Podcasts about Troubadour

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

True History: Hallmark Playhouse “Stephen Foster: America's Troubadour” 12/27/51 CBS, American Adventure “Runaway Justice” 1/12/56 NBC.

South Texas singer/songwriter Charley Crockett lived an itinerant lifestyle for years, but his time in the Bay Area laid the foundation to launch his professional music career. 

durée : 00:46:16 - Live à Fip - On accueille le saxophoniste et poète londonien en interview et session live à l'occasion de la sortie récente de son album de recueillement "A Blade Because A Blade Is Whole".

Support the show: http://www.newcountry963.com/hawkeyeinthemorningSee omnystudio.com/listener for privacy information.

GGACP celebrates Bike to Work Week and National Bike Month by revisiting this memorable interview with veteran actor and environmentalist ED BEGLEY JR. In this episode, Ed talks about the glory days of the Troubadour, the timelessness of “The In-Laws,” the absurdity of Hollywood urban legends and the career of his Oscar-winning dad, Ed Begley. Also, Forrest Tucker takes a nip, Steve Allen checks into St. Eligius, Harry Belafonte shuts down Rodney Dangerfield and Ed hits the rink with Charlie's Angels. PLUS: Wheeler & Woolsey! “Amazon Women on the Moon”! Mr. Warmth lowers the boom! Ed remembers his friend Peter Falk! And the unsolved death of John “Stumpy” Pepys!  Learn more about your ad choices. Visit megaphone.fm/adchoices

Jack Barksdale inspires me about the next generations of music made , and especially here in Texas. A 17 yr. old folk/Americana singer/songwriter Jack started performing original music at the age of nine and has already shared the stage with Wynonna Judd, Ray Wylie Hubbard, Junior Brown, John Fullbright, and Hayes . He's definitely an “old soul” that paints his way into your mind with his prolific lyrics. He's headlining the inaugural Renegade Revival Music Fest May 17th at the Georgetown Palace Theater. And proceeds benefit HAAM of Austin helping musicians with healthcare.   Listen this week to our interview and you too will be inspired by this young Troubadour.   Originally aired 05/04/2025 on 95.3 FM KHYI the Range in Dallas, TX.

When we first learned about Young Gun Silver Fox ten years ago, we knew the duo of Andy Platts and Shawn Lee had created something very special. Since their 2015 debut album, West End Coast, they've released three additional albums that continue to pour the foundation of their truly signature sound. It's West Coast AOR, but it's a unique, genre-blending sound that's unquestionably their own. Today we'll talk with Shawn and Andy about their fifth album release, Pleasure, which releases today. This is no doubt another solid effort from the guys, and quite possibly their best album yet. Soon, they'll embark on a two-show teaser US tour in New York City and also at the Troubadour in LA. Inside MusiCast is pleased to welcome back Andy Platts and Shawn Lee of Young Gun Silver Fox.

Cold singer Scooter Ward zoomed in to talk about their upcomming tour celebrating the 25th anniversary of their album "13 Ways To Bleed On Stage" along with the 20th anniversary of their album "A Different Kind of Pain" both being played in their entirety at the Troubadour on 5/9/25 & at the Parish Room inside House of Blues in Anaheim on 5/10/25. Here's what we talked about: "13 Ways To Bleed On Stage" (0-8) the tour: 5/9 at Troubadour and 5/10 at HOB-A (8-10) "A Different Kind Of Pain" (10-14) New Music? (14-16) Final Ozzy Osbourne concert (16-end)

Manager, Neulinge, KompetenzKompetenz, ein Troubadour der Leitkultur, viele Juristen und eine Frau, die selbst Jens Spahn zu hart ist. Die Mannschaft des angehenden Kanzler ist klare Kante konservativ, deutlich Anti-Merkel, aber auch Anti-AfD. Die Politiknerds Frank Stauss und Hajo Schumacher beleuchten im Spezial „61 Millionen - Wahlkampf und Strategien“ das Team Merz. Weitere Themen: Strategisches Menscheln von Lars Klingbeil. Symmetrische Mobilisierung und Mut zu starken Gleichgesinnten. Das mächtige Viereck Linnemann, Spahn, Frei, Dobrindt. Die Rückabwicklung von 68. Die Selbstabwicklung der Sahra Wagenknecht. Emo-Klumpen Trump. Schon wieder Armageddon. Plus: Sorry, Julia Klöckner, er meint es nicht so. Folge 933.Michael Meisheit + Hajo SchumacherLügen haben schnelle Beine – Laufende Ermittlungen, Band 2Droemer Verlag, 2025.Suse SchumacherDie Psychologie des Waldes, Kailash Verlag, 2024Michael Meisheit + Hajo Schumacher Nur der Tod ist schneller – Laufende Ermittlungen, Kriminalroman, Droemer Knaur Verlag.Kathrin Hinrichs + Hajo SchumacherBuch: "Ich frage für einen Freund..." Das Sex-ABC für Spaß in den besten JahrenKlartext Verlag.Kostenlose Meditationen für mehr Freundlichkeit (Metta) und Gelassenheit (Reise zum guten Ort) unter suseschumacher.deDem MutMachPodcast auf Instagram folgen Hosted on Acast. See acast.com/privacy for more information.

Ever wondered who your perfect customer really is? In this episode on the Grow Your B2B SaaS Podcast, we explore the power of the Ideal Customer Profile (ICP) a must-know for B2B SaaS founders looking to grow smart. Our guest, Craig Brown, founder of Troubadour (a product marketing agency for SaaS startups), breaks it all down. With experience at HSBC, Beemri, and mentoring startups across the U.S., Craig brings a mix of deep business insight and stand-up comedian charm to the conversationKey Timecodes(0:00) – Introduction and Common Startup Challenges(0:49) – Guest Introduction: Craig Brown(1:45) – Importance of Defining an Ideal Customer Profile (ICP)(3:01) – Misconceptions About Identifying ICP(4:57) – Common Mistakes in Defining ICP(7:53) – Going Enterprise Too Early(8:47) – Evolving ICP and Product Development(9:19) – Step-by-Step Process to Nail ICP(13:56) – How Narrow Should Your ICP Be?(16:58) – Avoiding the Wrong Clients Through Messaging(19:21) – Where Companies Get Stuck Defining ICP(22:03) – Product-Market Fit: Not Just Revenue Milestones(24:23) – Adjusting SaaS Messaging as the Company Grows(27:16) – Product-Focused vs. Value-Focused Headlines(29:01) – Best Advice on Defining ICP(30:37) – Advice for SaaS Founders Starting Out(31:50) – Growing to 10 Million ARR: Challenges and Advice(34:24) – How to Find and Contact Craig Brown

Immerse yourself in captivating science fiction short stories, delivered daily! Explore futuristic worlds, time travel, alien encounters, and mind-bending adventures. Perfect for sci-fi lovers looking for a quick and engaging listen each day.

