Podcast appearances and mentions of Tim Hart

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

This year's Noon Club Show is on stage at the Tibbits Opera House February 27-28 and March 1, 2025.See omnystudio.com/listener for privacy information.

A big street party is coming u Saturday night in downtown Coldwater.See omnystudio.com/listener for privacy information.

The latest Chain of Lakes Poker Run is happening on the south chain of lakes this Sunday.See omnystudio.com/listener for privacy information.

his week Bunny is in the garden with Tim Hart. Tim switched from a nine year long banking career to starting a hotel in 1979. Now his world famous hotel, Hambleton Hall in Rutland,  is renown  for its superb cuisine – it has held a Michelin star since 1982, for 44 years, the longest of any restaurant in the UK. Tim gained this just 3 years after opening, while AA Gill's brother, Nick Gill, was head chef.  The gardens Tim has created, which overlook Rutland Water, are also exceptional. Tim explains how they altered them to give them year round appeal and how he prunes his stunning cloud pruned cork oak, climbing the trees himself in order to do it.  See the video ‘Fabulous Food, Fabulous Garden' on Bunny's YouTube channel where she chats to Tim and the Head Gardener Rob. www.hambletonhall.com  #hambletonhall #bunnyguinnesspodcast 

The 68th Annual Coldwater Noon Club variety show opens next week at the Tibbits Opera House.See omnystudio.com/listener for privacy information.

This episode is a message that Tim gave at Gateway Foursquare Church on November 5, 2023. For more information about Gateway Foursquare visit: https://gatewayfoursquare.ca/Unity is a foundational characteristic of the Church in the New Testament and is a reflection of the very nature of God himself. One of the central themes of Jesus' prayer as recorded by John is  that we as his followers would be one, as he and the Father are one (John 17:11,20-23). Scripture is clear that every single person who puts his/her faith in Jesus, instantly becomes part of one Body, by one spirit, serving one Lord. This is a universal, positional reality for every believer (see 1 Corinthians 12:12-13). In other words, unity is not a by-product of our human effort, it is the default position and a defining characteristic of the Church, and is an inward spiritual reality for every believer. For many believers however, the positional reality of the unified Church can be difficult to reconcile with our ground-level experience. So many believers have experienced relational breakdown, jealously, discord, disunity, quarrelling, and church splits! Unity is something that comes under regular, focused attack of our adversary, and his aim is to destroy the fabric of the Church by sowing division and strife. This is why Paul exhorts believers to be eager to maintain the Unity of the Spirit in the bond of peace (Ephesians 4:3). We have an active part to play to maintain unity within the Body of Christ, so that our relational, ground-level experience as believers accurately reflects the universal, eternal reality that there is neither Jew nor Greek, slave nor free, male nor female, but all are one in Christ Jesus (Galatians 3:28). In this message Tim focuses on several passages of scripture to unpack this topic further, addressing the issue of division in the Church, and unity as a fundamental characteristic of all genuine believers, and one of God's ultimate goals for the Church. Enjoy this episode of Experiencing God with Tim Hart.  

E-postalar hepimizin hayatında önemli bir yer kaplıyor. Modern çağın en önemli iletişim araçlarından biri oldukları yadsınamaz bir gerçek. Özellikle iş hayatının temel taşı, olmazsa olmazı. Bütün toplantılar, sistemler, projeler ve iş akışı e-postalar üzerinden yürüyor. Günümüz dünyasında bir gün içerisinde 333 milyar e-posta gönderiliyor. Bu da saniyede 3,5 milyon e-posta demek. Tabii sadece iş ve çalışma ortamında değil, ailemizden, arkadaşlarımızdan ve sevdiklerimizden de bu tarz e-postalar alıyoruz. Bunların çoğu bizi mutlu ediyor. Ancak içlerinden bazıları insanı dehşete düşürebiliyor. Aynı Amerikalı Tim Hart'ta olduğu gibi. Tim Hart 2011 yılında arkadaşından bir e-posta aldığında mutlu olmamış, tam tersi beti benzi atmıştı. Çünkü gönderimi yapan arkadaşı Jack Froese 5 ay önce ölmüştü. Arkanıza yaslandıysanız marşa basıyorum. Bugün mezardan e-posta gönderen adam olarak bilinen Jack Froese'un etrafında gelişen büyük bir internet gizeminin dedektifi oluyoruz. Bir bakıma e-postaların modern ruh çağırma tahtası olarak kullanıldığı tuhaf bir vakaya bulaşıyoruz. Bakalım Jack Froese vakası ne kadar gerçek? Buna hikayeyi dinledikten sonra siz karar verin. İyi dinlemeler...Cem'den Dinle YouTube: https://www.youtube.com/c/CemdenDinleInstagram: cemdendinleİletişim & İşbirliği: cemdendinle@gmail.comFon Müziği / Music: CO.AG Music https://www.youtube.com/channel/UCcavSftXHgxLBWwLDm_bNvA

Tim Hart from Sydney indie folk-rock group Boy & Bear has a chat with Steve about the band's forthcoming Lost Dreams EP, the 10th anniversary of their sophomore album Harlequin Dream and their upcoming Australian tour.Follow Garage Rock on our socials for new music:Instagram: @garagerockpodcastFacebook: facebook.com/garagerockpodcastYouTube: youtube.com/channel/UCfi6SBQ4di4hXhtuehMQpIw

The annual Chain of Lakes Poker Run is this Sunday.See omnystudio.com/listener for privacy information.

Today we have another episode of Better Done Than Perfect. Listen in as we talk to Tim Hart, senior email developer at Response Labs. You'll learn what incentives you can offer to reactivate subscribers, what engagement metrics matter the most, how often you should be pruning your email list, and more.Please head over to the episode page for the detailed recap and key takeaways.Show notesResponse LabsEmail GeeksConnect with Tim on LinkedInThanks for listening! If you found the episode useful, please spread the word about this new show on Twitter mentioning @userlist, or leave us a review on iTunes.SponsorThis show is brought to you by Userlist — an email automation platform for SaaS companies. Onboard, engage, and nurture your customers, as well as marketing leads. To follow the best practices, download our free printable email planning worksheets at userlist.com/worksheets.Interested in sponsoring an episode? Learn more here.Leave a ReviewReviews are hugely important because they help new people discover this podcast. If you enjoyed listening to this episode, please leave a review on iTunes. Here's how.

How do you know if a subscriber is due for a re-engagement campaign? In this episode, we talk to Tim Hart, senior email developer at Response Labs. You'll learn what incentives you can offer to reactivate subscribers, what engagement metrics matter the most, how often you should be pruning your email list, and more.Visit our website for the detailed episode recap with key learnings.Response LabsEmail GeeksConnect with Tim on LinkedInThanks for listening! If you found the episode useful, please spread the word about the show on Twitter mentioning @userlist, or leave us a review on iTunes.SponsorThis show is brought to you by Userlist — an email automation platform for SaaS companies. Onboard, engage, and nurture your customers, as well as marketing leads. To follow the best practices, download our free printable email planning worksheets at userlist.com/worksheets.

