Podcasts about Sweeney

Mike Milbury joins the show to discuss the Bruins future, how he thinks Marco Sturm will do, and how much say Sweeney has.

New Day with SSJ rolls into the 3rd hour talking to former MLB Catcher Mike Macfarlane who joins the show for his weekly segment. Mike talks about the Royals recent struggles at home and the Dodgers coming to town this weekend. Then the guys talk Chiefs with Pete Sweeney from Arrowhead Pride. They also discuss some Vegas over/under win totals for other teams around the NFL. See omnystudio.com/listener for privacy information.

(00:00) Toucher, Hardy, and Wallach guess some of the The best 50 songs of 2025 so far according to Billboard. Can you guess what the number one song is? (18:22) Don Sweeney talked to the media yesterday about his approach to this year's draft. Does Sweeney have a solid plan? (31:32) In the last 5 drafts, how many players even panned out to be good for the Bruins? CONNECT WITH TOUCHER & HARDY: linktr.ee/ToucherandHardy For the latest updates, visit the show page on 985thesportshub.com. Follow 98.5 The Sports Hub on Twitter, Facebook and Instagram. Watch the show every morning on YouTube, and subscribe to stay up-to-date with all the best moments from Boston’s home for sports!

(00:00) Zolak & Bertrand begin the top of the third hour discussing Adam Silver saying the NBA is looking more into Achilles injuries. (10:38) The guys talk about Brad Stevens comments on the owners still looking to spend money and if the offseason would look different if they repeated as champions. (22:32) The guys discuss Bill Simmons' take on the Celtics moves this offseason; Plans for Al Horford and Luke Kornet. (33:24) We finish the hour discussing Don Sweeney’s pre-draft press conference yesterday and what the team is looking to do.

Arrowhead Pride's Pete Sweeney joins us to talk Chiefs, and we discuss the Royals trade options as the trade deadline approaches!See omnystudio.com/listener for privacy information.

Global news continues to weigh in on the ag marketplace. Kaden Sweeney of AgMarket.Net joins the show to break down how the markets traded today.

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

Septuagenarian pop thrills, 1970s tower block school spying, a Beatles haul, a wetlands visit, and The Sweeney. Join the Iron Filings Society: https://www.patreon.com/topflighttimemachine and on Apple Podcast Subscriptions Hosted on Acast. See acast.com/privacy for more information.

SSJ continues into Hour 2 talking Chiefs with Pete Sweeney from Arrowhead Pride. They go over the Chiefs mandatory Mini Camp last week and what Pete's biggest takeaways from the camp going into the rest of the off season.See omnystudio.com/listener for privacy information.

New Day with SSJ rolls into the 3rd hour talking to former MLB Catcher Mike Macfarlane who joins the show for his weekly segment. Mike talks about Jac Caglianone hitting his first two Home Runs in the same game yesterday and the Royals sweeping the Rangers. Then the guys talk Chiefs mandatory mini camp with Pete Sweeney from Arrowhead Pride. Lastly in this hour they talk with former Chiefs Safety and current Saints Safety Justin Reid joins the show to talk about a great event going on.See omnystudio.com/listener for privacy information.

This week on The Conspiracy Podcast, the boys break down the biggest and weirdest headlines of the past few weeks—from geopolitical chaos to soap made with bathwater.Elon Musk and Donald Trump's bromance officially crumbled after a series of brutal public jabs, with Musk attacking Trump's budget bill and hinting at deeper conspiracies—only to later backpedal. Meanwhile, real war broke out in the Middle East as Israel and Iran launched deadly strikes against each other, leaving dozens dead and the world watching closely.Back home, Sydney Sweeney sold over a million bars of her “Bathwater Bliss” soap in a bizarre viral campaign. Los Angeles was rocked by riots after ICE raids, igniting a fierce showdown between Gavin Newsom and Trump. Sports fans are glued to the NBA and NHL Finals, with the Pacers and Oilers shaking up expectations.In D.C., a major USAID corruption scandal saw an official and three execs plead guilty in a $6.5 million fraud case. And if that wasn't enough chaos, Spaceballs 2 is officially happening—Mel Brooks, Rick Moranis, and Bill Pullman are returning for a 2027 sequel, joined by Josh Gad and Keke Palmer.www.patreon.com/theconspiracypodcast

Arrowhead Pride Editor In Chief Pete Sweeney joins us to talk Trey Smith and more, then we talk TV Trays and Old-School Batman, plus the Royals!See omnystudio.com/listener for privacy information.