Pokey Lafarge's music dabbles in mambo, tropicália, rocksteady, and mid-century American rock-and-roll. He shares the music that's influenced him. 

A songwriter with the spirit of John Prine.

This week Ari sits down with Victoria Canal, a trailblazing singer-songwriter based in London. Victoria has performed on Jimmy Kimmel Live!, Later… with Jools Holland, and onstage with Coldplay at Glastonbury. She has won two Ivor Novello awards (including the Rising Star award) and recently released a new album, Slowly, It Dawns.After ten hard-won years as a DIY artist, Victoria's now signed with a major label, Parlophone Records (under Warner Music Group). In this episode, Victoria opens up about her journey as an artist and the varying pressures faced by both indie and label-repped musicians. Tune in to learn more about headlining the Troubadour, life as a touring artist, managing the pressures of social media, and how to attract the right kinds of fans. https://www.victoriacanal.com/ Chapters00:00 From Glastonbury to Stardom03:11 The Journey of Victoria's Career05:49 Creating Intimate Connections Through Music08:50 The Reality of Touring Economics11:56 Balancing Artistry and Business14:58 The Emotional Journey of Songwriting18:07 Evolving Through Performance20:55 The Impact of Social Media on Artists24:09 Navigating Vulnerability in Performance27:14 The New Album: Slowly, It Dawns30:05 Reflections on Growth and Authenticity36:23 The Inner Journey of Self-Acceptance39:50 Meeting Idols: Reality vs. Expectation40:45 A Dream Come True: Performing with Coldplay45:04 The Importance of Energy in Performance46:06 Navigating the Artist Lifestyle and People Management49:03 The Weight of Fan Interactions54:06 Social Media Pressures and Authenticity01:01:19 Taking a Stand: Performing at the Kennedy Center01:05:39 Defining Success in the Music IndustryEdited and mixed by Ari DavidsMusic by Brassroots DistrictProduced by the team at Ari's TakeOrder the THIRD EDITION of How to Make It in the New Music Business: https://book.aristake.com Hosted on Acast. See acast.com/privacy for more information.

Recently, Night Demon completed a full European tour supporting progressive metal titans Queensryche. During that tour, Jarvis had an opportunity to sit down for an in-depth conversation with Queensryche guitarist Mike Stone. This week we present that interview in its entirety for your listening pleasure.  You will hear about Stone's fascinating career journey, life story, philosophies on music and writing and life, and many other topics. Settle in and enjoy this engaging and wide-ranging discussion.  Listen at nightdemon.net/podcast or anywhere you listen to podcasts! Follow us on Instagram Like us on Facebook

Buckle up, Monkees fans! Jeff welcomes back John Billings, legendary bassist, and all-around cool guy, to dish on recording "Live at The Troubadour" with Micky Dolenz. From stage jitters to bass lines that matter, John takes us behind the scenes of capturing a once-in-a-lifetime performance. We talk Micky's timeless voice, the club's rock-and-roll legacy, and a few “OMG” moments in production. Plus, hear about the surprise VIPs lurking in the wings, why the bass deserves more respect, and how Make-A-Wish plays into this historic show. Episode Highlights:

In this episode of Tuna on Toast, Stryker interviews Alex Kapranos, lead singer of Franz Ferdinand. The guys start out discussing fatherhood, since Alex's son recently turned one. They also remember Franz Ferdinand's first show in LA, which Stryker attended decades ago at the Troubadour. Alex then talks about Franz Ferdinand's new album ‘The Human Fear,' which will drop in 2025. Stryker has been playing the song “Audacious” on his radio show, and Alex reveals how it came together – along with an explanation why fear is a good thing. Alex didn't always feel like he could front a rock band, and he tells Stryker how a random karaoke performance became life-changing. Alex goes further into Franz Ferdinand's history, discussing his memories of the Grammys, the most terrifying gig he ever played, and how Franz Ferdinand found their indie rock sound at a time when most popular rock music was loud and heavy. Subscribe to Tuna on Toast, follow @TedStryker @tunaontoast on Instagram and thanks for checking out the show!

Jordan and Alex rev up their clank-boom-skronk engine and clatter their way into the junkyard for a trip to the heart of Tom Waits’ asthmatic doomer trip 'Bone Machine'! After a brief discussion of Waits’ career up to that point, including his early association with LA’s Troubadour-based Mellow Mafia, they’ll jaws-of-life their way into the album’s rusted center, from figuring out exactly which field recording of Pygmy drumming inspired the opening cut to the precise nature of the chicken-ranch storage room the album was tracked in. They’ll run down every Easter egg in the lyrics, from Tony Franciosa to Oldsmobiles, and identify minutiae from the flea-market piece of music gear Waits got repaired at a TV shop to the details of how Tom met Keef (Richards, that is.) It’s Too Much Information: *incomprehensible gargling bellows*! Support your friendly neighborhood TMI Guys here! https://ko-fi.com/toomuchinformationpodcastSee omnystudio.com/listener for privacy information.

Get a Backstage Pass by visiting our Patreon page EPISODE #209 TRAVIS MEADOWS This episode with Travis Meadows just might be my favorite interview we've ever captured here on The Troubadour.  Travis has lead one hell of a life as you'll hear in the episode.    SWEETWATER  - Buy your gear using our affiliate link!   He spent 17 years as a preacher and Christian songwriter.  He was well into middle-age before he become known as a hit songwriter with folks like Eric Church, Dierks Bentely, Jake Owen and Wynonna recording his songs.    TRAVIS MEADOWS-SONGS CUT BY OTHER ARTISTS   Over his life he also battled addiction and in the midst of dealing with that and multiple stints in rehab, he started writing the best songs of his life.   He's a true inspiration to all humans, not to mention, aspiring writers who think they have what it takes to write alongside the best songwriters in the world in Nashville.   TRAVIS MEADOWS PATREON PAGE     GET HEALTHY WITH PETE !     Enjoy the episode!

Nathan Dillon is the director of Everybody Rocks. It's a music education company, and these days, it's focused on bringing live music to old folks. Another way to describe Nathan's work is that he drives around and sings at senior centers. He's been running Everybody Rocks for a couple decades now, and all that time has given him insight into music and memory, the invisibility of old people in most of our society – and what it's like to live in the gig economy. On the latest Inner States, we visit with Nathan Dillon and a few of his fans after his latest visit to the Richland Bean-Blossom Health Care Center.CreditsInner States is produced and edited by me, Alex Chambers. Our associate producer is Dom Heyob. Our master of social media is Jillian Blackburn. We get support from Eoban Binder, Natalie Ingalls, LuAnn Johnson, Sam Schemenauer, Payton Whaley, Lisa Robbin Young and Kayte Young. Our Executive Producer is Eric Bolstridge.Our theme song is by Amy Oelsner and Justin Vollmar.The residents we spoke with at the Richland Bean-Blossom Health Care Center are, in order of appearance: Stephanie Sappingsfield, Daniel Allen, Rita Eaton, and Tammy Brohome. We'd like to thank them and also Dorothy Hinson, in Activities, who helped us meet people, and was just about the most cheerful person we've ever met. 

durée : 00:20:09 - Lectures du soir - " J'ai beaucoup rêvé et très peu exécuté. Le sens du grotesque m'a retenu sur la pente des désordres. Je maintiens que le cynisme confine à la chasteté."