Pubic Speaking is a Skill that can be Learned even for the CEO How to feel more confident and sound more natural Episode 139 (Tim is based in Beverly Hills. CA) In this conversation with Tim Hart we explore: The challenge of negative self talk How to make that connection with your audience The importance of addressing your leadership communications skills The power of stories and especially secret stories About Tim Hart: As founder and President of Leading CEO, the the past 20 years, Tim has trained thousands of executives in presentation skills. Previously, he was CEO of two major US advertising agencies. He produced advertising for seven automobile brands comprised of American, Japanese, German and Korean car companies. He is co-author of "Out Loud - How Public Speaking can Change Your Life and the World". Learn more about Tim Hart and his programs at https://www.leadingceo.com/ ----- Excerpts from this conversation with Tim Hart I have a client who is CEO of one of the biggest companies in the world. And the thing with what happened with that, and the story about that is this, he wanted no one to know that he's working with me. So this became this top secret thing. And they kind of snuck me into the building. And yet with him, I probably had the best time because we opened up in the very beginning to talk about stories. I told him a story that I've never told anyone. And he told me the same thing story that he had never told anyone from that point on, we were bonded. ----- 06:56 And I suppose it's helpful to examine oneself, with some self thought, but it's destructive to be constantly flogging oneself. I'm bad, I'm bad.   07:10 Absolutely, I'll tell you one of the key things that I do. And this is kind of if there's a secret sauce in terms of what I do. Anytime I do any training, I ask everybody to give the person who's speaking feedback. But ask them to tell them what they liked about it. I never asked them to criticize anybody. And so you're getting positive feedback from everybody in the room, which is great. If I see something that I want to change, I'll just go in and change it. And it's very different. So they get the positive feedback. And then the way I handle it is, can we first thing I say to all kind of work with you on this, I have to get their permission. And then they say yes, no one's ever said no to me, by the way. And so they say yes. And then I'll go in there and work with them on specific things that I think they need to learn and change. And they do. It's fast how people change when you have that kind of one on one exchange. So no change right in front of everybody. ----- Tell me a story and I will connect with you. That's how it works. And that's why I encourage people here and I'll give everybody that's watching this an assignment I do with all my clients. Sit down and write out plenty stories of your own We've all got 20, at least. Write down 20 meaningful stories and go through them and make sure that you understand each one of them. And then after you've done that, throw it away. And they're all in your head. And what happens is that when you're giving a presentation, you can grab one of those stories and tell it if it's if it's relevant to what you're talking about. Because the the thing about stories is they should be relevant to your conversation. ----- ----more---- Your host is George Torok George is a specialist in executive communication skills. That includes conversation and presentation. He's fascinated by way we communicate and influence behaviors. He delivers training and coaching programs to help leaders and promising professionals deliver the intended message for greater success.   Connect with George www.SpeechCoachforExecutives.com https://www.linkedin.com/in/georgetorokpresentations/ https://www.youtube.com/user/presentationskills https://www.instagram.com/georgetorok/   For weekly tips to improve your presentations visit https://toroktips.com/  

Join your host Greg Howard Jr as he gets to the heart of what makes a musician tick with the incomparable CRISTOVAM!!!Cristóvam is a singer/songwriter from Portugal. Born amongst the deep blue of the Atlantic and the lush green of the beautiful Azores islands, Cristóvam's music shines with a warmth that you won't find anywhere else. Growing up, Cristóvam was surrounded by music everywhere he'd turn - his grandfather was a true radio pioneer who started the second oldest radio of the Atlantic and left behind a massive record collection, which Cristóvam would regularly lose himself in.His love for organic singer/songwriters such as Ethan Johns, Bob Dylan, Ray Lamontagne and indie folk artists including Angus & Julia Stone and Bon Iver is what inspires his music today. Blending these two worlds together, Cristóvam hopes to create something that is both authentic and raw, but with a modern twist.Brimming with euphony, he is soaring back into the scene with his new album Songs on a Wire, a twelve-track offering showcasing the very best of Cristóvam's creativity. In a realm of reflection, his new record highlights key moments from the last two years of his life. He confides, “These were times where I dealt with a lot of different things, from the loneliness of the pandemic which was a bit intensified by the fact that I live in a small and remote island, to other happy things like getting married, getting signed or having my music going viral and reaching so many people and, on to of all that, this sort of big feeling that I was actually starting my life.”Focus track “Ferris Wheel” is a tune that will put a spring in anyone's step, Cristóvam consolidates his status as an exceptional talent. He shares, "When you write songs, if you're lucky, once in a while you write something that you are confident you'll want to play forever. I think Ferris Wheel is one of those songs for me. I had a first sketch of the song and I showed it to Tim Hart, who ended up co-writing the rest of the lyrics with me." His echoic vocal energy flourishes alongside charismatic choruses and flowing melodies to create a tune that escalates with hope. Cristóvam continues, "I feel like the subject of these lyrics is a fragile one. This is a song that speaks about loving someone with bipolar disorder, about the almost transparent and thin line that determines how far you can go in trying to help someone without ending up with a burden that wasn't your own. We've all seen emotionally balanced people fall into the abyss of depression, because they tried too hard to save someone who in the end, didn't want to be saved. This is a song about sometimes having to choose your own mental health and letting go of battles that aren't your own."Cristóvam continues to build momentum across his repertoire and has seen great success, having won first prize in the “Unsigned Only” category for the International Songwriting Competition 2018. The judging panel featured the likes of Tom Waits, Keane, Bastille and Lorde, among many others. Cristóvam has also won two International Portuguese Music Awards (Pop Performance and Song of the Year). With these impressive accolades under his belt and streaming numbers hitting the millions, there's no doubt Cristóvam is going to continue to triumph in the coming year!Cristóvam's WebsiteInstagramFacebookTwitter

Tim Hart preaches on the passage Matthew 24:32-51

Tim Hart explains the Passover and the Lord's Supper in Matthew 26:17-30

On today's Weekly Wildfire Update: California Fires Go Big. The Mosquito goes nuclear. Nationally a PL4. Will we see a PL5 this month? Idaho, Montana, and the Pacific NW very active. Many “managed” fires ordering Teams. The Tim Hart Act Update. Keep Your Mind Active and Don't Get Complacent. Make goals for the off season. Plus more. THE HOTSHOT WAKE UP - Thank you to all of our paid subscribers. It allows us to generously donate to firefighter charities and supports all the content we provide. https://thehotshotwakeup.substack.com/

Join us for a powerful time of worship and a word from Tim Hart. Let's soak up the goodness of Jesus together!

On this Weekly Wildfire Update: Full Operational Update. We cover all the major incidents, wilderness fires, and fires in Canada and Europe. The Washburn Fire Refused Retardant Drops During IA, Why? New reports have come out saying tankers were told not to drop when overhead the Washburn fire during the first hours. We discuss why. New Legislation Includes Tim Hart Act. Multiple Aviation Crashes This Week. What Happened, how it happened, and why. Sheriffs Office Confirms Crashes in New Mexico and Idaho. Plus more… THE HOTSHOT WAKE UP - Thank you to all of our subscribers. It allows us to generously donate to firefighter charities and supports all the content we provide. https://thehotshotwakeup.substack.com/

Tim Hart helps us understand Matthew 20:1-16

Marshy is a surprise guest from Slovakia to give us his thoughts on the Women's US Open won by Aussie Minjee Lee + our chat with all-round good guy, Tim Hart!

Today we sat down with PHD Tim Hart to discuss some deep and controversial topics. Enjoy this insightful discussion on the many big questions of physical life, spiritual life, the connection of those two, and what it might produce. Can our human DNA become corrupted? If it could be, what would be the consequences? Monsters, Giants, Abnormalities? Was the serpent in the garden created by God, or was it a reptilian class of being created by Satan himself? We explore many interesting topics on the show. Enjoy! Follow us on Facebook and Instagram (The ReligiousCoffeeHour) Email us a question or coffee request: TheReligiousCoffeeHour@gmail.com

Tim Hart helps preaches on Matthew 16:1-12

Over $34,000 has been raised so far in the effort. See omnystudio.com/listener for privacy information.