In this week's episode of the world's-fastest-movie-review podcast, Jackson and Mike review THREE new films!!! First “HOW TO TRAIN YOUR DRAGON”. On the rugged isle of Berk, a Viking boy named Hiccup defies centuries of tradition by befriending a dragon named Toothless. Starring Mason Thames, Nico Parker, Gerard_Butler and Nick Frost. Then, a quick review of “ECHO VALLEY“. A thriller about a mother struggling to make peace with her troubled daughter. Starring Julianne Moore, Sydney Sweeney, Domhnall Gleeson, Kyle MacLachlan, and Fiona Shaw. Then, there is a speedy review of “THE UNHOLY TRINITY. “ A young man returns to an old Montana town to reclaim his legacy and gets caught between a law-abiding sheriff and a destructive stranger. starring Pierce Brosnan, Samuel L. Jackson, and Brandon Lessard.

Alex Golden and Mike Facci are joined by Andy Sweeney to discuss the NBA Finals through 4 games and preview Game 5. Andy discusses why he thinks the Pacers are still the better team of the 2 and will win the series, he also discusses areas the Pacers can be better to take advantage of the OKC defense. The guys also look at the Obi vs. Myles minutes on the floor, and discuss why that has played out the way it has and MORE! Join the Chat BCC Group Chat and talk all things Pacers with us in the Setting The Pace Chat!

SSJ continues into Hour 2 talking Chiefs with Pete Sweeney from Arrowhead Pride LIVE in studio. They go over the Chiefs mandatory Mini Camp that starts this week. They discuss the Chiefs Offensive Line and some of the big things to watch this week.See omnystudio.com/listener for privacy information.

From 'The Skate Podcast' (subscribe here): Discussing what Don Sweeney said about potentially trading draft capital for a player to help the team right now. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

New Day with SSJ rolls into the 3rd hour talking Royals and playing post game sound from last night's loss to the Yankees. Then the guys talk Chiefs Phase 3 OTAs with Pete Sweeney from Arrowhead Pride. See omnystudio.com/listener for privacy information.

Yesterday, a plane taking off from India crashed killing all but one of the 242 passengers aboard. Sweeney talks about the history of the Boeing plane model that was involved, and the details of the incident known so far.

Today's episode includes: Marjorie's story on stage, and a bit of something out of nothing.  www.minervasweeneywren.com, @megmccauleyink | Instagram I write for free and for the love of it, but if you'd like to donate to cover fees, that's @minervasweeneywren on Venmo. :)  Thank you for joining us, friend. You are welcome in this whimsical universe. Minerva Sweeney Wren has other podcasts and stories for you to enjoy. Meet Maude, the Magic Unusual from 1921, who stumbles into a world of supernatural gangsters, true friends, and plague mask thingies in MCGILLICUDDY AND MURDER'S PAWN SHOP. Darren Curtis wrote the intro music. Please thank him! See you next time!

Ep 449, pt 3: Discussing what Don Sweeney said about potentially trading draft capital for a player to help the team right now. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

In the summer of 2024, sports columnist Eamonn Sweeney set out to follow the All-Ireland championships around the country, retracing footsteps he'd first laid down in his 2004 bestseller The Road to Croker. But there was one big problem. For many years, he had struggled with a crippling travel phobia that left him largely confined to his hometown in West Cork. To fulfil his publishing contract, he had to face his deepest fears. The Last Ditch is a story about mental health, hidden shame and a life-changing moment in a remote train station.

