Podcasts about Wall

Clare is in Northumberland today for the final episode of this Camino de Santiago themed series. She's walking along a section of Hadrian's Wall with a fabulous group of women - the Ciao Ciao Girls - celebrating the 10th anniversary of their pilgrimage to Santiago de Compostela. Since then, they've become a tightly bonded unit who gather every year to complete another walking challenge. For today's joyful, windy and very rainy hike they met at the Steel Rigg car park, and completed a circular walk including the remains of the tree at Sycamore Gap. As they wander they reflect on their first adventure together on the Camino, what that experience brought them, and continues to bring them ten years on.Steel Rigg Car Park, NE47 7AW / What3Words: teacher.spelling.tweedPresenter: Clare Balding Producer: Karen Gregor

Leave an Amazon Rating or Review for my New York Times Bestselling book, Make Money Easy!The relationship between money and happiness isn't what most people think it is - and Brand Builders Group CEO Rory Vaden proves this through a masterclass that reveals why scattered revenue streams keep entrepreneurs broke while focused strategies create lasting wealth. I joined Rory in his Nashville studio to dive deep into the frameworks that transformed my business from 17 different revenue streams into a billion-download podcast empire. We also explore the emotional blocks that sabotage financial success and the practical systems that unlock abundance. Through powerful metaphors like treating money as a person you're in relationship with and understanding the four quadrants of financial and emotional wealth, this conversation exposes why most people stay stuck bouncing between financial success and spiritual emptiness. The insights here will fundamentally shift how you think about money, business focus, and the pathway to both financial freedom and inner peace.Schedule Your Complimentary Brand Strategy Call With Rory Vaden's Team Today!Get Rory's new book Wealthy and Well-Known: Build Your Personal Brand and Turn Your Reputation into RevenueGet Rory's new book on audioRory's book Take the Stairs: 7 Steps to Achieving True SuccessRory's book Procrastinate on Purpose: 5 Permissions to Multiply Your TimeIn this episode you will learn:Why having multiple revenue streams is terrible advice for beginners and how "diluted focus creates diluted results"The four quadrants of wealth - from being broke financially AND emotionally to achieving abundance in both areasHow to treat money like a relationship and why your current dynamic determines your financial realityThe "Sheehan's Wall" principle that explains why successful people focus on ONE thing until they break throughWhy 10% of your customers will invest 10 times more (fractal math) and how to build profitable business pyramidsFor more information go to https://www.lewishowes.com/1792For more Greatness text PODCAST to +1 (614) 350-3960More SOG episodes we think you'll love:Dean Graziosi  – greatness.lnk.to/1766SCAlex Hormozi – greatness.lnk.to/1723SCDave Ramsey – greatness.lnk.to/1758SC Get more from Lewis! Get my New York Times Bestselling book, Make Money Easy!Get The Greatness Mindset audiobook on SpotifyText Lewis AIYouTubeInstagramWebsiteTiktokFacebookX

This week, I'm kicking off a brand new series all about hitting the invisible walls in our lives—you know, the ones that show up out of nowhere and leave us stuck, exhausted, and wondering what just happened. I had a whole different plan for this month, but I hit one of those walls myself and knew we needed to talk about it. Whether it's mental, spiritual, physical, or even environmental, these walls can sneak up on us and take us out if we don't pause and pay attention. In this episode, I walk you through how I've learned to name the wall, ask what it's trying to protect me from, and remind myself that it's not a dead end—it's a doorway. So take a breath, friend. You've done nothing wrong. The wall is real, but so are you.

Hey Angels! Ready to navigate success on your terms? In this empowering episode of Quality Queen Control, Asha Christina welcomes Dr. Rachel Laryea, a trailblazing entrepreneur who went from Wall Street to asset wealth management. As a millennial Black woman and first-generation American, Dr. Laryea shares her inspiring journey and practical tips for overcoming challenges, building wealth, and thriving with authenticity. Tune in for faith-fueled wisdom to redefine success and create your own legacy!

In this episode of Hebrew Voices #219 - Halakhic Purist Rabbi: Part 1, Nehemia brings on “Halakhic purist” Rabbi Asher Meza to discuss the distinction between Jewish law and traditional folklore and how true Rabbinic ordination ended in the Mishnaic … Continue reading → The post Hebrew Voices #219 – Halakhic Purist Rabbi: Part 1 appeared first on Nehemia's Wall.

Join us on Spaghetti on the Wall episode #252 as we welcome Doug C. Brown, CEO of CEO Sales Strategies and a globally sought-after expert in sales revenue and profit growth. Doug has helped powerhouse companies like Intuit, CBS, and Procter & Gamble massively scale their sales performance. From boosting division sales by 864% with Tony Robbins to training the top 1% of sales producers, Doug brings unparalleled insight into what it really takes to grow with purpose and profit.

In this episode #253 of Spaghetti on the Wall, we sit down with David Neagle to uncover the secret behind the millionaire mindset. David shares how one powerful shift in thinking took him from a struggling forklift driver to building a multi-million-dollar business—and how you can apply the same principles to break through your own limits. If you're ready to stop working harder and start thinking differently, this episode is your blueprint for success.

Rabash. And Hezekiah Turned His Face to the Wall. 15 (1985)

Rabash. And Hezekiah Turned His Face to the Wall. 15 (1985)

Morning Matters vom 29.07.2025 mit aktuellen Projekten zu Gegen alle Stürme, Beyond the Wall – Im Reich der Goblins, der Fanzine-Wettbewerb, Animal Well und die Antwort auf die Frage, warum ständig davon gesprochen wird, dass...

In this powerhouse episode of Build, host Stephen Scoggins sits down with Rory Vaden—New York Times bestselling author, co-founder of Brand Builders Group, and a leading voice in the personal brand world—for a raw, in-depth conversation on what it really takes to be wealthy, well-known, and fulfilled. From clarifying your unique message to building a brand on trust instead of trends, Rory unpacks the exact steps mission-driven messengers must take to break through the noise—without selling out. They explore how fear often hides behind humility, why personal branding is not about ego, and how surrendering your platform to a higher purpose can radically amplify your impact and income. You'll learn: The “Sheehan's Wall” principle that explains why most brands stay stuck Why diluted focus = diluted results (and how to fix it) The surprising truth about how real wealth is created How to monetize deeply without chasing millions of followers A simple prayer Rory uses daily to keep his ego in check If you've ever wondered whether your message really matters or if your voice is worthy of being heard—this episode is your permission slip.

Dana has set her sights on her next game show goal: The Wall. Hour 3 7/1/2025 full 2219 Tue, 01 Jul 2025 21:00:00 +0000 i2BrZsD8aWZygjPVUhyjpTvdTl7tGwYY news The Dana & Parks Podcast news Dana has set her sights on her next game show goal: The Wall. Hour 3 7/1/2025 You wanted it... Now here it is! Listen to each hour of the Dana & Parks Show whenever and wherever you want! © 2025 Audacy, Inc. News False https://player.

MRKT Matrix - Tuesday, July 1st Dow rallies, S&P 500 is flat as investors rotate out of tech to start new quarter (CNBC) Amazon Is on the Cusp of Using More Robots Than Humans in Its Warehouses (WSJ) Car Sales Hit a Wall as Tariff-Induced Shopping Spree Subsides (Bloomberg) Homes Are Taking Longer to Sell in US Market That Once Flourished (Bloomberg) Analyst Dan Ives says it will be the summer of $4 trillion market caps for surging tech giants (CNBC) Elon Musk's xAI raises $10 billion in debt and equity as it steps up challenge to OpenAI (CNBC) -- Subscribe to our newsletter: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://riskreversalmedia.beehiiv.com/subscribe⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ MRKT Matrix by RiskReversal Media is a daily AI powered podcast bringing you the top stories moving financial markets Story curation by RiskReversal, scripts by Perplexity Pro, voice by ElevenLabs

Welcome to Side Character Quest, a one-on-one actual play podcast set in a world where cicadas sing, rivers flow, magic thrums through the air, and all of it's surrounded by a single massive Wall as ancient as history itself. Today we're doing something a little different! Instead of diving straight into a new adventure, you are going to get to hear our game master Ty and our guest player Fiona do a "Session 0", where they discuss the game they'll be playing and then create the character who will be the star of the upcoming quest. Fiona Howat is a TTRPG Actual Play Performer, Podcaster, Improviser, and Voiceover Artist who works with Realms of Peril & Glory. She is perhaps best known for the actual play podcast What Am I Rolling? and the TTRPG talkshow The DM's Book Club. Want to learn more about Ty, the host (and GM and producer and editor and...) of SCQ? Have questions for us, or just want to say hi? Website: Contact form or Press Kit Email: SideCharacterQuest@gmail.com Instagram: @SCQpodcast Discord: Side Character Quest LinkTree: SideCharacterQuest Mentioned During the Show Dice Exploder, a podcast about game design. Blades in the Dark, a TTRPG about a crew of daring scoundrels in a haunted, industrial-fantasy city. in the Dark, a simplified and settingless version of Blades in the Dark._ Murderous Ghosts, a no-prep two-player horror game. Hit Me, a No-Prep Noir TTRPG designed by Ty! Additional Credits Thanks to Autumn for providing the artwork for Side Character Quest! Thanks to Briar for lending a voice to our credits! To hear more, check out one of Briar's own side character quests as Deirdre, a monster hunting cleric! Proud member of the Scavengers Network. Say hi on the Scavengers Network Discord Server!