Bards Logic welcomes the host of the Red Pill Roadshow and co-host i70 & Coach Clay Show Tim Hart. Tim tells of his experiences during the January 6th 2021 rally in Washington DC and his arrest and incarceration. He is still awaiting for his trial. Link to the Red Pill Roadshow Bards Logic is the Grassroots, We the People show.

We have a guest Speaker for our Gospel of John Series. Tim Hart will be preaching: “No Running on the Pool Deck”

Craig Lynch and Tim Hart from the Coldwater Noon Rotary Club gave us details on their "Coldwater MI USA for Ukraine" fundraising project in conjunction with the Coldwater Township Sunrise Rotary Club. See omnystudio.com/listener for privacy information.

When smokejumper Tim Hart passed away from injuries sustained during a hard landing in New Mexico in May, his wife Michelle Hart quickly realized that she needed a way to channel her grief into something tangible. She realized she was in a unique position to draw attention to the needs of wildland firefighters—she had a personal connection to the issues facing them, and as a lobbyist, she also had the legislative chops to make legitimate change at a congressional level. This all culminated in the creation of the Tim Hart Wildland Firefighter Classification and Pay Parity Act, which addresses firefighter compensation, benefits, access to mental health resources and availability of housing for firefighters, among other provisions. We spoke with Michelle about the bill and the grief that influenced its creation back in November. They've continued garnering support for the bill, though not much as changed with the bill since when we chatted with Michelle. As of January 19, the bill has been referred to the subcommittee on Conservation and Forestry, where it awaits support from the senate.

Welcome back to the Speakeasy Law, a podcast with Carmen Dellutri and Casey Byrus of the Dellutri Law Group. In this series we welcome Tim Hart of Van Dyk Mortgage in Fort Myers. This is the first in a five part conversation recorded in The Standard, at Page Field. Don't forget, the best way to support the show is to rate & subscribe anywhere you listen to podcasts.

Welcome back to part two in this series. We welcome Tim Hart of Van Dyk Mortgage in Fort Myers to the Speakeasy Law podcast with Carmen Dellutri and Casey Byrus of the Dellutri Law Group. Tim brings years of SWFL real estate financing to the table in this series. All episodes are recorded in The Standard, at Page Field. Don't forget, the best way to support the show is to rate & subscribe anywhere you listen to podcasts.

Join us for part three in this series with Tim Hart of Van Dyk Mortgage in Fort Myers. He continues the conversation, Speakeasy-style, with Carmen Dellutri and Casey Byrus of the Dellutri Law Group. Tune in for tips to streamline your financing processes, and get the credit you deserve. All episodes are recorded in The Standard, at Page Field. Don't forget, the best way to support the show is to rate & subscribe anywhere you listen to podcasts.

Join us for part four in this series with Tim Hart of Van Dyk Mortgage in Fort Myers. He continues the conversation, Speakeasy-style, with Carmen Dellutri and Casey Byrus of the Dellutri Law Group. In this episode we discover that Casey has not yet discovered Yellowstone, the best show on TV. These podcast episodes are recorded in The Standard, at Page Field. And don't forget, the best way to support the show is to rate & subscribe anywhere you listen to podcasts.

Welcome to the final segment in this series with Tim Hart of Van Dyk Mortgage in Fort Myers. He continues the conversation, Speakeasy-style, with Carmen Dellutri and Casey Byrus of the Dellutri Law Group. Tune in for tips to streamline your financing processes, and get the credit you deserve. All episodes are recorded in The Standard, at Page Field. Don't forget, the best way to support the show is to rate & subscribe anywhere you listen to podcasts. To learn more about Tim Hart, the Sydney Australia born singer songwriter, CLICK HERE. For information about Tim Hart the Fort Myers mortgage professional, visit TimHartJR.com

Tim Hart speaks on Matthew 6:1-18

Today, Matt has a conversation with Tim Hart. Tim was in Washington D.C. on January 6th. He talks about his experience at the Capital on the 6th and his arrest by the FBI. Tim is currently charged, and faces decades in prison.https://www.redpillroadshow.com/https://t.me/i70Showhttps://t.me/mgshowhttps://dlive.tv/PSBhttps://givesendgo.com/G262A

National Stationery Show (NSS) first opened its doors in 1945, and although we didn't know at the time, its February 2020 edition was its final run. On July 27, Emerald announced that the National Stationery Show brand was being retired, and my social media feeds were almost instantaneously filled with fond reminiscences and, let's be honest, no small amount of angst. Undoubtedly, we are all dealing with cancellations and disappointments on several levels, but this one really hurt.

Gift for Life, the gift, stationery, and home decor industries’ sole national charitable organization, has teamed up with NY NOW and DIFFA (Design Industries Foundation Fighting AIDS) for the AIDS Walk New York 2021. The AIDS Walk New York is the largest single-day AIDS fundraising event in the world. In its over 30 years, the event has inspired nearly 890,000 people to walk and millions more to donate, raising nearly $155 million to combat HIV and AIDS.  Listen as we share the history of Gift For Life and hear from a few Board and AIDS Walk team members on why being a part of this team is so important to them.   GUESTS:  Tim Hart – SVP NY NOW, GFL Board Member and AIDS Walk Team Member      Lenise Willis - Editor in chief of Gifts and Decorative Accessories, GFL Board Member and AIDS Walk Team Member      Kelly Bristol - VP Association and Buyer Engagement at Brandwise, GFL AIDS Walk Team Member      Matthew Katzenson - CEO of Fine Lines, GFL Board Member and AIDS Walk Team Member      MODERATOR: Amy Loewenberg- Relations Manager at NY NOW, GFL AIDS Walk Team Member      RESOURCES   | NY NOW Podcast Page:https://nynow.com/podcast   | NY NOW Email Subscription:https://app.smartsheet.com/b/form/147c19d133dc472cbc83778bcaec0402   | NY NOW Digital Market:https://nynowdigitalmarket.com   | NY NOW :https://nynow.com  

Making news this week: Boy & Bear’s Tim Hart and the Paul Colman Trio

Tim continues the conversation on spiritual gifts, looking at two more gifts in the 'power' category: Various Kinds of Tongues and Interpretation of Tongues.Speaking in Tongues is a Holy Spirit empowered ability to speak in another language that is not known to the speaker. The Interpretation of Tongues is pretty self-explanatory - it is the Holy Spirit empowered ability to understand a message spoken in Tongues. Interpretation doesn't necessarily mean a word for word translation, it could be a gist of the meaning of what was spoken. There is a huge amount of controversy and misconception on these two gifts, and a plethora of questions that arise. Do Tongues exist today? Do they always require an interpretation? Are they always in a known language? Do all believers speak in tongues? Get ready for a detailed look at these incredible gifts as Tim explores passages in the Old Testament, the words of Jesus, several passages through the book of Acts and the book of 1st Corinthians. I hope you enjoy this episode of Experiencing God with Tim Hart. 

Listen to Gyle Smith with Seth Kittinger and Tim Hart share the message “Rejoice (Pt. 2)” at Believers Church on April 18, 2021, as part of the series, Lifestyle Of Jesus.

Listen to Gyle Smith with Seth Kittinger and Tim Hart share the message “Rejoice (Pt. 2)” at Believers Church on April 18, 2021, as part of the series, Lifestyle Of Jesus.

Listen to Gyle Smith with Seth Kittinger and Tim Hart share the message “Rejoice (Pt. 2)” at Believers Church on April 18, 2021, as part of the series, Lifestyle Of Jesus. The post Lifestyle Of Jesus | Series | Rejoice (Pt. 2) | April 18, 2021 appeared first on Believers Church.