In this conversation, John Dominguez, co-founder and chief strategist of Songbird Collective, discusses his extensive background in music and his initiative within the Metaverse aimed at creating immersive and collaborative environments for artists. Songbird Collective has facilitated over 1000 live concerts in the Metaverse, allowing artists to showcase their work, even during the pandemic when live music was largely inaccessible. The initiative has also opened new revenue streams for musicians through NFTs and virtual performances, providing a unique and innovative way to engage with global audiences. He recalls the exciting early days of music exploration via the internet in the mid-90s, highlighting moments when he discovered influential music essays and participated in emerging online music communities. One of his notable memories includes attending his first concert, an NWA show in 1989, where he experienced both the thrill and cultural impact of live hip-hop music. He reminisces about various concert experiences, including attending Kings of Leon at Johnny Depp's Viper Room and the Troubadour in Los Angeles, and describes the unique atmosphere of historical music venues. He also recalls his experience attending the Tibetan Freedom Concert in 1996.Dominguez also values personal interactions with musicians, sharing stories about his early online exchanges and meetings with avant-garde musicians Nels Cline and Joe Baiza. Despite the modern shift towards digital music consumption, Dominguez advocates for the irreplaceable magic of live performances and encourages music enthusiasts to support local independent shows. In wrapping up, he stresses how vital it is for fans to support smaller live music venues, highlighting how these spaces provide essential platforms for artists and memorable experiences for audiences. Dominguez's dedication to music culture and innovation through Songbird Collective exemplifies the evolving landscape of live music and virtual experiences.BANDS: Aerosmith, Beastie Boys, Ben Steller, Creeper Lagoon, Dr. Dre, Fontaine's DC, Ice Cube, Jet, John Lee Hooker, Killers, Kings of Leon, Mud Honey, New Jack's Swing, No Doubt, NWA, Oasis, On the Speakers, Ornette Coleman, Pavement, Pixies, Porno for Pyros, Rage Against the Machine, Smashing Pumpkins, Sonic Youth, Stooges, Tribe Called QuestVENUES: Celebrity Theater, Constellation Room, Castaic Lake, El Rancho Grande, Johnny Depp's Viper Room, Observatory, Rainbow, Roxy, Salt Shed, Troubadour, Mr. T's Bowl PATREON:https://www.patreon.com/SeeingThemLivePlease help us defer the cost of producing this podcast by making a donation on Patreon.WEBSITE:https://seeingthemlive.com/Visit the Seeing Them Live website for bonus materials including the show blog, resource links for concert buffs, photos, materials related to our episodes, and our Ticket Stub Museum.INSTAGRAM:https://www.instagram.com/seeingthemlive/FACEBOOK:https://www.facebook.com/profile.php?id=61550090670708

As Cale draws near to the gaping maw, his ensemble is completed by Asteroth, the demon troubadour. Featuring Cale Evans, and Jacob Brayton. Music by Josh Brayton. With special guest: Chandler Smith The Podcast From Hell is a fully improvised comedy podcast featuring creatures from the worlds of Mythology, Lore, Legends, and the minds of North Carolina's okayest improvisors

We continue Librivox's 2nd Short Science Fiction Collection with "The Troubadour" by Robert A. W. Lowndes! Learn more about your ad choices. Visit megaphone.fm/adchoices

It's half-way through NADSWRIM! Welcome to the Wonders with The Red Planet #10, 253 Mathilde: Episode 3- Trial, and Short Story Sci Fi Collection 2- The Troubadour! Learn more about your ad choices. Visit megaphone.fm/adchoices

It's half-way through NADSWRIM! Welcome to the Wonders with The Red Planet #10, 253 Mathilde: Episode 3- Trial, and Short Story Sci Fi Collection 2- The Troubadour! Learn more about your ad choices. Visit megaphone.fm/adchoices

We continue Librivox's 2nd Short Science Fiction Collection with "The Troubadour" by Robert A. W. Lowndes! Learn more about your ad choices. Visit megaphone.fm/adchoices

EPISODE #208 COLM GAVIN On this episode of The Troubadour, I got to interview talented and accomplished singer/songwriter Colm Gavin.  Colm is from Dublin, Ireland and we had a great conversation!  I'd certainly say we're both musically kindred spirits, although I'll leave the drinking of Guiness to Colm!  LOL   Colm's music can be found on Spotify using this LINK. Colm can be found on Instagram HERE Colm can be found on Facebook HERE   GET HEALTHY WITH PETE !   SWEETWATER  - Buy your gear using our affiliate link!   Enjoy the episode!

Pfeffert eure Laptoptasche auf den Bahnsteig, die neue Folge DRINNIES hat es in sich! Chris korbt einen Troubadour, Shania Geiss ist das Klopapier ausgegangen und Giulia trägt eine Jeans aus Holz. Darauf einen großen Gastritis auf Eis!Besuche Giulia und Chris auf Instagram: @giuliabeckerdasoriginal und @chris.sommerHier findest du alle Infos und Rabatte unserer Werbepartner: linktr.ee/drinnies Hosted on Acast. See acast.com/privacy for more information.

Marc Abrams sits down with promoter Jimmy Adams and former WBC Heavyweight champion Oliver McCall to discuss the February 4, 2024 event at The Troubadour in Nashville, Tennessee

Get a Backstage Pass by visiting our Patreon page EPISODE #207 RODNEY PYEATT I was lucky to have a great group of musicians join me in the recording studio on my very first project back in 2003.  The guy who handled all of the guitar work on that project was named Rodney Pyeatt.   Rodney, and those around him, realized he was a very talented guitar player early on in his life. His talents eventually led to him playing with some incredible musicians in his career including Selena, Rick Trevino, The Mike McClure Band & Stoney LaRue.   He's now working a lot in the recording space as well as still working as a guitar player when his services are called upon.  He's had some amazing experiences and some that have been tragic in his life but as you'll hear in the interview, he's taken it in stride.   GET HEALTHY WITH PETE !   Through one of these events in his life he nearly lost his ability to play guitar completely when he nearly cut the index finger on his left hand completely off!     But you can't keep a good man down for long and he's still putting his God-given talents to work!  He's a good human being and one I'm glad to be lucky enough to call a friend!   To get in touch with Rodney via email you can reach out to him at guitartroubadour01@gmail.com   SWEETWATER  - Buy your gear using our affiliate link! Enjoy the episode!