Series: First Love Living | Destroying the Dividing Wall  | June 29, 2025(v11-13) 11 Therefore, remember that formerly you who are Gentiles by birth and called “uncircumcised” by those who call themselves “the circumcision” (which is done in the body by human hands)—12 remember that at that time you were separate from Christ, excluded from citizenship in Israel and foreigners to the covenants of the promise, without hope and without God in the world. 13 But now in Christ Jesus you who once were far away have been brought near by the blood of Christ.(v14-18) 14 For he himself is our peace, who has made the two groups one and has destroyed the barrier, the dividing wall of hostility, 15 by setting aside in his flesh the law with its commands and regulations. His purpose was to create in himself one new humanity out of the two, thus making peace, 16 and in one body to reconcile both of them to God through the cross, by which he put to death their hostility. 17 He came and preached peace to you who were far away and peace to those who were near. 18 For through him we both have access to the Father by one Spirit.(v19-22) 19 Consequently, you are no longer foreigners and strangers, but fellow citizens with God's people and also members of his household, 20 built on the foundation of the apostles and prophets, with Christ Jesus himself as the chief cornerstone. 21 In him the whole building is joined together and rises to become a holy temple in the Lord. 22 And in him you too are being built together to become a dwelling in which God lives by his Spirit.

BE THE REVOLUTION: HOW OCCUPY WALL STREET AND THE BERNIE SANDERS MOVEMENT RESHAPED AMERICAN POLITICS Most people think that Occupy Wall Street failed, and Bernie Sanders's meteoric rise to the national stage was simply a 'viral' phenomenon that captured the hearts of unrealistic Millenials. Be The Revolution reveals how Occupy organizers strategically activated their national network of activists to fuel the grassroots movement that propelled the Senator's campaign to change the course of American history. This is an inside journey through the key events of the 2016 and 2020 primary races. It follows a secret group of Sanders influencers called Bernie's Avengers as they challenge the Democratic establishment and then join the historic pipeline fight at Standing Rock. This book also offers important insights into the rise of QAnon and neofascism.Be The Revolution is a gonzo adventure into the heart of the grassroots movements that defined a decade, a memoir that also contains a theory of change to guide the development of the movements urgently needed to take on national and global crises.PRAISE FOR BE THE REVOLUTION:"Be The Revolution offers Important insights into some of the most significant developments in modern America, based on intimate knowledge and direct participation."-Noam Chomsky“We should thank Jay for his life's work. As an organizer, he is a wonder to watch in action. This accounting of events of the last ten years is a profound and seismic piece of American political, and cultural history that has gone all but unnoticed in the mainstream. Be The Revolution is not about a battle of right or left, but the battle for humanity and the natural world. The timing of this book couldn't be more right, nor the message more on point.Ken Burns should do a doc on this!” -Mark Ruffalo “Jay Ponti is a legendary long distance revolutionary thinker and activist whose vision, analysis and courage is a beacon of hope in our bleak times! Don't miss this jewel of a book!”-Dr Cornel West“This book is a great history of progressive action from the Occupy moment to the present—clear, invigorating, and encouraging of future efforts. We owe Jay Ponti a big thank you for his tireless efforts to change the American political landscape, and thus to help save Earth's biosphere from a catastrophic mass extinction event. It's crucial work he describes here, and joining the effort can give anyone a project that includes meaning and hope.”-Kim Stanley RobinsonBe The Revolution is an important first-hand account of the efforts led by Occupy Wall Street and Bernie Sanders' inspired activists to resist the forces of neoliberalism and mobilize for an equitable future. This history is crucial to understand if the human race is going to save itself from the climate emergency and rise of neofascism. -Thom Hartmann“Be The Revolution is a love letter to our movements, an honest and searching testimonial from the heart of the grassroots.Jay Ponti is a ride or die revolutionary who has given us a glimpse into some of the most important moments of political struggle in the last decade.This is the book the establishment doesn't want you to read.” -Nina Turner“The prevailing narrative of American politics is not the real story. It obliterates the deeper reality of who we are as people and the overarching meaning of struggles for justice. Beneath the corporate-created hype and the games of our political establishment lie the activism and sacrifices of real people doing the gut-wrenching work of trying to furtherand save our democracy. Be The Revolution tells the story of those people.” -Marianne WilliamsonBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-opperman-report--1198501/support.

It should also be noted that Nebraska's offense by EA Sports (yes, it's the offseason—we look at all type of rankings) has the Huskers as the No.24 offense in the country---not a Top 25 defense, though Are Breakers sold that the line is going to be better and that itself will help Raiola and the offense get to a different level? Show Sponsored by NEBCOOur Sponsors:* Check out Hims: https://hims.com/EARLYBREAKAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

A session from the 2025 Church Advance Conference by Pastor Mike Stone of Emmanuel Baptist Church in Blackshear, GeorgiaThis episode is sponsored by ⁠⁠https://ServeHQ.Church⁠

This week, Gina Grahame and Rev. Dr. Megan Rohrer illuminate pathways to impact and personal freedom through their talks about their experiences with being trans during this Pride Sunday Service. Soloists Albert Hodge and Anu Brandt perform The Wall in My Head, a song from Everybody's Talking About Jamie, to support Grahame's and Rohrer's talks. This talk was recorded live at Unity San Francisco on June 29th, 2025.  

En este episodio hablamos deThe Black Parade, el legendario álbum de My Chemical Romance lanzado en 2006. Con su sonido entre el emo, el punk y el rock , este disco es uno de los mejores albumes conceptuales de la historia, siendo comparado a "The Wall" de Pink Floyd. El álbum sigue la historia de “The Patient” y reflexiona sobre la muerte y todo el viaje emocional que es morir. Con este álbum, la banda alcanzó su punto más ambicioso y dejó una marca imborrable en toda una generación y el género del emo rock.

Opperman Report FeedBe The Revolution: How Occupy Wall Street and the Bernie Sanders Movement Reshaped American PoliticsMost people think that Occupy Wall St failed, and Bernie Sanders's meteoric rise to the national stage was simply a 'viral' phenomenon that captured the hearts of unrealistic Millennials. Be The Revolution reveals how Occupy organizers strategically activated their national network of activists to fuel the grassroots movement that propelled the Senator's campaign to change the course of American history.This is an inside journey through the key events of the 2016 and 2020 primary races. It follows a secret group of Sanders influencers called Bernie's Avengers as they challenge the Democratic establishment and then join the historic pipeline fight at Standing Rock. This book also offers important insights into the rise of QAnon and neofascism.Be The Revolution is a gonzo adventure into the heart of the grassroots movements that defined a decade, a memoir that also contains a theory of change to guide the development of the movements urgently needed to take on national and global crises.Be The Revolution offers Important insights into some of the most significant developments in modern America, based on intimate knowledge and direct participation.Noam Chomsky“We should thank Jay for his life's work. As an organizer, he is a wonder to watch in action. This accounting of events of the last ten years is a profound and seismic piece of American political and cultural history that has gone all but unnoticed in the mainstream.Mark Ruffalo“Jay Ponti is a legendary long-distance revolutionary thinker and activist whose vision, analysis, and courage are a beacon of hope in our bleak times! Don't miss this jewel of a book!”Dr. Cornel West“This book is a great history of progressive action from the Occupy moment to the present—clear, invigorating, and encouraging of future efforts. We owe Jay Ponti a big thank you for his tireless efforts to change the American political landscape, and thus to help save Earth's biosphere from a catastrophic mass extinction event. It's crucial work he describes here, and joining the effort can give anyone a project that includes meaning and hope.”Kim Stanley RobinsonBe The Revolution is an important first-hand account of the efforts led by Occupy Wall Street and Bernie Sanders' inspired activists to resist the forces of neoliberalism and mobilize for an equitable future. This history is crucial to understand if the human race is going to save itself from the climate emergency and the rise of neofascism.Thom Hartmann“The prevailing narrative of American politics is not the real story. It obliterates the deeper reality of who we are as people and the overarching meaning of struggles for justice.Beneath the corporate-created hype and the games of our political establishment lie the activism and sacrifices of real people doing the gut-wrenching work of trying to further and save our democracy. Be The Revolution tells the story of those people.”Marianne WilliamsonBookBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-opperman-report--1198501/support.

Chance Miller returns to the show to discuss the news and announcements from WWDC 2025.