Tim continues with part 4 of a series on spiritual gifts. In this episode Tim  highlights the necessity of bearing the fruit of the Spirit and growing in character as we continue the journey toward gifts-based ministry. Tim also discusses measures of faith, and divine limitations, and how God gives increase through faithfulness. Enjoy this episode of “Experiencing God with Tim Hart”  

Details on our March 10, 2021 radiothon for the Branch County United Way. See omnystudio.com/listener for privacy information.

Joe's interview with Mike Chamberlain, one of the early pioneers in the So Cal motocross scene. He opened Mike's Racing Center at age 19, became the #1 Maico dealer in the country and sponsored some of the fastest Maico riders in the US, like Tim Hart and Jim West. Mike was also a trendsetter when he built the first and only titanium Maico, and was one of the first to experiment with long-travel suspension. Mike was also a fast racer, ranked #9 in District 37.

Two Bandits Brewing co-owner Mark Young told our Tim Hart about their Brew Crew fundraiser for the Branch Area Food pantry. See omnystudio.com/listener for privacy information.

Listen to Gyle Smith in an interview with Tim Hart at Believers Church on Jan 10, 2021, as Part 2 of the series, What Do I Want?

Listen to Gyle Smith in an interview with Tim Hart share the message “What Do I Want? (Pt. 2)” at Believers Church on Jan 10, 2021, as a part of the series, The Kingdom. The post The Kingdom Series | Part 19: What Do I Want? (Pt. 2) | Jan 10, 2021 appeared first on Believers Church.

For the final episode of 2020 I was excited to speak to Tim Hart (Boy & Bear) about his recent singles, and record due out on February 19th.We also talk about music from Stu Larsen, Alexander Biggs, Ball Park Music, DMA’s, Banoffee, Odette & Hermitude.Australian Jams will be taking a break for a couple of months (so I can survive AFLW season) but will be back by May!Find Gemma on Twitter and Instagram.Find Tim Hart on Twitter and Instagram.Find Australian Jams on Twitter, Instagram and Facebook.Intro & outdo music is 'Crash Pad' by Atalein See acast.com/privacy for privacy and opt-out information.

Voici le cent quarante-cinquième opus d'"En Cadence", une émission mensuelle consacrée aux grands thèmes éternels de la musique populaire : l'amour, les voyages, les filles, les plans-séquences ou la mayonnaise. Pour cet épisode, remontons les époques à travers quelques chansons traditionnelles aux origines médiévales ou baroques, interprétées façon folk-rock. De quoi passer le temps en bonne compagnie, comme chantait ce bon roi Henri VIII. Liste des morceaux : 01. Gryphon - Pastime with Good Company 02. Fairport Convention - Tam Lin 03. Davy Graham - Bruton Town 04. Steeleye Span - Twa Corbies 05. June Tabor - Bonny May 06. John Martyn - She Moves Through the Fair 07. Mary-Anne - The Water Is Wide 08. Bert Jansch - Henry Martin 09. The Young Tradition - Lyke Wake Dirge 10. The John Renbourn Group - Pavane "Belle, qui tiens ma vie" 11. Folkdove - Willow Song 12. John Renbourn - The Earle Of Salisbury 13. Nic Jones - The Butcher and the Tailor's Wife 14. Martin Carthy - Lord Randall 15. Trees - Glasgerion 16. Tim Hart & Maddy Prior - Westron Wynde 17. Shirley Collins - Barbara Allen 18. Pentangle - Cruel Sister

Episode 34 is with Richard Woodhouse, Director of Instruction at KDV Sport and coach of past guests such as Tim Hart and Brett Rankin. This episode we get into a bunch of subjects about his journey to KDV Sport, keeping playing focused during this pandemic and being the best versions of ourselves. If you aren't already could you please subscribe to the show so you don't miss out on the latest episodes.Discussion:QLD COVID-19 situtationJourney to KDV SportKeeping players focused during this pandemic Mental well being Idols/MentorsCoaching Philosophies Pet peeves as a coachOne questionAnd much more...Resources/Links:KDV Sporthttps://www.kdvsport.com/Richard Woodhousehttps://richardwoodhousegolf.com.auFull Videohttps://youtu.be/ShgsOpG9QyoMental Health Linkshttps://www.lifeline.org.auGolf Australiahttps://www.golf.org.auGolf WAhttps://www.golfwa.org.au/cms/Callaway Golfhttps://au.callawaygolf.comThanks for supporting the show, if you could like, subscribe and leave a review that would help the show incredibly.As always, that's Wattsup.BW

Today's episode is with Tim Hart and his journey in Professional golf.  Turning professional in 2012, he has dominated the Pro Am circuit for many years and just last year, shot the elusive score of 59. A short and sweet conversation that I'm sure you will enjoy.Discussion:QLD COVID-19 situtationAustralian PGA Tour to PGA TourBattles with Mental healthIdols/MentorsAspirations as a 17 year to nowOne questionAnd much more...Links/Resources:Tim Harthttps://www.instagram.com/__timmyhart/Full Videohttps://www.youtube.com/channel/UCpalVUsQIHRc8-ZG3j_LfUA/Joe Rogan/Tyson Furyhttps://www.youtube.com/watch?v=XrM6WqYEj9YMental Health Linkshttps://www.lifeline.org.auGolf Australiahttps://www.golf.org.auGolf WAhttps://www.golfwa.org.au/cms/Callaway Golfhttps://au.callawaygolf.comThanks for supporting the show, if you could like, subscribe and leave a review that would help the show incredibly.As always, that's Wattsup.BW

In this episode we spend some time learning about and understanding the bullies we have in our lives; our everyday, everywhere life. We have them around us, influencing us, and we may not even be aware that they are bullies. We may have one in our family, in our circle of close friends, likely in our work environment and doesn’t necessarily have to be the boss. This episode, we spend time talking with Tim Hart, an executive trainer about people in powerful professional positions. We also spoke with Dr Jane Adams PhD, a writer and family counselor who talks about the dynamics of family roles and bullies at all levels of our growth in life. We spoke with other guests who have an awareness of bullies in their lives and how they handle them and learn to do more than simply accept their actions. I enjoyed the show, I learned a lot about the habits and patterns of bullies and now have a much better understanding and how to handle them. I am sure you will as well; I found myself taking notes and think you may as well.

Voici le cent quarante-cinquième opus d'"En Cadence", une émission mensuelle consacrée aux grands thèmes éternels de la musique populaire : l'amour, les voyages, les filles, les plans-séquences ou la mayonnaise. Pour cet épisode, remontons les époques à travers quelques chansons traditionnelles aux origines médiévales ou baroques, interprétées façon folk-rock. De quoi passer le temps en bonne compagnie, comme chantait ce bon roi Henri VIII. Liste des morceaux :01. Gryphon - Pastime with Good Company02. Fairport Convention - Tam Lin03. Davy Graham - Bruton Town04. Steeleye Span - Twa Corbies05. June Tabor - Bonny May06. John Martyn - She Moves Through the Fair07. Mary-Anne - The Water Is Wide08. Bert Jansch - Henry Martin09. The Young Tradition - Lyke Wake Dirge10. The John Renbourn Group - Pavane "Belle, qui tiens ma vie"11. Folkdove - Willow Song12. John Renbourn - The Earle Of Salisbury13. Nic Jones - The Butcher and the Tailor's Wife14. Martin Carthy - Lord Randall15. Trees - Glasgerion16. Tim Hart & Maddy Prior - Westron Wynde17. Shirley Collins - Barbara Allen18. Pentangle - Cruel Sister Écouter