We go north of the border on this episode of the Someone You Should Know Podcast, for some "Troubadour Country."  What's that?  We have Canadian Country singer/songwriter Chase Stevens onboard to tell us about "Troubadour Country."  We'll share some of his latest "Troubadour Country" songs and talk about the Canadian music scene.  Join us for the words and music of Chase Stevens. Chase is Someone You Should Know.  Tip Jar:Click here to buy the Rik Anthony a cold one.Show Links:Click here to go to Chase's websiteClick here to go to Chase's Facebook Click here to go to Chase's instagram All music used by permission from the artistSomeone You Should Know 2025 // CatGotYourTongueStudios 2025Feedback: Send us a text.How to Contact Us:Official Website: https://Someoneyoushouldknowpodcast.comGmail: Someoneyoushouldknowpodcast@gmail.comTwitter: @RIKANTHONY1Facebook: https://www.facebook.com/rikanthonyInstagram: https://www.instagram.com/someoneyoushouldknowpodcast/LinkedIn: https://www.linkedin.com/in/rik-anthony2019/TikTok: @SomeoneYouShouldKnow2023YouTube: https://www.youtube.com/@someoneyoushouldknowpodcastThank you for listening!Theme music "Welcome to the Show" by Kevin MacLeod was used per the standard license agreement.

Ken Bevis is a Stewardship Fish and Wildlife Biologist with the Washington State Department of Natural Resources. A self-proclaimed “nature troubadour”, he is also a musician known for using songs to tell stories and educate on forestry and wildlife management. Ken joins The Stump to discuss his career, the work he does with small forest landowners, and his music. Ken has over thirty years of experience in forestry and wildlife management. Over that time, he worked for the Virginia Division of Forestry, the US Forest Service, and the Yakama Indian Nation. Much of that work was related to the Northern Spotted Owl. Today, he works for the Washington State Department of Natural Resources and travels the state to teach landowners how to improve wildlife habitats on their properties. Much of his work is focused on the more fire-prone areas of Eastern Washington. He has a wealth of knowledge and energy, and his trusty guitar is usually found nearby. To contact or to learn more about Ken's work and music, please visit: Ken.Bevis@dnr.wa.gov WA DNR Small Forest Landowner Office (SFLO): https://www.dnr.wa.gov/sflo WA DNR Small Forest Landowner Assistance Portal: https://www.dnr.wa.gov/LandownerAssistancePortal Ken's Music and Shows: https://kenbevis.com/ krbevis@methownet.com

John Spittle born and raised in Southern California started playing drums at the age of 5. His father was a drummer and started teaching him at an early age. Music was always a big influence in his household. By the time John was around 10 He would sit in with his dad's rock bands. Sitting in gave John the desire to want to do more. Joined school band in Middle and HighSchool.  By the time he was 15 he was playing club gigs( having to spend breaks outside because he was too young). At 16 as well playing club gigs he joined rock bands in Southern California in hopes of one day being a Rock Star. That led to doing sessions in L.A. area and landing accounts playing drums on jingles and commercials and demos.  In 1996 John packed up his family and moved to Nashville TN. Nashville was a better place to raise a family and the music scene was thriving.  Since moving to Nashville John has played drums touring and or recording with Artists like  Paul Brandt,Sara Evans, Chris Cagle, Aaron Tippin, Tammy Cochran, Kellie Coffey, Matt King, Marty Brown, Neal Coty, and many more.  Since 2002 John has been playing drums with Country Music Icon Trace Adkins All of this has led to seeing the world on tour and recording in some of the greatest studios in Nashville. And building his own home drum studio for remote tracking.Some of his TV performances include The Conan O'Brien show, Jay Leno Show, Craig Ferguson, Jimmy Kimmel, Jimmy Fallon, Ellen Degenerous show, Today Show, NYC New Years Eve, Emeril Live, ACM Awards Show, CMT Awards Show, The Celebrity Apprentice, The Grand Ol Opry, and many more. Endorsed by Ludwig, Paiste, Innovative Percussion.   Some Things That Came Up:  -2:30 Leaving Ventura, CA -5:40 John is a surgery free drummer! -6:40 John was a surfer back in the day  -7:50 John's Dad was his first drum teacher -9:10 John's Dad gave his some tough love at his first gig at The Troubadour -10:00 Reconnecting with J.R. McNelley at The Mission Cigar and Social in Spring Hill, TN. -14:36 “Music and Cigars with John and J.R.” podcast  -16:00 Playing around L.A., doing jingles and working as an auto mechanic at Chevrolet -21:40 The love of muscle cars  -26:00 The quickest drum charting system in the world. John's version is unique to him -30:45 John's first gig was Marty Brown of “I'm From The Country” fame, then Matt King,              Neal Cody, Paul Brandt, Sara Evans, Aaron Tippin, Chris Cagle and then Trace Adkins -33:45 Trace Adkins gig was a NO audition scenario in 2002 -38:50 It's all about relationships  -41:00 Bitcoin? -42:00 NFT? Gorden Campbell, Gary V DM -43:00 Ableton Expertise  -45:40 Career Highlights: Playing Carnegie Hall, Playing The Ventura County Fair -53:00 Ludwig, Paiste, Innovative Percussion -56:00 Alex Van Halen's “Brothers” Book  -58:30 David Lee Roth was the ultimate frontman -59:40 Kenny Aronoff subbing for Jason Bonham  -1:06:20 Rock project called The Brave on Apple Music and Spotify -1:07:30 The Fave 5…Check out Bruno's Italian Deli -1:13:45 “Dogman” by Kings X! Jerry Gaskill in the house!  -1:22:50 Playing ZZ Top's “Tush” correctly   Follow:  -Email: jpspittle@gmail.com   The Rich Redmond Show is about all things music, motivation and success. Candid conversations with musicians, actors, comedians, authors and thought leaders about their lives and the stories that shaped them. Rich Redmond is the longtime drummer with Jason Aldean and many other veteran musicians and artists. Rich is also an actor, speaker, author, producer and educator. Rich has been heard on thousands of songs, over 30 of which have been #1 hits!   Follow Rich: @richredmond www.richredmond.com   Jim McCarthy is the quintessential Blue Collar Voice Guy. Honing his craft since 1996 with radio stations in Illinois, South Carolina, Connecticut, New York, Las Vegas and Nashville, Jim has voiced well over 10,000 pieces since and garnered an ear for audio production which he now uses for various podcasts, commercials and promos. Jim is also an accomplished video producer, content creator, writer and overall entrepreneur.   Follow Jim:   @jimmccarthy www.itsyourshow.co

WHEY JENNINGS On his third EP, Just Before The Dawn, Whey shares stories about his struggles with addiction, finding sobriety, and redemption through faith, family and friends. Whey Jennings was born into one of country music's most iconic family Whey's grandfather, Waylon, was a legendary singer, songwriter, and country musician. He was pivotal to the growth in popularity that the outlaw country movement saw throughout the '70s, and even had songs featured on the first platinum country album, “Wanted! The Outlaws” which featured Willie Nelson and Whey's grandmother Jessi Colter.MARTHA SPENCER is a genuine folk Troubadour, she grew up on the slopes and hollows of southwest Virginia's rugged Whitetop Mountain, where a rich tradition of old-time Mountain music has endured through many decades of changes. She began playing music and dancing from a very young age with The Spencer Family, and studied old-time fiddle under her father through the Virginia Foundation of the Humanities Folklife Apprenticeship Program.WOODSONGS KID: Madeline Caudil is an 11 year old singer from Berea, Kentucky.