We discuss all the hottest topics from the week!Sydney Sweeney Soap UpdateSweeney Teases Next RoleBallerina Can't Dethrown Stitch at Box OfficeWarner Bros Discovery is SplittingWicked For Good TrailerWho'll Run Star WarsMark Hamill Doesn't CareChris Evans NOT Returning for DoomsdayTom Cruise is Back in the Record BooksSam Jackson Does Movies He Wants to See& MUCH MORE!!!Join the conversation on social media - @MACandGUpodcast

Arrowhead Pride Editor-In-Chief Pete Sweeney joins us to talk Chiefs!See omnystudio.com/listener for privacy information.

Continuing the 2025 Summer Reading Spectacular, Steve chats with Melanie Sweeney, author of Where You’re Planted, about her experiences with libraries through her life, the inspiration behind Where You’re Planted, her writing process, and how she incorporates intimate scenes with character arcs. And in The Circ Desk segment, Rebecca Vnuk from Library Reads and Yaika … Continue reading 287: Where You’re Planted by Melanie Sweeney – Summer Reading Spectacular

In this edition of Zeitland Vacation (Sip Sip), Jack and Miles discuss their respective weekends, the Trump/Elon wars, the ICE raids, protests and false flag operation happening in Los Angeles, Sidney Sweeney selling fans her bathwater and much more! READ: Ruby Nell Sales - The ShedSee omnystudio.com/listener for privacy information.

CPT board member Doug Sweeney joins the podcast today. He previews his topic for the 2025 CPT Conference, Good Shepherds: Pastoral Identity and the Future of the Church. What are good Christian pastors supposed to be like? On the other hand, what malformative models of pastoral identity are common in our culture today? Doug also tells us about his 2024 book, Substance of Our Faith: Foundations for the History of Christian Doctrine. Check it out on today's episode!

SSJ continues into Hour 2 talking Chiefs with Pete Sweeney from Arrowhead Pride. They go over the Chiefs OTAs and discuss the Chiefs Offensive Line. Then they go around the NFL and talk about latest news.See omnystudio.com/listener for privacy information.

In this episode of A Friend for the Long Haul – A Long COVID Podcast, we dive into love, relationships, and resilience in the face of chronic illness. I sit down with Chimére Sweeney, a Long COVID activist, writer, and retired educator, alongside her husband, Tory Sweeney, to discuss their relationship and journey together.Chimére founded The Black Long COVID Experience, an initiative dedicated to amplifying Black Long COVID stories, advocating for equitable healthcare, and supporting disability access in Black communities. She and Tory met in college and reconnected after Chimére became ill, and their story sheds light on the emotional, social, and practical realities of navigating love and disability.We explore:

Global Political Challenges and PredictionsNick Cohen and John Sweeney discuss the current state of global politics, focusing on the challenges faced by powerful leaders like Donald Trump and Vladimir Putin. They highlight the recent audacious drone attacks by Ukraine on Russian strategic bomber fleets, which John Sweeney compared to calling out the "Emperor in the Kremlin with no clothes." John expresses caution about predicting the downfall of dictators, citing his past experiences with Mugabe,Putin's Downfall and Ukraine's WarJohn and Nick discuss the current situation in Russia and Ukraine, focusing on Vladimir Putin's leadership and the potential for his overthrow. Sweeney shares Owen's argument that there are 3 tests before Putin's downfall: the lack of a viable successor, a crashing economy, and a competent government.Putin's Influence on Trump John also talks about the potential influence of Putin on Trump, referencing the Steele dossier (written by former Mi6 officer Christopher Steele.) They agree that while the dossier's claims about Trump's personal behaviour could not be proven, the allegations about Putin's intervention in the 2016 US election were accurate. John highlights the importance of understanding the geopolitical implications of Ukraine's drone attack on Russia, emphasising the need for a realistic approach to global politics.Trump's Waning Influence and ChallengesJohn talks about the complex relationship between Trump and Putin, highlighting a potential compromise involving Trump's authoritarian leanings and shared worldview with Putin, despite effective sanctions against Russia that only Congress can repeal. He explained that Trump's chaotic tariff policy and proposed fiscal measures are damaging the real American economy, reducing his political capital to influence events in Ukraine. They also discuss Trump's mini-me Nigel Farage and Reform councils taking down the Ukrainian flagUkraine's War & British PoliticsJohn discusses the military situation in Ukraine, noting that while Russian drones are causing problems for Ukraine, the country's huge size means it can retreat significantly before the situation becomes catastrophic. He expressed optimism that Ukraine will win the war, citing the support from the West.Read all about it!John @johnsweeneyroar is a distinguished broadcaster and author. His latest book is Murder in the Gulag the explosive account of how Putin poisoned Alexei Navalny. Another of John's most recent must reads is best-seller on Putin, The Killer in the Kremlin, published by Headline Press.Nick Cohen's @NickCohen4 latest Substack column Writing from London on politics and culture from the UK and beyond. Hosted on Acast. See acast.com/privacy for more information.