Plates on the wall - There are so many different ways to hang plates on the wall, and there's a lot to figure out. Which colors, patterns, shapes, and brands should you use? Can you mix just anything or do you need to stick to a color palette? Should they be symmetrical or should they be freeform? Let's discuss! Need help with your home? We'd love to help! We do personalized consults, and we'll offer advice specific to your room that typically includes room layout ideas, suggestions for what the room needs, and how to pull the room together. We'll also help you to decide what isn't working for you. We work with any budget, large or small. Find out more ⁠⁠⁠⁠HERE⁠⁠⁠⁠ Hang out with us between episodes at our blogs, IG and Kelly's YouTube channels. Links are below to all those places to catch up on the other 6 days of the week! Kelly's IG ⁠⁠⁠⁠HERE⁠⁠⁠⁠ Kelly's Youtube ⁠⁠⁠⁠HERE⁠⁠⁠⁠ Kelly's blog ⁠⁠⁠⁠HERE⁠⁠⁠⁠ Anita's IG ⁠⁠⁠⁠HERE⁠⁠⁠⁠ Anita's blog ⁠⁠⁠⁠HERE⁠⁠⁠⁠ Are you subscribed to the podcast? Don't need to search for us each Wednesday let us come right to your door ...er...device. Subscribe wherever you listen to your podcasts. Just hit the SUBSCRIBE button & we'll show up! If you have a moment we would so appreciate it if you left a review for DTT on iTunes. Just go ⁠⁠⁠⁠HERE⁠⁠⁠⁠ and click listen in apple podcasts. XX, Anita & Kelly DI - 12:20 Learn more about your ad choices. Visit megaphone.fm/adchoicesSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Plates on the wall - There are so many different ways to hang plates on the wall, and there's a lot to figure out. Which colors, patterns, shapes, and brands should you use? Can you mix just anything or do you need to stick to a color palette? Should they be symmetrical or should they be freeform? Let's discuss! Need help with your home? We'd love to help! We do personalized consults, and we'll offer advice specific to your room that typically includes room layout ideas, suggestions for what the room needs, and how to pull the room together. We'll also help you to decide what isn't working for you. We work with any budget, large or small. Find out more ⁠⁠⁠⁠HERE⁠⁠⁠⁠ Hang out with us between episodes at our blogs, IG and Kelly's YouTube channels. Links are below to all those places to catch up on the other 6 days of the week! Kelly's IG ⁠⁠⁠⁠HERE⁠⁠⁠⁠ Kelly's Youtube ⁠⁠⁠⁠HERE⁠⁠⁠⁠ Kelly's blog ⁠⁠⁠⁠HERE⁠⁠⁠⁠ Anita's IG ⁠⁠⁠⁠HERE⁠⁠⁠⁠ Anita's blog ⁠⁠⁠⁠HERE⁠⁠⁠⁠ Are you subscribed to the podcast? Don't need to search for us each Wednesday let us come right to your door ...er...device. Subscribe wherever you listen to your podcasts. Just hit the SUBSCRIBE button & we'll show up! If you have a moment we would so appreciate it if you left a review for DTT on iTunes. Just go ⁠⁠⁠⁠HERE⁠⁠⁠⁠ and click listen in apple podcasts. XX, Anita & Kelly DI - 12:20 Learn more about your ad choices. Visit megaphone.fm/adchoices

Join us on Spaghetti on the Wall episode #251 as we welcome Kyle Gray, founder of The Story Engine, bestselling author, and expert in content marketing strategy for startups and small businesses. Kyle has helped hundreds of brands grow using repeatable systems and brand storytelling that actually converts.

Join us on Spaghetti on the Wall episode #250 as we welcome Paul Hoffman—The Personal Discovery Architect and founder of The Success Creation Institute. Paul is a globally recognized keynote speaker, transformational coach, and the creative force behind the Success Songs movement. With a mission to help people sculpt the life they truly desire, Paul brings a powerful blend of music, mindset, and mastery to every room he enters.

The DOT will act on several OOIDA priorities, including speed limiters, hours of service, truck parking and more. Also, we'll bring you a 2008 story about motorcyclists who travel every year to the Vietnam Veterans Memorial. Then, a good place to eat is a must for truckers – and a Louisiana restaurant fits the bill. It was the first entry in our “Semi Supper Club.” And Andy McCulloch of Michelin explains special considerations needed for tires on electric-powered trucks. 0:00 – DOT to make OOIDA wish list a reality 10:12 – A look back: Run for the Wall 24:48 – A Cajun joint that caters to truckers 39:16 – Special considerations for tires on electric trucks

Despite geopolitical tensions and trade policy uncertainty, markets continue to climb to record highs. What risks are investors watching? Shawn Tuteja, who oversees ETF and custom baskets volatility trading within Goldman Sachs Global Banking & Markets, discusses with Chris Hussey.  This episode was recorded on June 26, 2025. Learn more about your ad choices. Visit megaphone.fm/adchoices

Craig Bolanos, Founder and Wealth Advisor at VestGen Wealth Partners, joins John Williams to talk about the stock market reaching all-time highs, why he believes the market is fairly priced, what needs to happen to happen for the market to move even higher, when we might see an impact on tariffs, if he expects two rate cuts […]

Looking back on my own career as a speaker, storyteller, and communicator across projects and mediums, I realize: every time I developed a signature story capable of resonating with others, I went through the same process. It wasn't intentional, but it worked. Today, I want to codify that process into a more conscious process you can follow. I'm calling it Six-Way Stories:1. Make a messy draft.2. Find the 4 building blocks of the story.3. Build up the story from the building blocks.4. Arrive at an insight using a particular phrase.5. Tell it again, but shorter.6. Tell it again, but arriving at a different insight.The goal isn't to "learn story." The goal is to become a storyteller. This process can help you get to work with clarity and confidence.***ABOUT MY WORK:Don't market more. Matter more.When your expertise sounds like everyone else's, you're forced to compete on price instead of value. I help established experts transform scattered thinking into a distinctive premise, signature stories, and unforgettable speeches. Stop creating "content." Create IP that makes you the obvious choice. Let's make your ideas clear, repeatable, powerful, yours.You've done lots of things. Now it's time to [be] a thing. Move from:Sharing scattered thinking → Exploring a big idea"Wall of smarts" talks → Unforgettable speechesConstantly chasing attention → Being highly sought[What you know] matters. But [what you say] + [how you say it] determine whether [they care.]Subscribe to my free newsletter at jayacunzo.com/newsletterWork with me one-on-one: jayacunzo.com/servicesBook me to speak to your group: jayacunzo.com/keynotesConnect with me on social: LinkedIn, Instagram, Threads***TO RATE AND REVIEW THE SHOW:Leave a review on Apple Podcasts Leave a rating on Spotify 

Craig Bolanos, Founder and Wealth Advisor at VestGen Wealth Partners, joins John Williams to talk about the stock market reaching all-time highs, why he believes the market is fairly priced, what needs to happen to happen for the market to move even higher, when we might see an impact on tariffs, if he expects two rate cuts […]

Craig Bolanos, Founder and Wealth Advisor at VestGen Wealth Partners, joins John Williams to talk about the stock market reaching all-time highs, why he believes the market is fairly priced, what needs to happen to happen for the market to move even higher, when we might see an impact on tariffs, if he expects two rate cuts […]

Hour one of DJ & PK for June 27, 2025: Steven Ellis, The Daily Faceoff Travis Hansen, Former BYU Basketball Star Tanner Wall and Chase Roberts, BYU Football

Of het nu komt door het geslijm van Mark Rutte of het logeerpartijtje bij het koningspaar, Trump is uitgerust en relaxt teruggekeerd naar de Verenigde Staten. Zo rustig dat hij ineens mild is met zijn eigen tarievenoorlog. Die deadline voor het bereiken van een deal? Die is ineens niet meer zo heilig.Vandaag werd er een voorlopige deal gesloten met China, maar er moeten nog tientallen deals worden gesloten. De deadline lag op 9 juli, maar nu blijkt de Amerikaanse regering ineens flexibel met die gevreesde deadline. Wat betekent dat voor al die landen die nog wachten op een akkoord? We bespreken het deze aflevering. Je hoort waarom Bob Homan vreest voor volatiliteit op de beurzen. Wat we ook bespreken is Nike. Dat ziet de verkopen instorten. Geen zorgen, want vanaf nu wordt het beter. Dat belooft de nieuwe topman van Nike, Elliott Hill. En beleggers geloven hem, want de beurskoers stijgt enorm. Enorm blij is de baas van softwarebedrijf Salesforce. Hij vertelt dat kunstmatige intelligentie '30 tot 50 procent' van het werk doet. Een schouderklopje geeft 'ie aan zichzelf en kroont zich even tot Taylor Swift van de techwereld. Over tech gesproken: Apple gaat zijn lucratieve App Store op de schop gooien. Allemaal om Brussel tevreden te houden (en een boete van een half miljard te ontlopen). Het is wel een aanpassing die ze uiteindelijk veel meer kan kosten... See omnystudio.com/listener for privacy information.