Listen Ad Free https://www.solgood.org - Listen to hundreds of audiobooks, thousands of short stories, and meditative sounds.

* Tribes of Cara Fahd: Asok's Armbreakers * New tribe founded alongside Cara Fahd. * Broke off from Herok's Lancers. * Tale is five "songs" composed by the founder, Asok. * Herok denied Krathis Gron's claim and declined following her. * Herok killed a family that was leaving to follow her. * Asok's gahad triggered, challenged the chief. * Stirring speech in front of the tribe. * Invoked the Passions and used his Troubadour magic. * Approximately one third of the Lancers followed Asok. * Followers mostly women, children, and civilians; only a few hundred fighters. * Settle in Claw Ridge and call it home. Declines tribal lands. * Devoted to Krathis, act as militia for Claw Ridge. * Tribe of "true believers" in comparison to Metal Fist and Broken Fang. * Herok has sworn vengeance on Asok and Cara Fahd. Potential threat. * Potential source of inside intel about Claw Ridge and the nation's situation. * Great presentation; written as a bit of epic poetry. * More nuance to the varied cultures making up the new nation. Find and Follow: Email: edsgpodcast@gmail.com YouTube: https://www.youtube.com/@EDSGPodcast Find and follow Josh: https://linktr.ee/LoreMerchant Get product information, developer blogs, and more at www.fasagames.com FASA Games on Facebook: https://www.facebook.com/fasagamesinc Official Earthdawn Facebook Group: https://www.facebook.com/groups/officialearthdawn FASA Games Discord Channel: https://discord.gg/uuVwS9u Earthdawn West Marches: https://discord.gg/hhHDtXW

Send us a textSampson Moss and Jeremy recently sat down in Winnemucca, NV, at the Buckaroo Traditions Gathering. Sampson grew up in Canada and had a very unusual route to becoming a cowboy. In high school he found his tribe in the punk rock scene. Snow boarding and music consumed his formative years. In collage he started climbing on broncs and transitioning into a different lifestyle. Sampson openly shares his struggles and talks about the road that led him to becoming a premier hat-maker. When he isn't in the hat shop, he is most likley on the mountian snow boarding or on the back of a horse day working. check him out on Instagram @ sampson_with_a_p or his website www.prairiewindhatworks.com

Grammy-award winning Cajun fiddler Louis Michot is headed to New Orleans for a solo performance. The member of the Lost Bayou Ramblers will combine his love of Louisiana French music with new boundary-pushing sounds in his latest work, Rêve du Troubadour . He joins us for more on his upcoming performance and adding a modern spin to traditional Cajun music. 2024 was a memorable year for politics, nationally and locally. WRKF's Capitol Access Reporter Brooke Thorington spoke with LSU Political Science Professor Dr. Robert Hogan about Gov. Jeff Landry's first year in office, the upcoming transition of closed primaries and how the 6th Congressional District will affect the state.The holiday season is upon us, and it feels like everywhere you go, you're surrounded by Christmas music. But in recent years, musicians have found creative ways to adapt these traditional songs for new genres.Yesterday, we brought you the sounds of country artist Sammy Kershaw's Cajun Christmas. Today, we'll hear how the New Birth Brass Band is mixing Christmas classics with New Orleans jazz and funk for a lively march-along. ___Today's episode of Louisiana Considered was hosted by Diane Mack. Our managing producer is Alana Schrieber. Matt Bloom and Aubry Procell are assistant producers. Our engineer is Garrett Pittman.You can listen to Louisiana Considered Monday through Friday at noon and 7 p.m. It's available on Spotify, Google Play and wherever you get your podcasts. Louisiana Considered wants to hear from you! Please fill out our pitch line to let us know what kinds of story ideas you have for our show. And while you're at it, fill out our listener survey! We want to keep bringing you the kinds of conversations you'd like to listen to.Louisiana Considered is made possible with support from our listeners. Thank you!

Stamford Chidge & Jonathan Kydd are joined by former Chelsea player Eddie Niedzwiecki live at a sold out and packed Troubadour club after the Chelsea v Aston Villa match to look back at Eddie's Chelsea career and his thoughts on present day Chelsea.An excellent afternoon with Eddie, who was a much loved player and as one of our best ever goalkeeper's a key member of the 1983/84 Division Two title winning side, which then impressed in Division One. Eddie discussed goalkeepers playing out from the back, playing for Chelsea and being coached by Peter Bonetti, the injury which cruelly ended his career at the age of 27 and his career in coaching for Chelsea and Wales. This is not to be missed, especially if you are interested in the fine art of goalkeeping.Eddie Niedzwiecki played for Chelsea between 1983-1988, with 52 clean sheets and 175 appearances. Hosted on Acast. See acast.com/privacy for more information.

The #1 way you can support The Troubadour is by visiting our Patreon page EPISODE #203 CRIS JACOBS   Cris Jacobs new record, One Of These Days, has a star-studded cast.  Produced by Jerry Douglas and additional contributors including Billy Strings, Sam Bush, Lee Ann Womack, The Infamous Stringdusters and more, the record is outstanding.  Links Below – Enjoy the Episode!   LISTEN TO THE NEW RECORD HERE   Video: The making of “One of These Days”   We're also excited to say that we are now an affiliate for Sweetwater.  So, the next time you need any new strings, picks, microphones, recording gear, etc. make sure to use this link!