https://www.patreon.com/TheSnarkTankhttps://snarktank.shop/

New Day with SSJ rolls into the 3rd hour talking to former MLB Catcher Mike Macfarlane who joins the show for his weekly segment. Mike talks about Jac Caglianone being called up and the big series win yesterday over the Cardinals. He previews this weekend against the White Sox and the Yankees coming to town next week. Then the guys talk Chiefs OTAs with Pete Sweeney from Arrowhead Pride. Lastly in this hour they talk with Dion Clisso from PrepsKC.com about The annual Greater Kansas City Coaches Association Kansas v Missouri All-Star high school football game happening tonight.See omnystudio.com/listener for privacy information.

The Edmonton Oilers are heading to the Stanley Cup Final—again! Netflix finally gives us Stranger Things Season 5 release dates, Sydney Sweeney's bathwater becomes a limited-edition soap (yes, really), and Lady Gaga joins Wednesday. Plus: Mariah Carey teases new music, Rick Astley hits 1 billion Spotify streams, Wayne Gretzky names his sports GOATs, and Tinder adds a controversial “height filter.”

Sydney Seeney and Dr. Squatch are releasaing a limited supply of soap infused with Sydney Sweeney's bathwater. The show goes in on this and also shares what itmes they'd want that was formerly owned/used by a celebrity.Wednesday Morning Madhouse - June 4, 2025The Voice Of Nassau Community College90.3 WHPC FM

From Badge to Book: The Unstoppable Mary Sweeney-DevineA detective, a leader, an investigator—and now, an author. Mary Sweeney-Devine turned a career in law enforcement into a powerful memoir, Standing Up – Making the Best out of Surviving the Worst. Tune in for a gripping conversation on resilience, reinvention, and the courage to write your own nextchapter!#ProntoPodcast #curriedayspa

Shauna Sweeney, Founder of tendercare, aims to assist caregivers with digital tools and expert support to simplify the process of caring for an aging family member. Recognizing the essential role of caregivers in the quality of life of the patient, tendercare provides a user-friendly interface that incorporates data from wearables and remote sensors to identify early warning signs of risks, help coordinate care, and encourage proactive preparation. The Magic Magnet feature allows caregivers and emergency responders to quickly update and share critical health information.  Shauna explains, "This is not just a gendered issue. We have 54 million just Americans, if we keep it to the US, who are currently providing unpaid family care. This usually takes the form of anything from looking through bills, managing medications, renewing prescriptions, coordinating doctors' visits, and all other visits. Often, we find that those who are on our platform are the eldest child. So whether that's a daughter or a son, this is the type of person who is often leaning in to help. What is generally a parent or a grandparent who may or may not have the ability or the means to be able to get themselves to the doctor's appointments or pick up their prescriptions themselves, for instance." "Up until now, a lot of this has actually been human-powered. So, sitting down at the kitchen table with Mom and going through the mail to determine what needs to be paid by what time, but increasingly, because so many of us are living farther apart from one another, this is becoming more and more complicated. There is a level of coordination that we're all doing with one another, but we're often doing it over text. We're doing it over email, we're doing it over shared accounts and passwords. And so it's getting a lot more complicated, which is really where tendercare dropped in to try and help simplify a lot of this experience that so many of us are walking through right now."  #Trytendercare #DigitalHealth #CareGiving #CareGivingTech #SmartCare #AginginPlace #HealthEquity trytendercare.com Download the transcript here