Have you seen Cobra Kai on Netflix? Most of us that grew up in the 80's that loved Karate Kid have dove into this one. Travis Smith and Tim Hart decided to do their own review of Cobra Kai the other night on Facebook. Check it out and let us know what you thought about the show. Do you agree with us that Daniel was the real bully? Johnny is our new hero? You never knew Coors Banquet was available everywhere? We both loved the show and it was filled with nostalgia from the 80's. Hope you enjoy! Connect me with me on social media or my website. Facebook: www.facebook.com/TimHartJr Twitter: twitter.com/TimHartJr InstaGram: www.instagram.com/timhart453 Website: www.timhartjr.com/ YouTube Rates & Reels: bit.ly/2lDbECc YouTube HartBeat Show: bit.ly/2u1mmX2 E-Mail: thart@vandykmortgage.com Apply for a mortgage by clicking here: https://timhart.floify.com/ Enjoy the show guys! Like, share and subscribe

Tim Hart has composed and recorded a beautiful song in support of RUOK Day entitled "We Walk Each Other Home." Tim offers us some words below to express the background to this moving piece designed for young and old. RUOK Day reminds us, as Christians, that we are called to be loving neighbours. We are called to be companions on the journey. People who walk with one another, sharing in each other's stories as we make sense of the journey - just as Jesus did with the disciples on the road to Emmaus. RUOK Day reminds us that we are called every day to love our neighbours back into fullness of life. And so we pray through this song, that on this day and every day we might be there for one another as we walk each other home… We walk together, together, The road may be strange, the journey unknown, Together, together, We walk each other home. Tim Hart  

This program will include a 2 minute introduction, a 6 minute guided Meditation on Compassion and a 3 minute song entitled “Walk Each Other Home” composed and performed by Tim Hart. All of these elements have been offered in response to RUOK Day. The guided experience will begin with a focus on the breath in order to develop a greater attentiveness to the needs within us and around us, and to the presence of God. This will be followed by a series of questions on different facets of compassion - Compassion towards oneself, towards others and God's compassion. You may like to reflect on these questions using a journal or you may choose to reflect on them internally. We create this quiet space to hear the voice of the Compassionate One, the voice of God. There will be an opportunity to bring all of these people, including ourselves, to God in prayer. "We can't practice compassion with other people, if we can't treat ourselves kindly." Brene Brown

This program will include a 2 minute introduction and a 10 minute guided meditation entitled “Your Heart Song”. The meditation experience will begin with a series of reflective questions pertaining to matters of the heart. You may like to use a journal or reflect on the questions internally. The meditation will conclude with a musical prayer composed and performed by Tim Hart entitled “Receive Your Grace”. May this time of treasured stillness be a wonderful opportunity for you to become attentive to your heart's song and God's loving desire for you to be fully alive. “A friend is someone who knows the song in your heart and can sing it back to you when you have forgotten the words.” Author Unknown  

National Stationery Show (NSS) first opened its doors in 1945, and although we didn’t know at the time, its February 2020 edition was its final run. On July 27, Emerald announced that the National Stationery Show brand was being retired, and my social media feeds were almost instantaneously filled with fond reminiscences and, let’s be honest, no small amount of angst. Undoubtedly, we are all dealing with cancellations and disappointments on several levels, but this one really hurt. I myself attended almost every year since 1998, and have so many great memories of dazzling discoveries, talented individuals who became dear friends — not to mention all those magnificent parties! It's impossible to not be at least a little sad. But while I'm bummed, I'm far more excited about NY NOW’s plans to create one single stationery destination in its market — because, let’s be honest, a lot has changed since 1945. And having this reimagining occur in 2020 is actually quite beneficial. Stationery is being rediscovered in a big way during this pandemic, and it plays an increasingly important role within more traditional gift lines than in the past. This is all being spurred by the consumer, who is feeling isolated and sending letters, journaling, working at home and appreciating the post office with new eyes — all of which benefits stationery. In our transformed world, the category demands a fresh approach too. But rather than me waxing eloquent on the category and how to best serve all of us who love it, today I have Tim Hart, senior vice president, retail group, in The Paper Fold to share more about the challenges Emerald has been facing, how they are reimagining the stationery and gift categories —and what a visit to NY NOW in 2021 will look like. **Thank You Sponsors** Please be sure to support these all-American, women-owned houses of paper. Girl w/Knife is your incredibly sharp new stationery BFF. Check out this award-winning, ultra-polished range that everyone's talking about — it slays on several brilliant levels! Kitty Meow Boutique was founded on the idea that your paper goods don't have to be a snooze fest. These stylish, laugh-out-loud selections are by turns sassy and sweet, all the while maintaining a consistent cool.

This program will include a 3 minute introduction and a 10 minute guided experience of Centering Prayer. The meditation experience will begin with a musical piece composed and performed by Tim Hart and it draws on the words of Psalm 46:10 “Be Still and Know I am God." Once slowing down there will be an opportunity to bring a word or mantra into the stillness. The word will be chosen by you and will be an expression of something that you desire or seek to integrate into your life. We trust that each one of these words will be heard and held by God. May this time of treasured stillness be a wonderful opportunity for you to come away and just BE. Be Still and Know I am God.  Psalm 46:10

Tim Hart shares the story of how the program Pray School came to life during this time of COVID-19. Pray School is an engaging Religious Education Program, appealing to the spirituality of children from Kindergarten to Year 2. It offers storytelling, music, singing, listening, craft and opportunities to respond to Scripture and our world. Pray School was designed to support the work of teachers and parents as they navigated home schooling. Tim reflects on the experience of creating Pray School, on his own understanding of prayer and his journey as a musician.  Tim describes prayer as listening to life and reflects on the importance of responding to opportunities and invitations with courage. The story behind Pray School is a moving story fuelled with wisdom, insight and profound life experiences.  "Prayer is about listening to life."  Tim Hart You can visit Pray School here.

S2:E30 Roofing Road Trips with Heidi - Tim Hart and Dan Ervin of Duro-Last Roofing Tim Hart and Dan Ervin of Duro-Last roofing join Heidi J. Ellsworth, RCS Partner for a Roofing Road Trips with Heidi Podcast to talk about Duro-Last’s amazing pivot to help manufacture personal protective equipment (PPE) products during the COVID-19 outbreak. As the world’s largest manufacturer of custom-fabricated, thermoplastic roofing systems, Duro-Last quickly focused a share of their manufacturing capability to start producing (PPE) in the late spring for healthcare workers on the frontline of the current coronavirus pandemic. The transition to producing isolation gowns and non-surgical face masks took just six days. They are now in full production to manufacture PPE products for the roofing industry. Tim and Dan talk about how this all happened and Duro-Last’s commitment to keeping roofing companies’ operations safe, healthy and in compliance with mandated regulations.

a cura di Alessandro Achilli. Musiche degli Steeleye Span, Stormy Six (con Massimo Villa), Whole World, Lol Coxhill (prima parte)

a cura di Alessandro Achilli. Musiche degli Steeleye Span, Stormy Six (con Massimo Villa), Whole World, Lol Coxhill (prima parte)

Travis Smith and Tim Hart decided to watch and review “Abducted in Plain Sight” from Netflix. Tune in to hear their thoughts from a Facebook Live they did on Sunday night. They will be reviewing “Tiger King” next. Make sure you subscribe so you do not miss the next one.

Mark and Tim came into town to pick up a couple of vans to take them up to his conversion shop in Portland, Oregon. Nomadik Customs converts vans for all sorts of customers. We had a great chat with these guys. They definitely know their stuff, and seem to have a great time working at it.