To kick off the new season of Fly on the Wall, Julie Bowen is back for her second appearance on the show! She joins the guys in David's basement to talk Happy Gilmore 2, marriage, too much breaking news, dates with David, and much more. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

We're Old MacDonalding up in here in our trivia-filled farm! Sure Westeros had The Wall, but in the Americas, we have The Screwworm Shield. And squeal for joy in Chris' kid lit segment. Unusual trademarks and the John Deere company, and take Karen's quiz about ~unusual~ farms. For advertising inquiries, please contact advertising@airwavemedia.com! Learn more about your ad choices. Visit megaphone.fm/adchoices

Despite a joint U.S.-Israel strike on Iran, markets barely flinch—signaling they've learned not to take Trump's threats seriously. This explosive interview dives into why Christian Zionism is being called political idolatry, how pro-Israel loyalty tests are fracturing the right, and the growing war between the BIS, IMF, and Bitcoin over who will control the future of money.Markets Shrug Off U.S.-Israel Strike on Iran (02:25:30 – 02:27:04) Gold, silver, oil, and Bitcoin show minimal reaction to joint U.S.-Israel strikes, suggesting either disbelief in the severity of events or market manipulation by major financial actors.Christian Zionism Criticized as Political Idolatry (02:48:33 – 02:52:57)Christian Zionism is condemned as a distortion of theology, accused of leading believers to support war and foreign interventions at the expense of persecuted Christian communities.Pro-Israel Loyalty Test in Conservative Politics (02:52:58 – 03:01:38)Conservative figures are accused of prioritizing loyalty to Israel over American interests. A generational shift is predicted as younger conservatives push back against foreign entanglements.BIS vs IMF: Stablecoin Suppression and CBDC Agenda (03:01:39 – 03:03:04)The BIS targets stablecoins in what's described as a battle over who will control future digital money, with CBDCs positioned as tools of global financial dominance.Bitcoin Seen as Hedge Against Fiat Collapse (03:03:05 – 03:07:01)Extreme Bitcoin price forecasts are discussed in the context of fiat currency debasement, with Bitcoin framed as a finite refuge from an increasingly unstable monetary system. Follow the show on Kick and watch live every weekday 9:00am EST – 12:00pm EST https://kick.com/davidknightshow Money should have intrinsic value AND transactional privacy: Go to https://davidknight.gold/ for great deals on physical gold/silver For 10% off Gerald Celente's prescient Trends Journal, go to https://trendsjournal.com/ and enter the code KNIGHT Find out more about the show and where you can watch it at TheDavidKnightShow.comIf you would like to support the show and our family please consider subscribing monthly here: SubscribeStar https://www.subscribestar.com/the-david-knight-showOr you can send a donation throughMail: David Knight POB 994 Kodak, TN 37764Zelle: @DavidKnightShow@protonmail.comCash App at: $davidknightshowBTC to: bc1qkuec29hkuye4xse9unh7nptvu3y9qmv24vanh7Become a supporter of this podcast: https://www.spreaker.com/podcast/the-david-knight-show--2653468/support.

Rebekka Wall is an adult sleep consultant on a mission to help tired people sleep better using realistic, sustainable, and science-backed strategies. Through her work, she demystifies sleep challenges and empowers people to create better habits—without the guilt, shame, or extreme hacks.In this practical and deeply relatable conversation, we get into the everyday struggles that mess with our rest, from revenge bedtime procrastination to unaligned chronotypes and the pressure of productivity culture. Rebekka also shares her own powerful health story—and how a major life disruption led her to prioritize healing and rest.We also talk about:How revenge bedtime procrastination is keeping us stuckUnderstanding chronotypes and when your body actually wants to sleepWhat a real bedtime routine looks like (and why it's not about perfection)The role of cortisol, magnesium glycinate & melatonin in better sleepThe connection between sleep and emotional processingHer experience with Ramsay Hunt syndrome and the power of nervous system repairIf you've ever laid in bed wide awake, tired but wired, this one's for you.Timestamps:00:00:00 Intro00:02:01 Sleep goals - the place to start00:05:39 How to achieve your sleep goals00:07:47 Revenge bedtime00:13:18 Understanding sleep cycles and patterns00:19:20 How many hours to sleep - the ideal number00:22:56 Insomnia - what it is and how to treat it00:33:14 Practical steps to improve sleep (sleep hygiene)00:39:49 Melatonin and sleep medication vs natural supplements as sleep aid00:43:27 Sleep and neurodivergence - what to know about ADHD, ADD & autism00:44:48 Setting boundaries around sleep for kids and teenagers00:48:10 Cortisol spikes and sleep + good habits that support sleep00:51:51 How to improve sleep (final thoughts)00:58:38 Amy's bedtime routine + sleep tips and tricks01:04:13 OutroFollow Rebekka and learn more:Instagram: https://www.instagram.com/sleepwiseinseattleWebsite: https://sleepwiseconsulting.com/adult-sleep-help/_____________Please remember to rate, review, and follow the show – and share with a friend!Find Amy's affiliates and discount codes: https://amyedwards.info/affiliatepageAll links: https://amyedwards.info/Instagram: ⁠⁠⁠@realamyedwards⁠⁠⁠ https://www.instagram.com/realamyedwards/Fight For Her: http://fightforher.net/TikTok:⁠⁠⁠ @themagicbabe⁠⁠⁠ https://www.tiktok.com/@themagicbabe?lang=enYouTube: https://www.youtube.com/c/theamyedwardsshowPodcast: https://qrfy.com/p/Nmlw_uwNziFree Course: ⁠⁠⁠ The Ageless Mindset⁠⁠⁠ https://best-you-life.teachable.com/p/the-ageless-mindset-the-ultimate-guide-to-look-younger-feel-happierFull Course: The Youthfulness Hack⁠⁠⁠ https://best-you-life.teachable.com/p/the-youthfulness-hackWork with Amy:⁠⁠⁠⁠⁠⁠ ⁠⁠⁠Book a Call⁠⁠⁠ https://amyedwards.as.me/15mincall Let's get you to your HAPPIEST and most RADIANT! Book a call to apply to work together one-on-one: ⁠https://amyedwards.as.me/15mincall⁠____________________Amy's hair by ⁠⁠https://www.thecollectiveatx.com⁠⁠_____________________Get my FREE course "The Ageless Mindset: The Ultimate Guide to Look Younger and Feel Happier!" HERE: ⁠⁠https://best-you-life.teachable.com/p/the-ageless-mindset-the-ultimate-guide-to-look-younger-feel-happier⁠⁠Get the full course “The Youthfulness Hack: The Secret System to Reverse Aging Fast and Create a New, Radiant You!” Out now! ⁠⁠https://best-you-life.teachable.com/p/the-youthfulness-hack⁠⁠

Send us a textOn this episode we our participation in an upcoming bar game, our first big gig of the season, the passing of Bad Company guitarist/songwriter Mick Ralphs and we look at new music releases for July. We also hear new music from Motley Crue with Dolly Parton, yup, you read that correctly; and Dean Deleo of STP. O'Brien introduces us to a new band and we play MixTape and climb the Wall of Tunes for a band that will be the first big rock concert for his 17 year old son. #defleppard #badcompanyhttps://www.facebook.com/obrienanddoug/ https://instagram.com/obrien_and_doug

Key Highlights: DocuWare replaces manual, paper-based processes with digital document management and automated workflows, improving efficiency, collaboration, and security. Unlike simple cloud storage, DocuWare uses AI-powered indexing, intelligent document processing, and compliance tools to actively manage documents — not just store them. Approval processes are streamlined with automatic routing, digital signatures, instant notifications, and full audit trails. It's widely used in industries like healthcare, finance, manufacturing, and transportation, reducing operational bottlenecks and cutting down on labor costs. DocuWare integrates with popular platforms like Microsoft Teams, Outlook, SAP, and most ERP systems, offering both cloud and on-premise solutions. Looking ahead, AI-driven automation, better mobile tools, and deeper ERP/CRM integration will shape the future of document management, making processes faster and smarter.

Dale Earnhardt Jr. welcomes in NASCAR Cup Series driver Daniel Suarez for the first time on the Dale Jr. Download to discuss his historic win in Mexico, what his future holds, and how he rises to pressure-packed moments. After one of the most meaningful wins of his career, Dale Jr. and Daniel Suarez sit down to discuss Daniel's Mexico race weekend experience. He shares what it was like to have 90% of the fans in the stands cheering for him, and how he stayed focused during the weekend. He also dives into his journey to U.S. citizenship and what it was like growing up racing in Mexico. He opens up on the challenges he faced moving to the United States and trying to race without knowing the language. Daniel also provides an update on what his racing endeavors will be beyond the 2025 season and shares how the biggest pressure he has faced in his career has been off the race track. It's an honest, open, and authentic conversation that you won't want to miss.  Dirty Mo Media is launching a new e-commerce merch line! They've got some awesome Dale Jr. Download merch on the site. Visit shop.dirtymomedia.com to check out all the new stuff.And for more content check out our YouTube page: https://www.youtube.com/@DirtyMoMediaFanDuel disclaimer: Must be 21+ and present in select states (for Kansas, in affiliation with Kansas Star Casino) or 18+ and present in D.C. First online real money wager only. $5 first deposit required. Bonus issued as nonwithdrawable bonus bets which expire 7 days after receipt. Restrictions apply. See terms at sportsbook.fanduel.com. Gambling Problem? Call 1-800-GAMBLER or visit FanDuel.com/RG. Call 1-888-789-7777 or visit ccpg.org/chat in Connecticut, or visit mdgamblinghelp.org in Maryland. Hope is here. Visit GamblingHelpLineMA.org or call (800) 327-5050 for 24/7 support in Massachusetts, or call 1-877-8HOPE-NY or text HOPENY in New York.