Shauna Sweeney, Founder of tendercare, aims to assist caregivers with digital tools and expert support to simplify the process of caring for an aging family member. Recognizing the essential role of caregivers in the quality of life of the patient, tendercare provides a user-friendly interface that incorporates data from wearables and remote sensors to identify early warning signs of risks, help coordinate care, and encourage proactive preparation. The Magic Magnet feature allows caregivers and emergency responders to quickly update and share critical health information.  Shauna explains, "This is not just a gendered issue. We have 54 million just Americans, if we keep it to the US, who are currently providing unpaid family care. This usually takes the form of anything from looking through bills, managing medications, renewing prescriptions, coordinating doctors' visits, and all other visits. Often, we find that those who are on our platform are the eldest child. So whether that's a daughter or a son, this is the type of person who is often leaning in to help. What is generally a parent or a grandparent who may or may not have the ability or the means to be able to get themselves to the doctor's appointments or pick up their prescriptions themselves, for instance." "Up until now, a lot of this has actually been human-powered. So, sitting down at the kitchen table with Mom and going through the mail to determine what needs to be paid by what time, but increasingly, because so many of us are living farther apart from one another, this is becoming more and more complicated. There is a level of coordination that we're all doing with one another, but we're often doing it over text. We're doing it over email, we're doing it over shared accounts and passwords. And so it's getting a lot more complicated, which is really where tendercare dropped in to try and help simplify a lot of this experience that so many of us are walking through right now." #Trytendercare #DigitalHealth #CareGiving #CareGivingTech #SmartCare #AginginPlace #HealthEquity trytendercare.com Listen to the podcast here

Rachel and Chelsea are back to give you all of your Bravo news! They start the show out by congratulating RHONY's Ubah Hassan on her engagement (02:11) before getting into the unpleasant updates surrounding Leah Sweeney's lawsuit against Bravo and Andy Cohen (06:59). They talk about the rumor that Jesse Solomon and Erika Jayne were together, and how Rachel is sick of getting updates on Jesse (15:57). They break down the new ‘Real Housewives of London' cast and how they plan to watch it, and finally, they discuss the rift between Caroline and Dina from RHONJ in a segment of "Chelsea Explains"! Hosts: Rachel Lindsay and Chelsea Stark-Jones Producer: Olivia Crerie Production Supervision: Belle Roman Theme Song: Devon Renaldo Learn more about your ad choices. Visit podcastchoices.com/adchoices

Actress Sydney Sweeney made a name for herself starring as Cassie Howard in HBO Max's Euphoria. Since then, the 27-year-old bombshell has become every man on Earth's celebrity crush. Sweeney has decided to cater to the creeps and weirdos obsessed with her and is selling bars of soap containing droplets of her bathwater. Kennedy supports this unusual business venture and shares why it may deter her stalkers. Plus, Kennedy chats about her disdain for the infamous Meghan Markle.  Follow Kennedy on Twitter: ⁠⁠@KennedyNation⁠⁠   Kennedy Now Available on YouTube: ⁠ ⁠https://link.chtbl.com/kennedyytp⁠ Follow on TikTok: ⁠https://www.tiktok.com/@kennedy_foxnews⁠ Join Kennedy for Happy Hour on Fridays! ⁠https://youtube.com/playlist?list=PLWlNiiSXX4BNUbXM5X8KkYbDepFgUIVZj Learn more about your ad choices. Visit podcastchoices.com/adchoices

Arrowhead Pride Editor-In-Chief. Pete Sweeney, joins us to breakdown the Chiefs upcoming events, and talk about his New York Knicks.See omnystudio.com/listener for privacy information.

Reapareció nuestro EX, ¡qué gusto volverlo a escuchar! Qué fin de semana deportivo: El Cruza goleó, el 'torito' casi gana, el Ame valió y el PSG también goleó. Y extra extra, les tenemos la solución a la hipertensión, aunque habrá unos pedillos de por medio. Y les traemos el jabón chiquito de la Sweeney.