Sometimes buyers think they need to bring only their down payment and that is it. They forget or never know about the closing costs. Some lenders won't have this conversation with the buyer. I know this is true because I have had to have the hard conversation with a buyer who was pre-approved by other lenders and knew nothing about the closing costs amount. This can cause you massive headaches and kill your deal. Check this video out and let me know what you think. Hopefully it helps you and your business. Feel free to share or use this video anyway to help your business, team or office. Take care! I do Mortgages for a living, if I can ever help you buy or refinance a home let me know! · Apply for a mortgage now at https://timhart.floify.com/apply-now · TEXT “APPLY” to 239-437-4278 · Call me or text me 239-910-5668 · Talk to my team were here to help! 239-437-4278 · Check out my website www.TimHartJr.com Connect with me on Social Media YouTube - http://bit.ly/2Ourk8c Instagram - https://www.instagram.com/timhart453/?hl=en Facebook - https://www.facebook.com/TimHartJr LinkedIn - https://www.linkedin.com/in/timhartjr/

The close out song is title ‘Paddy Stole The Rope’ sung by Tim Hart. The author of the text is anonymous, but it is believed to have originated in Ireland in the early 1900s.

Does your day end and you really didn't feel like you accomplished anything? Stayed busy but never finished your income producing activates? I know I have and I'm sure you have done it as well! On this episode of The HartBeat For Realtors, Tim Hart and Linda Straight with Straight to Success Coaching discuss how to manage your time to ensure that you spend it wisely doing the important activities that will help grow your business. Everyone has the same 24 hours in a day but not everyone spends it the same. Make your time count! Hopefully you enjoy this episode! Please make sure you subscribe to the HartBeat For Realtors on the podcast you listen to. I will have tons of content coming out just for Realtors to help you grow your business. If you want to contact Lind Straight, please e-mail her at straight2success@gmail.com Feel free to call me at 239-437-4278 or e-mail at thart@vandykmortgage.com if you or your clients have any mortgage questions or concerns. I do Mortgages for a living, if I can ever help you buy or refinance a home let me know! · Apply for a mortgage now at https://timhart.floify.com/apply-now · TEXT “APPLY” to 239-437-4278 · Call me or text me 239-910-5668 · Talk to my team were here to help! 239-437-4278 · Check out my website www.TimHartJr.com Connect with me on Social Media YouTube - http://bit.ly/2Ourk8c Instagram - https://www.instagram.com/timhart453/?hl=en Facebook - https://www.facebook.com/TimHartJr LinkedIn - https://www.linkedin.com/in/timhartjr/

In 2011 Tim Hart received an email from his close friend jack Froese, asking him to clean his attic. The only problem was, Jack had died 6 months earlier. "Crypto" Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0 License http://creativecommons.org/licenses/by/3.0/ "Creepy" and "Better Days" by BenSound.com "Felted Piano" by Anttis instrumentals "Sinister Calamity" by Dark Asylum Music Visit our website: Clouded Podcast - Follow us on Instagram @cloudedpodcast & on Twitter @cloudedpodcast Visit our sponsors: Use the code "CLOUDED" when ordering from Strideline! The most comfortable socks on the planet. Geeks United With Al and Bob: The Frightening 50 --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/clouded/message Support this podcast: https://anchor.fm/clouded/support

Do you have a presentation for your buyers? On this episode of The HartBeat For Realtors, Tim Hart and Linda Straight with Straight to Success Coaching discuss a buyers presentation and why you should have one. I think you will pull out some good tips to not only keep your buyers but get them under contract quicker with the house they want. Hopefully you enjoy this episode! Please make sure you subscribe to the HartBeat For Realtors on the podcast you listen to. I will have tons of content coming out just for Realtors to help you grow your business. If you want to contact Lind Straight, please e-mail her at straight2success@gmail.com Feel free to call me at 239-437-4278 or e-mail at thart@vandykmortgage.com if you or your clients have any mortgage questions or concerns. I do Mortgages for a living, if I can ever help you buy or refinance a home let me know! · Apply for a mortgage now at https://timhart.floify.com/apply-now · TEXT “APPLY” to 239-437-4278 · Call me or text me 239-910-5668 · Talk to my team were here to help! 239-437-4278 · Check out my website www.TimHartJr.com Connect with me on Social Media YouTube - http://bit.ly/2Ourk8c Instagram - https://www.instagram.com/timhart453/?hl=en Facebook - https://www.facebook.com/TimHartJr LinkedIn - https://www.linkedin.com/in/timhartjr/

On this episode of The HartBeat For Realtors, Tim Hart and Linda Straight with Straight to Success Coaching discuss how to leverage your database. Whether you are a new agent or a veteran that has been in the business for many years, you will want to leverage your database. Linda goes thru how to best set it up and utilize the database to grow your referral business and how she thinks the #1 tool to grow your business is the database. Hopefully you enjoy this episode! Please make sure you subscribe to the HartBeat For Realtors on the podcast you listen to. I will have tons of content coming out just for Realtors to help you grow your business. If you want to contact Lind Straight, please e-mail her at straight2success@gmail.com Feel free to call me at 239-437-4278 or e-mail at thart@vandykmortgage.com if you or your clients have any mortgage questions or concerns. I do Mortgages for a living, if I can ever help you buy or refinance a home let me know! · Apply for a mortgage now at https://timhart.floify.com/apply-now · TEXT “APPLY” to 239-437-4278 · Call me or text me 239-910-5668 · Talk to my team were here to help! 239-437-4278 · Check out my website www.TimHartJr.com Connect with me on Social Media YouTube - http://bit.ly/2Ourk8c Instagram - https://www.instagram.com/timhart453/?hl=en Facebook - https://www.facebook.com/TimHartJr LinkedIn - https://www.linkedin.com/in/timhartjr/

Here is Travis and Tim Hart recapping Game of Thrones Season 8 Episode 4. We normally do this a Facebook Live but Travis had a little too much fun on Cinco De Mayo and was not able to make it. Lewis Worrell stepped in to help and brought with him the worst audio of all time so Travis and I were able to do a quick audio recap of the episode. Enjoy and thanks for listening!

This episode traces the age-old European origins of many of the Winter Solstice traditions we enjoy today, from mother goddess worship through stories of the wizard child Jesus, to Christmas fortune telling with bones. Support Fair Folk: www.patreon.com/fairfolkcast PayPal.me/DanicaBoyce Music: “Let All Mortal Flesh Keep Silence” by the Ballycastle Players “Miri it is While Sumer Ilast” by Ensemble Belladonna “O Frondens Virga” by Augsburg Early Music Ensemble “Podblyadnye Song” by byAgrafena Glinkin “Ancient Gates” by Olga Glazova “Podblyadnye Songs” by Ensemble Joy “Persephone” by Stellamara “Tec, Peleite, Zernju Zogtu” by Kitka “The Holly She Bears a Berry” by the Voice Squad “Haugebonden” by Tiriltunga “Oi Linksta Suolaliai” by Keisto Folkloro Grupė” “Et Lite Barn Så Lystelig” by Julestemmer “The Bitter Withy” by the Valley Folk “Cherry Tree Carol” by Shirley Collins “Mari Lwyd (The Grey Mare)” by Carreg Lafar “Ecco donne la befana / Ninna nanna ninna oh (Filastrocche e canto natalizio Bologna)” by Stefano Zuffi & Pneumatica Emiliano Romagnola “Fum, Fum, Fum” by Winter Harp Ensemble “Frau Holle, Frau Holle, die Schüttelt ihre Betten aus” by Philharmonischer Kinderchor Dresden & Blockflötengruppe Bautzen “Bring Us In Good Ale” by Maddy Prior & Tim Hart