You've hit the wall. You've circled the same fears, same failures, same question: Now what? This week, Craig Cooney joins me to map out the 7 Stages of Life Transition—that spiritual, emotional, relational journey we all face when momentum crashes into burnout. He's walked past every threshold: loss, disillusionment, plateau, crisis. And he understands what happens when you blitz through “surviving” and find… something new on the other side. In this episode, Craig names the pain of transition: the loneliness of midsize dreams, the temptation to spin in place, the hidden grief behind “I'm tired,” and the silent desperation of burnout nobody talks about. And he exposes the breakthrough waiting when you refuse to stay stuck at the wall. If you're in the pause, the plateau, the painful “In-Between”—this episode will help you understand what stage you're in, give language to the hardship you're living, and show you the transformation lurking on the other side. Episode Links Show Notes Buy my NEW BOOK "Healing What You Can't Erase" here! Invite me to speak at your church or event. Connect with me @WINTODAYChris on Instagram, Facebook, Twitter, and YouTube.

This episode runs down the Origins Award Winners. Show your thanks to Major Spoilers for this episode by becoming a Major Spoilers Patron at http://patreon.com/MajorSpoilers. It will help ensure Munchkin Land continues far into the future! Join our Discord server and chat with fellow Spoilerites! (https://discord.gg/jWF9BbF) Contact us at podcast@majorspoilers.com NEWS Origins Award winners Party Game Flip 7 – The Op Designer: Eric Olsen Heavy Strategy Game Endeavor: Deep Sea – Burnt Island Games / KTBG Designers: Carl de Visser & Jarratt Gray Light Strategy Game Fromage – R2i Designers: Matthew O'Malley & Ben Rosset A couple of hotnesses from the con, With Endeavor Deep Sea winning the Origins awards and nominated at KDJ, we also have it on KS which I covered a  while back and has a few days left. Endeavor Deep Sea: Uncharted Waters was a big one with the buzz at the con As was the upcoming SETIExpansion SETI:Space Agencies Burnt Island games announce a new game How to Save a World for release July ‘25 ($50) Van Ryder games announced a release for the successfully crowdfunded card game based off the Elfhame book series called Enemies & Lovers: The Crown of Elfhame to be released Q4 ‘25 Gadget Builder from Rio Grande and Tom Lehmann (race for the galaxy) will be released sometime soon. A take on Crazy 8s with some powers ($15) The Followup to Hadrian's Wall from Bobby Hill, The Anarchy from Renegade game studios and Garphil Games will be released June/July ‘25 ($65) Capstone Games will release Suna Valo, by Andreas Odendahl (La Granja and Cooper Island) Aug ‘25/ Gen con ($50) (Been out overseas and has had some good buzz and I love his games so very much looking forward to this one) Board & Dice announced Tianxia, from Antonio Petrelli, Daniele Tascini  to be released in US Aug/ Sept 25 (Unsure of price website says “pre-order Q3) DIGITAL NEWS Lost Ruins of Arnak got an announcement of coming soon on Steam Ark Nova on Steam has been released! ($22.99) CROWDFUNDING KICKSTARTER Gametoppers 5.0 Endeavor Deep Sea: Uncharted Waters Stefan Feld City Collection: Manila & Beijing   (Manila is amerigo, Beijing is in the year of the dragon) Excalibur GAME FOUND The Isofarian Guard: Veilward COMING SOON-- The Lord of the Rings The confrontation: Ultimate Edition

This episode runs down the Origins Award Winners. Show your thanks to Major Spoilers for this episode by becoming a Major Spoilers Patron at http://patreon.com/MajorSpoilers. It will help ensure Munchkin Land continues far into the future! Join our Discord server and chat with fellow Spoilerites! (https://discord.gg/jWF9BbF) Contact us at podcast@majorspoilers.com NEWS Origins Award winners Party Game Flip 7 – The Op Designer: Eric Olsen Heavy Strategy Game Endeavor: Deep Sea – Burnt Island Games / KTBG Designers: Carl de Visser & Jarratt Gray Light Strategy Game Fromage – R2i Designers: Matthew O'Malley & Ben Rosset A couple of hotnesses from the con, With Endeavor Deep Sea winning the Origins awards and nominated at KDJ, we also have it on KS which I covered a  while back and has a few days left. Endeavor Deep Sea: Uncharted Waters was a big one with the buzz at the con As was the upcoming SETIExpansion SETI:Space Agencies Burnt Island games announce a new game How to Save a World for release July ‘25 ($50) Van Ryder games announced a release for the successfully crowdfunded card game based off the Elfhame book series called Enemies & Lovers: The Crown of Elfhame to be released Q4 ‘25 Gadget Builder from Rio Grande and Tom Lehmann (race for the galaxy) will be released sometime soon. A take on Crazy 8s with some powers ($15) The Followup to Hadrian's Wall from Bobby Hill, The Anarchy from Renegade game studios and Garphil Games will be released June/July ‘25 ($65) Capstone Games will release Suna Valo, by Andreas Odendahl (La Granja and Cooper Island) Aug ‘25/ Gen con ($50) (Been out overseas and has had some good buzz and I love his games so very much looking forward to this one) Board & Dice announced Tianxia, from Antonio Petrelli, Daniele Tascini  to be released in US Aug/ Sept 25 (Unsure of price website says “pre-order Q3) DIGITAL NEWS Lost Ruins of Arnak got an announcement of coming soon on Steam Ark Nova on Steam has been released! ($22.99) CROWDFUNDING KICKSTARTER Gametoppers 5.0 Endeavor Deep Sea: Uncharted Waters Stefan Feld City Collection: Manila & Beijing   (Manila is amerigo, Beijing is in the year of the dragon) Excalibur GAME FOUND The Isofarian Guard: Veilward COMING SOON-- The Lord of the Rings The confrontation: Ultimate Edition

Coach Hélène on Being Fit Over 50, TBIs, Cold Plunges & the “Win Wall” | Fit Vegan Podcast Ep #392Join our Free Fit Vegan weekly newsletter: https://fit-vegan-coaching.kit.com/newsletterInterested in working with our world class team, Book your application call here: http://book.fitvegancoaching.com/podcastWelcome to the Fit Vegan Podcast! In this episode of the Fit Vegan Podcast, I chat with Coach Hélène about her journey to wellness, from overcoming chronic pain to embracing veganism and cold water swimming. We dive into mindset, self-care, and why resistance training beats cardio for lasting results. Hélène shares how she helps clients break through mental blocks and find what truly works for them—at any age.In This Episode, We Cover: [00:00–12:14] Meet Coach Hélène: Her Inspiring Journey Of Healing, Resilience, And Finding Wellness Later In Life.[12:15–32:03] How Cold Water Swimming Boosts Health, Plus Hélène's Coaching Approach For Real-Life Transformations.[32:04–42:13] Breaking Old Habits, Embracing Self-Care, And Learning Healthier Ways To Cope—At Any Age.[42:14–52:12] A Fresh Look At Our Relationship With Food And Why Strength Training Matters More Than Ever.[52:13–01:03:04] Rethinking Weight And Wellness: What Really Works For Lasting Strength And Energy.[01:03:05–01:12:04] Tailored Fitness For 50+: Competing, Thriving, And Celebrating Personal Wins.[01:12:05–01:30:13] The “Win Wall”: A Simple Tool To Stay Motivated And Proud Of Your Progress.Key Quotes“It's all about consistency!” -Hélène.“ A healthy person has 10,000 problems and a sick person only has one, right?”-Maxime.My name is Maxime Sigouin. I am the founder of Fit Vegan Coaching and Empire Builders Agency. I have a passion for serving and helping people live to their fullest potential.Book Your FREE Consultation Call Here: http://book.fitvegancoaching.com/podcast- Follow me on Instagram: https://www.instagram.com/maximesigouinofficial/- Join our FREE Fit Vegan Community: www.freefitvegancommunity.com- Youtube Channel : https://linktw.in/AyNrSW

Can you add anything to our memorabilia wall for the Oasis Gig? The K of Britpop and Home or Not Home Returns

