – and if she can't, she should be asking why she's not persuading people. LISTEN ABOVE See omnystudio.com/listener for privacy information.

The NZ First Leader and former Deputy PM comments on the Alliance Group deal, and why he’s no fan of foreign ownership. He also weighs in on political polls, high viz gear, throwing his leader under the bus about trains, and the prospect of Chlöe Swarbrick wanting to be the Minister of Finance.See omnystudio.com/listener for privacy information.

This week's show featured faves from Mysticwood & Mezcal, Benefits, Saint Etienne, Munk & Kapote, Daniel Monaco Band and what I think was a well-timed Primal Scream critique of US imperialism - pretty much airing at the same time ex-The Wire host Chlöe Swarbrick was calling out the government's spineless approach to the genocide we see happening in Gaza every damn day. 

Green Party co-leader Chlöe Swarbrick says her party is "here to lead the next government", despite polling at about 10 per cent of the vote. Political reporter Anneke Smith has more.

Episode 43 features Seattle singer-songwriter Shelby Earl, fiddle player Josie Tompkins, Dublin musician Eoin Glackin, violinist and teacher Ellie MacPhee, and 16-year old folk musician Ned Swarbrick.

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

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