Tim Hart is our guest today. Tim is a colleague and friend, a qualified personal trainer, nutritionist, fountain of knowledge, and overall good dude. Today's topic of discussion is human enhancement. We talk about everything nutrition, supplement, and drug related. What helps? What doesn't? And we also try to solve the mystery of why Lorcan doesn't wait for the answers to his own questions! If you wish to find out more about Tim, click the link below to be taken to his training profile. There you can also book a session with the man himself: https://www.thirdspace.london/personal-trainer/tim-hart/

My name is Tim Hart and I'm the Branch Manager of VanDyk Mortgage in Fort Myers and host of the fishing show called Rates and Reels. I love podcasts so I finally decided to start a podcast called The HartBeat Show. Get it Hart - Beat show?? My last name instead of heart! So creative! For real, that is the best I could come up with. Cut me some slack. Geez. This podcast will be interviews from Rates and Reels, interviews with guests from SWFL and other areas and, of course, real estate and mortgage information. Connect me with me on social media or my website. Facebook: www.facebook.com/TimHartJr Twitter: twitter.com/TimHartJr InstaGram: www.instagram.com/timhart453 Website: www.timhartjr.com/ YouTube Rates & Reels: bit.ly/2lDbECc YouTube HartBeat Show: bit.ly/2u1mmX2 E-Mail: thart@vandykmortgage.com Enjoy the show guys and don't forget to like, share, and subscribe!

James catches up with Shine FM's Laura Turley, and writer/performer of the ACYF17 Official Song, Tim Hart. We also announce all the nominees of the 2018 Arch D Radio awards!

PODCAST: 05 Mar 2017   01 Gypsy Davey (Joe Boyd Mix) - Fotheringay - Nothing More - The Collected Fotheringay 02 Born In The Middle Of The Afternoon - Ewan MacColl, Charles Parker & Peggy Seeger - The Travelling People 03 The Moving On Song - Ewan McColl - The Definitive Collection 04 The Special Way - Mic and Susie Darling - The Special Way 05 Wexford Town - Beoga - Before We Change Our Mind 06 Sullivan's John - Pecker Dunne - The Very Best Of Pecker Dunne 07 Strike The Gay Harp/ Jimmy Ward’s/ Doberman’s Wallet - Mickey Dunne - Keepers Of The Flame 08 Barbara Allan - Debbie And Pennie Davis - Travellers Joy 09 Father Had A Knife - Jasper Smith - The Travelling Songster - An Anthology From Gypsy Singers 10 Dear Father, Pray Build Me A Boat - Sheila Smith - I'm A Romany Rai Disc 2 11 The Ballad Of George Collins - Sam Lee - Ground Of Its Own 12 Queen Among The Heather - Belle Stewart - Three Score And Ten: A Voice To The People 13 Gypsy Medley - Martin Taylor  - Gypsy 14 One Day - Martin Simpson - True Stories 15 Rambling Candyman - “Rich” Johnny Connors - From Puck To Appleby 16 Gum Shellac - Thomas Mccarthy - Round Top Wagon 17 The Well Below The Valley - Planxty  - The Well Below The Valley 18 Lish Young Buy-A-Broom - Tim Hart & Maddy Prior - Folk Songs Of Olde England - Vol. I & Ii 19 Lemmy Brazil's Hornpipe - John Spiers - Folk Music Of The British Isles  20 Will There Be Any Travellers In Heaven? - Derby Smith - Travellers (Topic) 21 Champagne For Gypsies - Goran Bregović Feat. Selina O' Leary - Champagne For Gypsies

Voici le centième opus d'"En cadence", une émission mensuelle consacrée aux grands thèmes éternels de la musique populaire : l'amour, les voyages, les filles, l'expression verbale ou les collages.Fêtons ce numéro cent sans faire de façons avec pas moins d'une dizaine de dizaine de chansons rentrées au chausse-pied dans notre heure d'émission. Un programme relativement éclectique, à l'image des précédents épisodes mais en pire, constitué autour de comptines, chansonnettes, cavatines, ritournelles et autres turlurettes. Car si on ne peut pas écouter une chanson cent fois, on peut toujours écouter cent chansons une fois.Liste des morceaux :01. Yves Simon - Tu marches dans une ville02. MOI (Musiques Opiniâtres Inopinées) - Dans la rue03. Tom Zé - Cademar04. Throwing Muses - Say Goodbye05. Sapho - Clean06. Scout Niblett - Texas07. Prinzhorn Dance School - Crash, Crash, Crash08. Minor Threat - Straight Edge09. Man Man - Sarsparillsa10. Tim Hart & Maddy Prior - Turkey Rhubarb11. Geinoh Yamashirogumi - 都からきたシタヤン12. Charles Manson - I'll Never Say Never To Always13. Ruthann Friedman - Topsy-Turvy Moon14. Heron - Sally Goodin15. Yannis Markopoulos & Kostas Virvos - Ο Μαυρομίχος16. The Holy Modal Rounders - Morning Glory17. Sparks - Gratuitous Sax18. Christopher Casson - Twinkle Twinkle19. Ben Zimet - Klein Yidele20. Why? - Twenty Eight21. The Magnetic Fields - Boa Constrictor22. Jason Falkner - The Invitation23. Éloïse Decazes & Delphine Dora - Malourous qu’o uno fenno24. Josephine Foster - Beauty Crowds Me Till I Die25. Karl-Heinz Schäfer - La Belle poupée26. Serge Gainsbourg - Eau et gaz à tous les étages27. Neung Phak - Look Thong Joi28. Le Grand Orchestre du Comptoir de Marrakech - Roucoucou29. Fritz Liechti & Family - Kittens30. The Who - Do You Think It's Alright?31. Leslie Bricusse & Anthony Newley - Ooompa Loompa32. Yola Polastri - Los Niños y su mundo33. Plearn Promdan - Farang Zeang Bong Fai34. The Mothers of Invention - Bow Tie Daddy35. Les Arts Florissants - Réveillez-vous, dormeur36. Sophie Karthäuser & Eugene Asti - Ba, Be, Bi, Bo, Bu37. Marian Anderson - Dere's No Hidin' Place Down Dere38. Billie Burke - Come Out, Come Out39. Nicole Romain - Blind Songbird40. Silmaril - Vita Brevis41. Mireille Darc & Serge Gainsbourg - Fermez les guillemets42. Philippe Crab - Réponds43. Catherine Hershey - Le Pélerin44. Bridget St. John - It Seems Very Strange45. Kathe Green - I Love You ('Though You Are Not Here)46. Julien Clerc - Les Enfants et les fifres47. Maurice Lecœur - Jacques Borel48. The Polyphonic Spree - The Rebecca Fantasy49. Animal Collective - College50. Weezer - My Evaline51. Guided By Voices - You're Not An Airplane52. The White Stripes - Passive Manipulation53. Ici Paris - Desdenova54. Noir Désir - Hoo Doo55. Violent Femmes - Old Mother Reagan56. Lucrate Milk - Bocops57. Hubert-Félix Thiéfaine - Dernière station avant l'autoroute58. Brigitte Fontaine - Les Petits chevaux59. Van Dyke Parks - Laurel Canyon Blvd60. Albert Marcœur - L'Épitaphe61. Malicorne - Voici venir le joli mai62. De Kift - IJlende Meeuw63. Kimya Dawson & Pablo Das - Unrefined64. Thao & the Get Down Stay Down - The Clap65. Tall Juan - I Like To Stay Home66. Wild Man Fischer - I Light the Pilot67. Kara Nau & John Nau - Lala68. Mônica Vasconcelos - Sunshine Vignette69. Jenny Hval - Some Days70. David Sylvian - 125 Spheres71. The Young Gods - Outside72. Lee Hazlewood - Love and Other Crimes73. Tom Waits - Clang Boom Steam74. Krzysztof Komeda - Chanting75. Alain Souchon & Laurent Voulzy - Ils étaient deux garçons (trois)76. Jonathan Richman - Nishi77. Dando Shaft - Prayer78. The Beautiful Losers - Welcome79. Megapuss - Mister Meat (Hot Rejection)80. Soft Machine - Thank You Pierrot Lunaire81. Reaching Quiet - Self Portrait Hand Puppet82. De La Soul - A Little Bit of Soap83. Pascal Comelade & Les Limiñanas - Wunderbar84. Udo Lindenberg & Das Panikorchester - Die größte Liebe85. Jean-Luc Le Ténia - Quand je serai connu86. Daniel Johnston - There Ain't Much You Can Do87. Lee Wallin - Juba This88. Saint Etienne - Dilworth's Theme89. Daniel Balavoine - Petite Musique Terrienne90. Ziz Zazou - Le Téléphone pleure91. The Waterboys - I Am Not Here92. Frank Ocean - Fertilizer93. Jay-Jay Johanson - Spellbound94. Kanye West - I Love Kanye95. Breakout - Po ten księżyc złoty96. Dominique Blanc-Francard - Ailleurs97. Laurent Voulzy - Aut'chose98. George - Title Song99. Tony, Caro & John - Homecoming100. Katerine - Quand c’est finiÉcouter