Reapareció nuestro EX, ¡qué gusto volverlo a escuchar! Qué fin de semana deportivo: El Cruza goleó, el 'torito' casi gana, el Ame valió y el PSG también goleó. Y extra extra, les tenemos la solución a la hipertensión, aunque habrá unos pedillos de por medio. Y les traemos el jabón chiquito de la Sweeney.

The Alan Cox Show

The Alan Cox ShowSee omnystudio.com/listener for privacy information.

IT'S JAC CAGS DAY!!! The first hour of New Day with Steven St. John and producer Jake Gutierrez on Sports Radio 810 WHB. The "Ligament" Todd Leabo joins the show LIVE in studio. At the Bottom of the hour the guys talk to Pete Sweeney from Arrowhead Pride.See omnystudio.com/listener for privacy information.

Featuring: Sydney Sweeney, Bill Belichick, Julia Garner and more. In this #Papisode Jedi completely destroys New York City with a hat trick. Mark makes magic and creates something out of nothing. We discuss the business, hot girls bathwater and much more. For the content in this papisode please visit our socials @paparazzipodcast on Tik Tok, YouTube and IG. Thank you for listening and sharing. Be Well!Become a supporter of this podcast: https://www.spreaker.com/podcast/paparazzi-podcast--4122011/support.

On this week's episode: James and Jamie dive into the deep end of the bathtub as Sydney Sweeney sells her bathwater, review of Lilo & Stitch, reaction to the season 2 finale of The Last of Us, Ariana Grande joins the Meet the Parents franchise, and King of the Hill returns!The Hub on Hollywood, hosted by Jamie and James, delves into the thriving film industry in New England. The podcast explores the production of various projects, including commercials, television shows, and full-length feature films.The podcast insights into New England's growing film industry, as well as entertainment news and reviews. Subscribers can access the podcast on the iHeartRadio app and follow the hosts on Instagram and TikTok for updates.

This week on Marni on the Move, I'm joined by professional runner and COROS team member, Charlie Sweeney. Fresh off a 19th-place finish at the 2025 Boston Marathon—with a personal best time of 2:12:00—Charlie gives us a behind-the-scenes look at what it really takes to compete at the elite level while holding down a full-time job in the endurance sports tech world. We talk about how he got into running, what pushed him to go pro, who's coaching him, and how he manages a training load of over 130 miles per week. We also dive into the gear he trusts, including the shoes he races in and how COROS plays a role in his training and recovery. Whether you're training for your next race, dreaming of the pro path, or just love a good deep dive into endurance performance—this episode is full of insights and inspiration. CONNECT Charkie Sweeny  on Instagram Marni On The Move Instagram, TikTok, LinkedIn, or YouTube` Marni Salup on Instagram and Playlist on Spotify SUBSCRIBE TO OUR NEWSLETTER Sign up for our monthly newsletter, Do What Moves You, for Marni on the Move updates, exclusive offers, invites to events, and exciting news! SUPPORT THE PODCAST Leave us a five stars and a review on Apple, it's easy, scroll through the episode list on your podcast app, click on five stars, click on leave a review, and share what you love about the conversations you're listening to. Tell your friends the episodes you are listening to on your social. Share a screen shot of the episode in your stories, tag us, we will tag you back! Subscribe, like and comment on our YouTube Channel, MarniOnTheMovePodcast

New Day with SSJ rolls into the 3rd hour talking to former MLB Catcher Mike Macfarlane who joins the show for his weekly segment. Mike talks about the Royals big series this weekend against the Tigers. Then the guys talk Chiefs OTAs with Pete Sweeney from Arrowhead Pride. They first talk about Pete's Knicks winning game 5 against the Pacers taking it to game 6.See omnystudio.com/listener for privacy information.

Pete Sweeney, Editor-in-Chief of Arrowhead Pride, joins us to talk all things Chiefs. Then Soren & Kyle talk confidence level in the left side of the line, and what they Chiefs may do with a Rashee Rice suspension looming!See omnystudio.com/listener for privacy information.