Ray and I sit down in the garden of the Troubadour to talk about the final shows of Bob Dylan's Rough and Rowdy Ways World Wide Tour (2021-24) at London's Royal Albert Hall.Subscribe to Ray's Substack, Flagging Down the Double E (but get the paid membership if you can), and buy his book Pledging My Time: Conversations with Bob Dylan Band Members.Music that appears in this episode:All Along the Watchtower (London 12/11/24)Desolation Row (London, 12/11/24)Watching the River Flow (London, 14/11/24)Every Grain of Sand (London, 12/11/24)It's All Over Now Baby Blue (London, 12/11/24)I Contain Multitudes (Paris, 24/10/24)My Own Version of You (London, 12/11/24)My Own Version of You (London, 14/11/24)Key West (Philosopher Pirate) (London, 14/11/24)All Along the Watchtower (London, 14/11/24)I've Made Up My Mind to Give Myself to You (London, 14/11/24)Theme music by Robert ChaneyYou can support Definitely Dylan on Patreon or with a one-off donation at buymeacoffee.com/definitelydylan.

The #1 way you can support The Troubadour is by visiting our Patreon page EPISODE #202 JEREMY SPILLMAN We're super stoked about this episode with hit songwriter and published author, Jeremy Spillman.  He's a great dude and he's wrote for and with some of the biggest names in Country Music.  We hope you all dig this episode as much as we did getting it in the can!  Enjoy!   YouTube Vid of Jeremy's hit song Arlington recorded by Trace Adkins   YouTube Vid of Jeremy's hit song Hell on the Heart recorded by Eric Church     VIDEO Links:   We're also excited to say that we are now an affiliate for Sweetwater.  So, the next time you need any new strings, picks, microphones, recording gear, etc. make sure to use this link!

Put on your walking shoes. Walk out your door and listen to the Irish & Celtic Music Podcast #685. Subscribe now! Dancing With Hobbits, Cherish The Ladies, Jesse Ferguson, Ruth Keggin & Rachel Hair, The Friel Sisters, Joseph Carmichael, Dublin Gulch, The Henry Girls, Adria Jackson, Sheridan Rúitín, Skyrie, Socks in the Frying Pan, Old Man Flanagan's Ghost, Kathryn Tickell GET CELTIC MUSIC NEWS IN YOUR INBOX The Celtic Music Magazine is a quick and easy way to plug yourself into more great Celtic culture. Enjoy seven weekly news items for Celtic music and culture online. Subscribe now and get 34 Celtic MP3s for Free. VOTE IN THE CELTIC TOP 20 FOR 2024 This is our way of finding the best songs and artists each year. You can vote for as many songs and tunes that inspire you in each episode. Your vote helps me create next year's Best Celtic music of 2024 episode. You have just three weeks to vote this year. Vote Now! You can follow our playlist on Spotify to listen to those top voted tracks as they are added every 2 - 3 weeks. It also makes it easier for you to add these artists to your own playlists. You can also check out our Irish & Celtic Music Videos. THIS WEEK IN CELTIC MUSIC 6:00 - Dancing With Hobbits "Folk on Foot" from Dancing With Hobbits Inspired by the Folk on Foot podcast 3:03 - WELCOME 7:02 - Cherish The Ladies "The Portumna Workhouse _ The Hurling Boys Of Portumna" from Heart of the Home 11:53 - Jesse Ferguson "Tramps and Hawkers" from Ten 17:10 - Ruth Keggin & Rachel Hair "Tri Nation Harp Jigs" from LOSSAN 20:57 - The Friel Sisters "Kelvin's Purling Stream" from Before the Sun 24:44 - FEEDBACK 28:54 - Joseph Carmichael "For Beany" from Desiderium 33:34 - Dublin Gulch "The River and the Road" from Tap 'Er Light 38:53 - The Henry Girls "Honeybee/ Hard Border" from A Time To Grow 44:33 - Adria Jackson "She Moved Through The Fair from Troubadour 47:30 - THANKS 49:58 - Sheridan Rúitín "Wagoner's Lad" from Rebels in the Night 54:03 - Skyrie "The Lambs" from Hunger Road 57:34 - Socks in the Frying Pan "Shoot the Arrow" from Waiting for Inspiration 1:01:46 - Old Man Flanagan's Ghost "Nelson's Blood" from Simple Little Boat 1:04:05 - CLOSING 1:05:05 - Kathryn Tickell "Joan's Jig / Cut the File" from Return to Kielderside 1:08:18 - CREDITS The Irish & Celtic Music Podcast was produced by Marc Gunn, The Celtfather and our Patrons on Patreon. The show was edited by Mitchell Petersen with Graphics by Miranda Nelson Designs. Visit our website to follow the show. You'll find links to all of the artists played in this episode. Todd Wiley is the editor of the Celtic Music Magazine. Subscribe to get 34 Celtic MP3s for Free. Plus, you'll get 7 weekly news items about what's happening with Celtic music and culture online. Best of all, you will connect with your Celtic heritage. Please tell one friend about this podcast. Word of mouth is the absolute best way to support any creative endeavor. Finally, remember. Reduce, reuse, recycle, and think about how you can make a positive impact on your environment. Promote Celtic culture through music at http://celticmusicpodcast.com/. WELCOME THE IRISH & CELTIC MUSIC PODCAST * Helping you celebrate Celtic culture through music. I am Marc Gunn, Celtic musician and podcaster. This podcast is for fans of Celtic music. You're gonna hear some amazing artists. Some you've heard of. Many you haven't. The show is here to build a diverse Celtic community and help the incredible artists who so generously share their music with you. If you hear music you love, please email artists to let them know you heard them on the Irish and Celtic Music Podcast. Musicians depend on your generosity to keep making music. So please find a way to support them. Buy a CD, Album Pin, Shirt, Digital Download, or join their communities on Patreon. You can find a link to all of the artists in the shownotes, along with show times, when you visit our website at celticmusicpodcast.com. Yes. This episode is a tribute to the podcast, Folk on Foot. It's the perfect marriage of travel, culture and music. Do you do Celtic knotwork? Send me your designs. Perhaps I'll use it for the 2025 shirt and Album Pin. If you are a Celtic musician or in a Celtic band, then please submit your band to be played on the podcast. You don't have to send in music or an EPK. You will get a free eBook called Celtic Musicians Guide to Digital Music and learn how to follow the podcast. It's 100% free. Just email Email follow@bestcelticmusic and of course, listeners can learn how to subscribe to the podcast and get a free music - only episode. THANK YOU PATRONS OF THE PODCAST! You are amazing. It is because of your generosity that you get to hear so much great Celtic music each and every week. Your kindness pays for our engineer, graphic designer, Celtic Music Magazine editor, promotion of the podcast, and allows me to buy the music I play here. It also pays for my time creating the show each and every week. As a patron, you get ad - free episodes before regular listeners, vote in the Celtic Top 20, stand - alone stories, you get a private feed to listen to the show or you can listen through the Patreon app.  All that for as little as $1 per month. A special thanks to our new and continued Patrons of the Podcast: Yoke, Gershon, P Michael Degan Patreon made a big change recently. You no longer make a pledge per episode of the podcast. Instead, you can make one set, solid pledge per month. HERE IS YOUR ALL - NEW THREE STEP PLAN TO SUPPORT THE PODCAST Go to our Patreon page. Decide how much you want to pledge per month, $1, $5, $15, $25. Keep listening to the Irish & Celtic Music Podcast to celebrate Celtic culture through music. You can become a generous Patron of the Podcast on Patreon at SongHenge.com. TRAVEL WITH CELTIC INVASION VACATIONS Every year, I take a small group of Celtic music fans on the relaxing adventure of a lifetime. We don't see everything. Instead, we stay in one area. We get to know the region through its culture, history, and legends. You can join us with an auditory and visual adventure through podcasts and videos. In 2025, we're going to the Celtic nation of Galicia in Spain. We're gonna learn about the history and legends behind the Celts there and experience some amazing Galician Celtic music. Learn more about the invasion at http://celticinvasion.com/ #celticmusic #irishmusic #celticmusicpodcast I WANT YOUR FEEDBACK What are you doing today while listening to the podcast? Please email me. I'd love to see a  picture of what you're doing while listening or of a band that you saw recently. How are you listening to this podcast? I'd love to know that as well. The show is available on a bunch of podcast apps like Apple Podcast, Podcast Addict, iHeartRadio, Player.FM, Pocket Casts, Cast Box, Pandora, Podbean, and my favorite Overcast Email me at follow@bestcelticmusic. Tim Hughes messaged me on Facebook: "Mark, I've been using Podcast Republic for years." Timothy P. Frier messaged: "Hi Mark   I found your podcast about a year ago and started listening from episode 1.  I'm up to episode 338.  The episodes I enjoy the most are the instrumental only shows and anything with bagpipes.  I have recently run into an issue listening to the podcast on Amazon.  It is no longer available.  I did change to a different source as there are several.  What happened??  Thanks" Mike Bromund messaged: "I'm just exploring Southern Oregon and happened upon the Black Sheep Pub in Ashland. Every Sunday, they host a jam session with amazing musicians from the area. Highly recommended !"  