Send us a textJon takes supplies to the Free Folk huddled in Mole's Town. They're not thrilled. But he has an offer: join the defence of the Wall and get full rations. Several heed the call. Mackelly and Simon (and Jon) wonder where the Free Folk's loyalties lie.Chapter Review:Jon Snow heads south to Mole's Town with wagons of supplies for the Free Folk. Along the way he sees newly carved faces in the trees. Clearly the conversion to R'hllor hasn't universally landed.The new residents emerge to find that Jon can only spare starvation rations. Squabbles and arguments break out. Jon has a war horn blown to quiet the crowd.He explains that the defenders of the Wall get more rations, they need their strength. Any of the Free Folk are welcome to join. They don't have to take the Black, they don't have to kneel, but they do have to obey orders. Sixty three wildlings take up the challenge, but the Thenns resist looking at Jon with disdain. Bowen Marsh has mixed feelings about the new recruits. Like Jon he's sure they'll fight the Others, but will they resist a Wildling attack?Characters/Places/Names/Events:Jon Snow - Bastard son of Ned Stark. Lord Commander of the Night's Watch.Stannis Baratheon - Surviving brother of dead King Robert Baratheon, claims the Iron Throne because Cersei's children are not Robert's.Melisandre - Red Woman of Ashaii. Priestess of R'Hllor, the Lord of Light.Bowen Marsh - Lord Steward of Castle Black.Castle Black - Headquarters of the Night's Watch.Mole's Town - Town south of Castle Black, mostly underground. Now populated by the Wildlings.Sigorn - Magnar of the Thenns. Support the showSupport us: Shop at our GoH merchandise store. Buy us a Cup of Arbor Gold, or become a sustainer and receive cool perks Donate to our cause Use our exclusive URL for a free 30-day trial of Audible Buy or gift Marriott Bonvoy points through our affiliate link Rate and review us at Apple Podcasts, Spotify, podchaser.com, and elsewhere.Find us on social media: Discord Twitter @GhostsHarrenhal Facebook Instagram YouTube All Music credits to Ross Bugden:INSTAGRAM! : https://instagram.com/rossbugden/ (rossbugden) TWITTER! : https://twitter.com/RossBugden (@rossbugden) YOUTUBE! : https://www...

Longtime pals David Spade and Dana Carvey take you behind the curtain of showbiz as they hang out and chat with friends (old and new) from all corners of the entertainment world. Be a “Fly on the Wall” every Thursday as the guys and their guests share stories, tell jokes, do impressions, and deep dive into the comedy mind.  On Mondays, join Dana and David to riff on current events, pop culture, trending clips, and answer audience questions. Kick back, relax, and enjoy the comedy, absurdity, and world-class banter from your favorite duo. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