Tim Hart and girlfriend Tina call in while Mike Langan and I are mid convo. It gets crazy, then Paul Roybal calls in.... great stuff!!!

Mairi leads the British Council's Global Social Enterprise programme, which promotes the development of social enterprise and investment to help address entrenched social and environmental problems, build trust between the UK and other countries, and support more sustainable, inclusive and prosperous societies.Tim's a former journalist who created a marketing agency in San Francisco and has recently launched The Gra Group. He's also a musician and plays traditional music on the Irish Whistle.Listeners will find Tim's and Mairi's interviews fascinating. Tim talks about how small businesses and social enterprises can create customer personae to enable them to really focus on who they are marketing to; the interview includes plenty of advice and refers to template marketing plans and customer personae that you can download. And we go into detail about Tim's business and career highs and lows.Mairi explains more about how the British Council's global social enterprise programme works. It operates in 25 countries and provides aspiring and existing social entrepreneurs with skills training, consultancy, and access to funding and investment opportunities.The programme also forges international networks, disseminates bests practice and supports policy leaders to create ecosystems in which social enterprise and social investment can thrive.I interviewed Mairi at the recent Critical Mass conference, focusing on social investment and impact measurement, and we discuss the development of impact investing and measurement in the interview too.Timings:0 – 6:42 introductions and updates, including new figures about the contribution that the music industry makes to the UK economy; several forthcoming workshops and events; and the Tech for Good initiative.6:42 – 37:46 Tim Hart of the Grå Group. Check out the resources he mentions, available from his website here37:46 – 42:02 a track of Irish traditional music, Sheila Coyles, performed by Tim Hart from his album Five after Four42:02 – 43:34 Tim discussing the social purpose of his agency43:34 – 52:19 Dr. Mairi Mackay, the global head of social enterprise at The British Council52:19 – end wrapping upThis is episode #90 of Business Live, first broadcast on 6 November 2015.

PODCAST: 20 Apr 2014   01 - The Rout of the Blues - Robin and Barry Dransfield - The Rout of the Blues 02 - Dirty Old Town - Ewan MacColl and Peggy Seeger - Black and White 03 - Arthur McBride and the Sergeant - Martin Carthy - Prince Heathen 04 - I Live Not Where I Love - Tim Hart and Maddy Prior - Summer Solstice 05 - Blues Run the Game - Jackson C Frank - The Story of British Folk Vol 1 06 - The Verdant Braes of Screen - Swan Arcade - Full Circle 07 - The Molecatcher - Bernard Wrigley and Dave Brooks - Folksongs from the Octagon 08 - Early Morning Rain - Barbara Dickson - B4 74 The Folk Club Tapes 09 - The Blacksmith - Dave Burland - Benchmark 10 - Desperate Dan - The Pigsty Hill Light Orchestra - Piggery Jokery 11 - Streets of London - Ralph McTell - From Clare to Here 12 - Rambling Robin - Christy Moore - Prosperous 13 - Bolweevil Blues - Jo Ann Kelly - Women In (E)motion 14 - Sir Patrick Spens - Nic Jones - Ballads and Songs 15 - Homeward Bound - Paul Simon - Simon and Garfunkel’s Greatest Hits

PODCAST: 31 Mar 2013 Sig - Doon Reel - Frankie Lane 01 - Seabone Howl - The Groanbox Boys02 - Handsome Molly - Rosie Carson and Kevin Dempsey03 - Si Tu Dois Partir - Ruth Notman04 - Keefe's / The Star Above the Garter - Joe McHugh and Barry Carroll05 - I Live Not Where I Love - Tim Hart and Maddy Prior06 - The Banks Are Made Of Marble - Ewan McLennan07 - Cuthroats Crooks and Conmen - Little Johnny England08 - Castleford Ladies Magic Circle - Jake Thackray09 - Altisadora - Lal Waterson and Oliver Knight10 - Horkstow Grange - Jim Moray11 - Legetts Reel / The Old Gray Cat - Gina Le Faux12 - The Last Polar Bear - O’Hooley and Tidow13 - Collector Man - Rory McLeod14 - Sing About These Hard Times - Peggy Seeger15 - The Outlaw - The Willows16 - Jesus Will Fix It For You - Sonny Treadway  Sig - Doon Reel - Frankie Lane

PODCAST: 17 Feb 2013 Sig - Doon Reel - Frankie Lane 01 - The Laughlin Boy - Tracy Grammer02 - A Lyke-Wake Song - Johnny Dickinson03 - Farewell To Stromness - Eamonn Coyne and Kris Drever04 - The Monaghan Twig / Paddy Lynne's - Iron Lung05 - The False Knight On The Road - Tim Hart & Maddy Prior06 - The Shoemaker - Billy Mitchell and Bob Fox07 - Coal Black Mining Blues - Nimrod Workman08 - West Virginia Mine Disaster - Kathy Mattea09 - Western Train - Tony Trundle10 - The Disappeared (Los Desaparecidos) - Christy Moore11 - They Dance Alone - Sting12 - No Town - Michelle Holding and Bonz13 - Do the Boogie Mama - Yank Rachell's Tennessee Jug-Busters14 - The Factory Girl - Eilis Kennedy15 - The Silver Tassie - Emily Smith16 - The Back Door - D. L. Menard17 - Tell God and the Devil - Solas18 - The Mingulay Boat Song - Port Isaac's Fisherman's Friends Sig - Doon Reel - Frankie Lane

508 is a show about Worcester. This week’s panel is Tim Hart, Pam Toomey, Brendan Melican, and Carly. [display_podcast] Audio: mp3 link, Downloads and other formats 508 contact info We discuss proposed Worcester pit bull restrictions and think they are a bad idea. (You might enjoy this Malcolm Gladwell article about pit bulls.) Clark students … Continue reading "508 #107: Pit Bulls"