Stamford Chidge & Jonathan Kydd are joined by former Chelsea player John Spencer live at a sold out and packed Troubadour club after the Newcastle match to look back at John's Chelsea career and his thoughts on present day Chelsea.An excellent afternoon with John, who was a much loved player for Chelsea just as the Blue Revolution was getting going under Glen Hoddle in the 1990's. John discussed playing for Chelsea with the likes of Glenn Hoddle, Denis Wise and Ruud Gullit and his goals including that 'one' against Memphis Austria. This is not to be missed, especially if you were not lucky enough to be there.John Spencer played for Chelsea between 1992-1996, with 43 goals in 137 appearances. Hosted on Acast. See acast.com/privacy for more information.

Go dancing with hobbits for Hobbit Day on the Irish & Celtic Music Podcast #678. Subscribe now! Keltricity, The BorderCollies, Dublin Gulch, Louise Bichan, Clanna Morna, Dancing With Hobbits, Celtic Wood and Wires, Clay Babies, Brother Sea, Ironwood, Adria Jackson, The Walker Roaders, Mary Frances Leahy, Toby Bresnahan, Clare Cunningham GET CELTIC MUSIC NEWS IN YOUR INBOX The Celtic Music Magazine is a quick and easy way to plug yourself into more great Celtic culture. Enjoy seven weekly news items for Celtic music and culture online. Subscribe now and get 34 Celtic MP3s for Free. VOTE IN THE CELTIC TOP 20 FOR 2024 This is our way of finding the best songs and artists each year. You can vote for as many songs and tunes that inspire you in each episode. Your vote helps me create next year's Best Celtic music of 2024 episode. You have just three weeks to vote this year. Vote Now! You can follow our playlist on Spotify to listen to those top voted tracks as they are added every 2 - 3 weeks. It also makes it easier for you to add these artists to your own playlists. You can also check out our Irish & Celtic Music Videos. THIS WEEK IN CELTIC MUSIC 0:07 - Keltricity "Louis Cyr  -  Motel Henry" from Live at Terra Firma Radio 3:14 - WELCOME 5:28 - The BorderCollies "Kishors" from To the Hills and Back 9:01 - Dublin Gulch "Ballad of the Button Box" from Tap 'Er Light 14:20 - Louise Bichan "The Little Cowpig" from The Lost Summer 16:32 - Clanna Morna "Maid On The Shore" from From The Lowlands To The High Seas 21:54 - FEEDBACK 25:22 - Dancing With Hobbits "Old Took's Victory Dance" from Dancing With Hobbits 28:31 - Celtic Wood and Wires "The Boatman's Dance" from Close The Back Door 31:49 - Clay Babies "Rakes Of Kildare / Drowsy Maggie / Cup Of Tea / Reel Of Mullinavat" from Speechless Vol. 1: Sloppy Session in the Sticks 36:29 - Brother Sea "Oll' Vel Onen" from Brother Sea Ep 40:56 - Ironwood "Crawl on Duke Street" from Gretna Green 44:42 - THANKS 46:38 - Adria Jackson "Solveig's Song" from Troubadour 50:41 - The Walker Roaders "The Story" from The Walker Roaders 55:02 - Mary Frances Leahy "Dance of the Fairies" from First Light 59:00 - Toby Bresnahan "Jock Stewart" from All In Good time 1:02:12 - CLOSING 1:03:17 - Clare Cunningham "Éireann i mo chroí" from ON MY WAY (AR MO BHEALACH) 1:07:24 - CREDITS The Irish & Celtic Music Podcast was produced by Marc Gunn, The Celtfather and our Patrons on Patreon. The show was edited by Mitchell Petersen with Graphics by Miranda Nelson Designs. Visit our website to follow the show. You'll find links to all of the artists played in this episode. Todd Wiley is the editor of the Celtic Music Magazine. Subscribe to get 34 Celtic MP3s for Free. Plus, you'll get 7 weekly news items about what's happening with Celtic music and culture online. Best of all, you will connect with your Celtic heritage. Please tell one friend about this podcast. Word of mouth is the absolute best way to support any creative endeavor. Finally, remember. Reduce, reuse, recycle, and think about how you can make a positive impact on your environment. Promote Celtic culture through music at http://celticmusicpodcast.com/. WELCOME THE IRISH & CELTIC MUSIC PODCAST * Helping you celebrate Celtic culture through music. I am Marc Gunn. This podcast is for fans of Celtic music. All types. All styles. All instruments. If it's Celtic music, we play it. It is here to build a diverse Celtic community and help the incredible artists who so generously share their music with you. If you hear music you love, please email artists to let them know you heard them on the Irish and Celtic Music Podcast. Musicians depend on your generosity to keep making music. So please find a way to support them. Buy a CD, Album Pin, Shirt, Digital Download, or join their communities on Patreon. You can find a link to all of the artists in the shownotes, along with show times, when you visit our website at celticmusicpodcast.com. I have a brand new album that is now on sale. It's called Dancing With Hobbits. It's album of all original, hobbit - inspired dance tunes. If you saw the Lord of the Rings movies and heard the music during Bilbo Baggins' birthday party, then that should give you some idea. It's fun, upbeat Celtic dance tunes. It was recorded with Sam Gillogly on fiddle. Sam is no stranger to this podcast, having their own album of Classical Celtic music. But if you're heard a fiddle on any of my songs in the last 15 years, that was probably Sam. The album is listed under our band name Dancing With Hobbits. I'll share music in the coming weeks and later in the show. If you are a Celtic musician or in a Celtic band, then please submit your band to be played on the podcast. You don't have to send in music or an EPK. You will get a free eBook called Celtic Musicians Guide to Digital Music and learn how to follow the podcast. It's 100% free. Just email Email follow@bestcelticmusic and of course, listeners can learn how to subscribe to the podcast and get a free music - only episode. THANK YOU PATRONS OF THE PODCAST! You are amazing. It is because of your generosity that you get to hear so much great Celtic music each and every week. Your kindness pays for our engineer, graphic designer, Celtic Music Magazine editor, promotion of the podcast, and allows me to buy the music I play here. It also pays for my time creating the show each and every week. As a patron, you get ad - free and music - only episodes before regular listeners, vote in the Celtic Top 20, stand - alone stories, you get a private feed to listen to the show or you can listen through the Patreon app.  