For those who haven't heard the announcement I posted, songs from this point on will sometimes be split among multiple episodes, so this is the second part of a two-episode look at the song “Who Knows Where The Time Goes?” by Fairport Convention, and the intertwining careers of Joe Boyd, Sandy Denny, and Richard Thompson. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a forty-one-minute bonus episode available, on Judy Collins’ version of this song. Tilt Araiza has assisted invaluably by editing, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Erratum For about an hour this was uploaded with the wrong Elton John clip in place of “Saturday Sun”. This has now been fixed. Resources Because of the increasing problems with Mixcloud’s restrictions, I have decided to start sharing streaming playlists of the songs used in episodes instead of Mixcloud ones. This Tunemymusic link will let you listen to the playlist I created on your streaming platform of choice — however please note that not all the songs excerpted are currently available on streaming. The songs missing from the Tidal version are “Shanten Bells” by the Ian Campbell Folk Group, “Tom’s Gone to Hilo” by A.L. Lloyd, two by Paul McNeill and Linda Peters, three by Elton John & Linda Peters, “What Will I Do With Tomorrow” by Sandy Denny and “You Never Know” by Charlie Drake, but the other fifty-nine are there. Other songs may be missing from other services. The main books I used on Fairport Convention as a whole were Patrick Humphries' Meet On The Ledge, Clinton Heylin's What We Did Instead of Holidays, and Kevan Furbank's Fairport Convention on Track. Rob Young's Electric Eden is the most important book on the British folk-rock movement. Information on Richard Thompson comes from Patrick Humphries' Richard Thompson: Strange Affair and Thompson's own autobiography Beeswing.  Information on Sandy Denny comes from Clinton Heylin's No More Sad Refrains and Mick Houghton's I've Always Kept a Unicorn. I also used Joe Boyd's autobiography White Bicycles and Chris Blackwell's The Islander.  And this three-CD set is the best introduction to Fairport's music currently in print. Transcript Before we begin, this episode contains reference to alcohol and cocaine abuse and medical neglect leading to death. It also starts with some discussion of the fatal car accident that ended last episode. There’s also some mention of child neglect and spousal violence. If that’s likely to upset you, you might want to skip this episode or read the transcript. One of the inspirations for this podcast when I started it back in 2018 was a project by Richard Thompson, which appears (like many things in Thompson’s life) to have started out of sheer bloody-mindedness. In 1999 Playboy magazine asked various people to list their “songs of the Millennium”, and most of them, understanding the brief, chose a handful of songs from the latter half of the twentieth century. But Thompson determined that he was going to list his favourite songs *of the millennium*. He didn’t quite manage that, but he did cover seven hundred and forty years, and when Playboy chose not to publish it, he decided to turn it into a touring show, in which he covered all his favourite songs from “Sumer Is Icumen In” from 1260: [Excerpt: Richard Thompson, “Sumer is Icumen In”] Through numerous traditional folk songs, union songs like “Blackleg Miner”, pieces by early-modern composers, Victorian and Edwardian music hall songs, and songs by the Beatles, the Ink Spots, the Kinks, and the Who, all the way to “Oops! I Did It Again”: [Excerpt: Richard Thompson, “Oops! I Did it Again”] And to finish the show, and to show how all this music actually ties together, he would play what he described as a “medieval tune from Brittany”, “Marry, Ageyn Hic Hev Donne Yt”: [Excerpt: Richard Thompson, “Marry, Ageyn Hic Hev Donne Yt”] We have said many times in this podcast that there is no first anything, but there’s a reason that Liege and Lief, Fairport Convention’s third album of 1969, and the album other than Unhalfbricking on which their reputation largely rests, was advertised with the slogan “The first (literally) British folk rock album ever”. Folk-rock, as the term had come to be known, and as it is still usually used today, had very little to do with traditional folk music. Rather, the records of bands like The Byrds or Simon and Garfunkel were essentially taking the sounds of British beat groups of the early sixties, particularly the Searchers, and applying those sounds to material by contemporary singer-songwriters. People like Paul Simon and Bob Dylan had come up through folk clubs, and their songs were called folk music because of that, but they weren’t what folk music had meant up to that point — songs that had been collected after being handed down through the folk process, changed by each individual singer, with no single identifiable author. They were authored songs by very idiosyncratic writers. But over their last few albums, Fairport Convention had done one or two tracks per album that weren’t like that, that were instead recordings of traditional folk songs, but arranged with rock instrumentation. They were not necessarily the first band to try traditional folk music with electric instruments — around the same time that Fairport started experimenting with the idea, so did an Irish band named Sweeney’s Men, who brought in a young electric guitarist named Henry McCullough briefly. But they do seem to have been the first to have fully embraced the idea. They had done so to an extent with “A Sailor’s Life” on Unhalfbricking, but now they were going to go much further: [Excerpt: Fairport Convention, “Matty Groves” (from about 4:30)] There had been some doubt as to whether Fairport Convention would even continue to exist — by the time Unhalfbricking, their second album of the year, was released, they had been through the terrible car accident that had killed Martin Lamble, the band’s drummer, and Jeannie Franklyn, Richard Thompson’s girlfriend. Most of the rest of the band had been seriously injured, and they had made a conscious decision not to discuss the future of the band until they were all out of hospital. Ashley Hutchings was hospitalised the longest, and Simon Nicol, Richard Thompson, and Sandy Denny, the other three surviving members of the band, flew over to LA with their producer and manager, Joe Boyd, to recuperate there and get to know the American music scene. When they came back, the group all met up in the flat belonging to Denny’s boyfriend Trevor Lucas, and decided that they were going to continue the band. They made a few decisions then — they needed a new drummer, and as well as a drummer they wanted to get in Dave Swarbrick. Swarbrick had played violin on several tracks on Unhalfbricking as a session player, and they had all been thrilled to work with him. Swarbrick was one of the most experienced musicians on the British folk circuit. He had started out in the fifties playing guitar with Beryl Marriott’s Ceilidh Band before switching to fiddle, and in 1963, long before Fairport had formed, he had already appeared on TV with the Ian Campbell Folk Group, led by Ian Campbell, the father of Ali and Robin Campbell, later of UB40: [Excerpt: The Ian Campbell Folk Group, “Shanten Bells (medley on Hullaballoo!)”] He’d sung with Ewan MacColl and A.L. Lloyd: [Excerpt: A.L. Lloyd, “Tom’s Gone to Hilo” ] And he’d formed his hugely successful duo with Martin Carthy, releasing records like “Byker Hill” which are often considered among the best British folk music of all time: [Excerpt: Martin Carthy and Dave Swarbrick, “Byker Hill”] By the time Fairport had invited him to play on Unhalfbricking, Swarbrick had already performed on twenty albums as a core band member, plus dozens more EPs, singles, and odd tracks on compilations. They had no reason to think they could actually get him to join their band. But they had three advantages. The first was that Swarbrick was sick of the traditional folk scene at the time, saying later “I didn’t like seven-eighths of the people involved in it, and it was extremely opportune to leave. I was suddenly presented with the possibilities of exploring the dramatic content of the songs to the full.” The second was that he was hugely excited to be playing with Richard Thompson, who was one of the most innovative guitarists of his generation, and Martin Carthy remembers him raving about Thompson after their initial sessions. (Carthy himself was and is no slouch on the guitar of course, and there was even talk of getting him to join the band at this point, though they decided against it — much to the relief of rhythm guitarist Simon Nicol, who is a perfectly fine player himself but didn’t want to be outclassed by *two* of the best guitarists in Britain at the same time). And the third was that Joe Boyd told him that Fairport were doing so well — they had a single just about to hit the charts with “Si Tu Dois Partir” — that he would only have to play a dozen gigs with Fairport in order to retire. As it turned out, Swarbrick would play with the group for a decade, and would never retire — I saw him on his last tour in 2015, only eight months before he died. The drummer the group picked was also a far more experienced musician than any of the rest, though in a very different genre. Dave Mattacks had no knowledge at all of the kind of music they played, having previously been a player in dance bands. When asked by Hutchings if he wanted to join the band, Mattacks’ response was “I don’t know anything about the music. I don’t understand it… I can’t tell one tune from another, they all sound the same… but if you want me to join the group, fine, because I really like it. I’m enjoying myself musically.” Mattacks brought a new level of professionalism to the band, thanks to his different background. Nicol said of him later “He was dilligent, clean, used to taking three white shirts to a gig… The application he could bring to his playing was amazing. With us, you only played well when you were feeling well.” This distinction applied to his playing as well. Nicol would later describe the difference between Mattacks’ drumming and Lamble’s by saying “Martin’s strength was as an imaginative drummer. DM came in with a strongly developed sense of rhythm, through keeping a big band of drunken saxophone players in order. A great time-keeper.” With this new line-up and a new sense of purpose, the group did as many of their contemporaries were doing and “got their heads together in the country”. Joe Boyd rented the group a mansion, Farley House, in Farley Chamberlayne, Hampshire, and they stayed there together for three months. At the start, the group seem to have thought that they were going to make another record like Unhalfbricking, with some originals, some songs by American songwriters, and a few traditional songs. Even after their stay in Farley Chamberlayne, in fact, they recorded a few of the American songs they’d rehearsed at the start of the process, Richard Farina’s “Quiet Joys of Brotherhood” and Bob Dylan and Roger McGuinn’s “Ballad of Easy Rider”: [Excerpt: Fairport Convention, “Ballad of Easy Rider”] Indeed, the whole idea of “getting our heads together in the country” (as the cliche quickly became in the late sixties as half of the bands in Britain went through much the same kind of process as Fairport were doing — but usually for reasons more to do with drug burnout or trend following than recovering from serious life-changing trauma) seems to have been inspired by Bob Dylan and the Band getting together in Big Pink. But very quickly they decided to follow the lead of Ashley Hutchings, who had had something of a Damascene conversion to the cause of traditional English folk music. They were listening mostly to Music From Big Pink by the Band, and to the first album by Sweeney’s Men: [Excerpt: Sweeney’s Men, “The Handsome Cabin Boy”] And they decided that they were going to make something that was as English as those records were North American and Irish (though in the event there were also a few Scottish songs included on the record). Hutchings in particular was becoming something of a scholar of traditional music, regularly visiting Cecil Sharp House and having long conversations with A.L. Lloyd, discovering versions of different traditional songs he’d never encountered before. This was both amusing and bemusing Sandy Denny, who had joined a rock group in part to get away from traditional music; but she was comfortable singing the material, and knew a lot of it and could make a lot of suggestions herself. Swarbrick obviously knew the repertoire intimately, and Nicol was amenable, while Mattacks was utterly clueless about the folk tradition at this point but knew this was the music he wanted to make. Thompson knew very little about traditional music, and of all the band members except Denny he was the one who has shown the least interest in the genre in his subsequent career — but as we heard at the beginning, showing the least interest in the genre is a relative thing, and while Thompson was not hugely familiar with the genre, he *was* able to work with it, and was also more than capable of writing songs that fit in with the genre. Of the eleven songs on the album, which was titled Liege and Lief (which means, roughly, Lord and Loyalty), there were no cover versions of singer-songwriters. Eight were traditional songs, and three were originals, all written in the style of traditional songs. The album opened with “Come All Ye”, an introduction written by Denny and Hutchings (the only time the two would ever write together): [Excerpt: Fairport Convention, “Come All Ye”] The other two originals were songs where Thompson had written new lyrics to traditional melodies. On “Crazy Man Michael”, Swarbrick had said to Thompson that the tune to which he had set his new words was weaker than the lyrics, to which Thompson had replied that if Swarbrick felt that way he should feel free to write a new melody. He did, and it became the first of the small number of Thompson/Swarbrick collaborations: [Excerpt: Fairport Convention, “Crazy Man Michael”] Thompson and Swarbrick would become a brief songwriting team, but as much as anything else it was down to proximity — the two respected each other as musicians, but never got on very well. In 1981 Swarbrick would say “Richard and I never got on in the early days of FC… we thought we did, but we never did. We composed some bloody good songs together, but it was purely on a basis of “you write that and I’ll write this, and we’ll put it together.” But we never sat down and had real good chats.” The third original on the album, and by far the most affecting, is another song where Thompson put lyrics to a traditional tune. In this case he thought he was putting the lyrics to the tune of “Willie O'Winsbury”, but he was basing it on a recording by Sweeney’s Men. The problem was that Sweeney’s Men had accidentally sung the lyrics of “Willie O'Winsbury'” to the tune of a totally different song, “Fause Foodrage”: [Excerpt: Sweeney’s Men, “Willie O’Winsbury”] Thompson took that melody, and set to it lyrics about loss and separation. Thompson has never been one to discuss the meanings of his lyrics in any great detail, and in the case of this one has said “I really don't know what it means. This song came out of a dream, and I pretty much