All that for as little as $1 per episode. A special thanks to our new and continued Patrons of the Podcast: Bruce, Brian McReynolds, Marti Meyers, Alan Schindler, Karen DM Harris, Emma Bartholomew, Dan mcDade, Miranda Nelson, Nancie Barnett, Kevin Long, Gary R Hook, Lynda MacNeil, Kelly Garrod, Annie Lorkowski, Shawn Cali HERE IS YOUR THREE STEP PLAN TO SUPPORT THE PODCAST Go to our Patreon page. Decide how much you want to pledge every week, $1, $5, $25. Make sure to cap how much you want to spend per month. Keep listening to the Irish & Celtic Music Podcast to celebrate Celtic culture through music. You can become a generous Patron of the Podcast on Patreon at SongHenge.com. TRAVEL WITH CELTIC INVASION VACATIONS Every year, I take a small group of Celtic music fans on the relaxing adventure of a lifetime. We don't see everything. Instead, we stay in one area. We get to know the region through its culture, history, and legends. You can join us with an auditory and visual adventure through podcasts and videos. Learn more about the invasion at http://celticinvasion.com/ #celticmusic #irishmusic #celticmusicpodcast I WANT YOUR FEEDBACK What are you doing today while listening to the podcast? Please email me. I'd love to see a  picture of what you're doing while listening or of a band that you saw recently. Email me at follow@bestcelticmusic. Eric Guarin emailed some photos: "Meanwhile rather belatedly, but some of what me and my wife Terry were doing last summer while listening to the Podcast: -  Running on the beach near Tarifa, Spain and later in Biarritz, France (picture attached with the beach way in the background) -  Climbing the Rock of Gibraltar (see picture of monkey) -  Hiking a piece of the Camino De Santiago pilgrimage trail, near Bilbao (the picture near the ocean). -  Also managed to see Iron Maiden live, a long held bucket list dream of mine to see a concert overseas. We didn't listen to the Podcast on that occasion ha ha but listened quite a bit while driving around 2400 - 2500 km from Portugal through Spain to the Basque tip of France and then Spain. We were lucky enough in this life to visit Ireland, summer of 2021. So so so so nice, we LOVED it. BUT due to COVID...no live music! Someday, we'll manage to get on an Invasion… Slainte,"       Mary L Deal emailed a photo: "Hi Marc, I'm sitting here messing around  with and printing 3d stuff listening to the latest podcast (Panxty Caper #664) and heard, again dang it, about this year's trip and was wondering if you know if you will be going back to Ireland next year. I would really like to join you on one of these trips. I went to Ireland around1995 with my Mom and would like to share that beautiful place and the people there with my daughter.  Sincerely," Geoffrey Huff sent a photo from Abilene, TX:  

I sit down with The Red Clay Strays to talk about their Troubadour performance, new album, fights on the bus, working with Dave Cobb, and they play songs off their new record.  Get their new album “Made By These Moments” everywhere July 26th Follow YT: https://www.youtube.com/@RedClayStrays IG: https://www.instagram.com/redclaystrays  --------------------------------------------------- Sponsors: Magic Spoon - Get 5 dollars off your next order of delicious cereal at https://www.MagicSpoon.com/BERT. Or look for Magic Spoon in your nearest grocery aisle. Cremo - You can find the new Cremo Men's Body Wash at Walmart or https://walmart.com  Shopify - Sign up for a one-dollar-per-month trial period at https://shopify.com/bertcast all lowercase. BlueChew - Get your first month free at https://bluechew.com with promo code BERTCAST. DraftKings - Download the DraftKings Sportsbook app NOW and use code BERTCAST BetterHelp - Get 10% off your first month at https://www.betterhelp.com/bert  --------------------------------------------------- SUBSCRIBE so you never miss a video https://bit.ly/3DC1ICg  For all TOUR DATES: http://www.bertbertbert.com  For Fully Loaded: https://fullyloadedfestival.com   For Merch: https://store.bertbertbert.com  YouTube▶ http://www.YouTube.com/user/Akreischer  X▶ http://www.Twitter.com/bertkreischer   Facebook▶ http://www.Facebook.com/BertKreischer   Instagram▶ http://www.Instagram.com/bertkreischer   TikTok▶ http://www.TikTok.com/@bertkreischer  Text Me▶ https://my.community.com/bertkreischer Learn more about your ad choices. Visit megaphone.fm/adchoices

Adam welcomes commentator Tyrus back to the show as they discuss a variety of issues, including the commonality of prejudice, the obsession with race in our culture and politics, and how journalists are rigging the game instead of just calling balls and strikes like a credible umpire. Next, Adam is joined by television personality Jon Taffer and they talk about the right attitudes for success, Jon's time working his way up at the Troubadour, how the common denominator for failure is excuses, and how Vegas is one of the most hospitable & charitable places to live. For more with Tyrus: ● Watch ‘Maintaining with Tyrus' on Outkick.com, Facebook, X and YouTube. ● TWITTER/X: @planettyrus For more with Jon Taffer: ● Watch ‘Bar Recsue' on the Paramount Network ● http://jontaffer.com ● TWITTER & INSTAGRAM: @jontaffer Thank you for supporting our sponsors: ● http://ForThePeople.com/Adam or Dial #LAW (#529) ● http://OReillyAuto.com/Adam