wrote it as I dreamt it (it was the sixties), and didn't spend very long analyzing it. So interpret as you wish – or replace with your own lines.” But in the context of the traffic accident that had killed his tailor girlfriend and a bandmate, and injured most of his other bandmates, the lyrics about lonely travellers, the winding road, bruised and beaten sons, saying goodbye, and never cutting cloth, seem fairly self-explanatory: [Excerpt: Fairport Convention, “Farewell, Farewell”] The rest of the album, though, was taken up by traditional tunes. There was a long medley of four different fiddle reels; a version of “Reynardine” (a song about a seductive man — or is he a fox? Or perhaps both — which had been recorded by Swarbrick and Carthy on their most recent album); a 19th century song about a deserter saved from the firing squad by Prince Albert; and a long take on “Tam Lin”, one of the most famous pieces in the Scottish folk music canon, a song that has been adapted in different ways by everyone from the experimental noise band Current 93 to the dub poet Benjamin Zephaniah to the comics writer Grant Morrison: [Excerpt: Fairport Convention, “Tam Lin”] And “Matty Groves”, a song about a man killing his cheating wife and her lover, which actually has a surprisingly similar story to that of “1921” from another great concept album from that year, the Who’s Tommy. “Matty Groves” became an excuse for long solos and shows of instrumental virtuosity: [Excerpt: Fairport Convention, “Matty Groves”] The album was recorded in September 1969, after their return from their break in the country and a triumphal performance at the Royal Festival Hall, headlining over fellow Witchseason artists John and Beverly Martyn and Nick Drake. It became a classic of the traditional folk genre — arguably *the* classic of the traditional folk genre. In 2007 BBC Radio 2’s Folk Music Awards gave it an award for most influential folk album of all time, and while such things are hard to measure, I doubt there’s anyone with even the most cursory knowledge of British folk and folk-rock music who would not at least consider that a reasonable claim. But once again, by the time the album came out in November, the band had changed lineups yet again. There was a fundamental split in the band – on one side were Sandy Denny and Richard Thompson, whose stance was, roughly, that Liege and Lief was a great experiment and a fun thing to do once, but really the band had two first-rate songwriters in themselves, and that they should be concentrating on their own new material, not doing these old songs, good as they were. They wanted to take the form of the traditional songs and use that form for new material — they wanted to make British folk-rock, but with the emphasis on the rock side of things. Hutchings, on the other hand, was equally sure that he wanted to make traditional music and go further down the rabbit hole of antiquity. With the zeal of the convert he had gone in a couple of years from being the leader of a band who were labelled “the British Jefferson Airplane” to becoming a serious scholar of traditional folk music. Denny was tired of touring, as well — she wanted to spend more time at home with Trevor Lucas, who was sleeping with other women when she was away and making her insecure. When the time came for the group to go on a tour of Denmark, Denny decided she couldn’t make it, and Hutchings was jubilant — he decided he was going to get A.L. Lloyd into the band in her place and become a *real* folk group. Then Denny reconsidered, and Hutchings was crushed. He realised that while he had always been the leader, he wasn’t going to be able to lead the band any further in the traditionalist direction, and quit the group — but not before he was delegated by the other band members to fire Denny. Until the publication of Richard Thompson’s autobiography in 2022, every book on the group or its members said that Denny quit the band again, which was presumably a polite fiction that the band agreed, but according to Thompson “Before we flew home, we decided to fire Sandy. I don't remember who asked her to leave – it was probably Ashley, who usually did the dirty work. She was reportedly shocked that we would take that step. She may have been fragile beneath the confident facade, but she still knew her worth.” Thompson goes on to explain that the reasons for kicking her out were that “I suppose we felt that in her mind she had already left” and that “We were probably suffering from post-traumatic stress disorder, though there wasn't a name for it back then.” They had considered inviting Trevor Lucas to join the band to make Denny more comfortable, but came to the (probably correct) conclusion that while he was someone they got on well with personally, he would be another big ego in a band that already had several, and that being around Denny and Lucas’ volatile relationship would, in Thompson’s phrasing, “have not always given one a feeling of peace and stability.” Hutchings originally decided he was going to join Sweeney’s Men, but that group were falling apart, and their first rehearsal with Hutchings would also be their last as a group, with only Hutchings and guitarist and mandolin player Terry Woods left in the band. They added Woods’ wife Gay, and another couple, Tim Hart and Maddy Prior, and formed a group called Steeleye Span, a name given them by Martin Carthy. That group, like Fairport, went to “get their heads together in the country” for three months and recorded an album of electric versions of traditional songs, Hark the Village Wait, on which Mattacks and another drummer, Gerry Conway, guested as Steeleye Span didn’t at the time have their own drummer: [Excerpt: Steeleye Span, “Blackleg Miner”] Steeleye Span would go on to have a moderately successful chart career in the seventies, but by that time most of the original lineup, including Hutchings, had left — Hutchings stayed with them for a few albums, then went on to form the first of a series of bands, all called the Albion Band or variations on that name, which continue to this day. And this is something that needs to be pointed out at this point — it is impossible to follow every single individual in this narrative as they move between bands. There is enough material in the history of the British folk-rock scene that someone could do a 500 Songs-style podcast just on that, and every time someone left Fairport, or Steeleye Span, or the Albion Band, or Matthews’ Southern Comfort, or any of the other bands we have mentioned or will mention, they would go off and form another band which would then fission, and some of its members would often join one of those other bands. There was a point in the mid-1970s where the Albion Band had two original members of Fairport Convention while Fairport Convention had none. So just in order to keep the narrative anything like wieldy, I’m going to keep the narrative concentrated on the two figures from Fairport — Sandy Denny and Richard Thompson — whose work outside the group has had the most influence on the wider world of rock music more broadly, and only deal with the other members when, as they often did, their careers intersected with those two. That doesn’t mean the other members are not themselves hugely important musicians, just that their importance has been primarily to the folk side of the folk-rock genre, and so somewhat outside the scope of this podcast. While Hutchings decided to form a band that would allow him to go deeper and deeper into traditional folk music, Sandy Denny’s next venture was rather different. For a long time she had been writing far more songs than she had ever played for her bandmates, like “Nothing More”, a song that many have suggested is about Thompson: [Excerpt: Fotheringay, “Nothing More”] When Joe Boyd heard that Denny was leaving Fairport Convention, he was at first elated. Fairport’s records were being distributed by A&M in the US at that point, but Island Records was in the process of opening up a new US subsidiary which would then release all future Fairport product — *but*, as far as A&M were concerned, Sandy Denny *was* Fairport Convention. They were only interested in her. Boyd, on the other hand, loved Denny’s work intensely, but from his point of view *Richard Thompson* was Fairport Convention. If he could get Denny signed directly to A&M as a solo artist before Island started its US operations, Witchseason could get a huge advance on her first solo record, while Fairport could continue making records for Island — he’d have two lucrative acts, on different labels. Boyd went over and spoke to A&M and got an agreement in principle that they would give Denny a forty-thousand-dollar advance on her first solo album — twice what they were paying for Fairport albums. The problem was that Denny didn’t want to be a solo act. She wanted to be the lead singer of a band. She gave many reasons for this — the one she gave to many journalists was that she had seen a Judy Collins show and been impressed, but noticed that Collins’ band were definitely a “backing group”, and as she put it “But that's all they were – a backing group. I suddenly thought, If you're playing together on a stage you might as well be TOGETHER.” Most other people in her life, though, say that the main reason for her wanting to be in a band was her desire to be with her boyfriend, Trevor Lucas. Partly this was due to a genuine desire to spend more time with someone with whom she was very much in love, partly it was a fear that he would cheat on her if she was away from him for long periods of time, and part of it seems to have been Lucas’ dislike of being *too* overshadowed by his talented girlfriend — he didn’t mind acknowledging that she was a major talent, but he wanted to be thought of as at least a minor one. So instead of going solo, Denny formed Fotheringay, named after the song she had written for Fairport. This new band consisted at first of Denny on vocals and occasional piano, Lucas on vocals and rhythm guitar, and Lucas’ old Eclection bandmate Gerry Conway on drums. For a lead guitarist, they asked Richard Thompson who the best guitarist in Britain was, and he told them Albert Lee. Lee in turn brought in bass player Pat Donaldson, but this lineup of the band barely survived a fortnight. Lee *was* arguably the best guitarist in Britain, certainly a reasonable candidate if you could ever have a singular best (as indeed was Thompson himself), but he was the best *country* guitarist in Britain, and his style simply didn’t fit with Fotheringay’s folk-influenced songs. He was replaced by American guitarist Jerry Donahue, who was not anything like as proficient as Lee, but who was still very good, and fit the band’s style much better. The new group rehearsed together for a few weeks, did a quick tour, and then went into the recording studio to record their debut, self-titled, album. Joe Boyd produced the album, but admitted himself that he only paid attention to those songs he considered worthwhile — the album contained one song by Lucas, “The Ballad of Ned Kelly”, and two cover versions of American singer-songwriter material with Lucas singing lead. But everyone knew that the songs that actually *mattered* were Sandy Denny’s, and Boyd was far more interested in them, particularly the songs “The Sea” and “The Pond and the Stream”: [Excerpt: Fotheringay, “The Pond and the Stream”] Fotheringay almost immediately hit financial problems, though. While other Witchseason acts were used to touring on the cheap, all packed together in the back of a Transit van with inexpensive equipment, Trevor Lucas had ambitions of being a rock star and wanted to put together a touring production to match, with expensive transport and equipment, including a speaker system that got nicknamed “Stonehenge” — but at the same time, Denny was unhappy being on the road, and didn’t play many gigs. As well as the band itself, the Fotheringay album also featured backing vocals from a couple of other people, including Denny’s friend Linda Peters. Peters was another singer from the folk clubs, and a good one, though less well-known than Denny — at this point she had only released a couple of singles, and those singles seemed to have been as much as anything else released as a novelty. The first of those, a version of Dylan’s “You Ain’t Goin’ Nowhere” had been released as by “Paul McNeill and Linda Peters”: [Excerpt: Paul McNeill and Linda Peters, “You Ain’t Goin’ Nowhere”] But their second single, a version of John D. Loudermilk’s “You’re Taking My Bag”, was released on the tiny Page One label, owned by Larry Page, and was released under the name “Paul and Linda”, clearly with the intent of confusing particularly gullible members of the record-buying public into thinking this was the McCartneys: [Excerpt: Paul and Linda, “You’re Taking My Bag”] Peters was though more financially successful than almost anyone else in this story, as she was making a great deal of money as a session singer. She actually did another session involving most of Fotheringay around this time. Witchseason had a number of excellent songwriters on its roster, and had had some success getting covers by people like Judy Collins, but Joe Boyd thought that they might possibly do better at getting cover versions if they were performed in less idiosyncratic arrangements. Donahue, Donaldson, and Conway went into the studio to record backing tracks, and vocals were added by Peters and another session singer, who according to some sources also provided piano. They cut songs by Mike Heron of the Incredible String Band: [Excerpt: Linda Peters, “You Get Brighter”] Ed Carter, formerly of The New Nadir but by this time firmly ensconced in the Beach Boys’ touring band where he would remain for the next quarter-century: [Excerpt: Linda Peters, “I Don’t Mind”] John and Beverly Martyn, and Nick Drake: [Excerpt: Elton John, “Saturday Sun”] There are different lineups of musicians credited for those sessions in different sources, but I tend to believe that it’s mostly Fotheringay for the simple reason that Donahue says it was him, Donaldson and Conway who talked Lucas and Denny into the mistake that destroyed Fotheringay because of these sessions. Fotheringay were in financial trouble already, spending far more money than they were bringing in, but their album made the top twenty and they were getting respect both from critics and from the public — in September, Sandy Denny was voted best British female singer by the readers of Melody Maker in their annual poll, which led to shocked headlines in the tabloids about how this “unknown” could have beaten such big names as Dusty Springfield and Cilla Black. Only a couple of weeks after that, they were due to headline at the Albert Hall. It should have been a triumph. But Donahue, Donaldson, and Conway had asked that singing pianist to be their support act. As Donahue said later “That was a terrible miscast. It was our fault. He asked if [he] could do it. Actually Pat, Gerry and I had to talk Sandy and Trevor into [it]… We'd done these demos and the way he was playing – he was a wonderful piano player – he was sensitive enough. We knew very little about his stage-show. We thought he'd be a really good opener for us.” Unfortunately, Elton John was rather *too* good. As Donahue continued “we had no idea what he had in mind, that he was going to do the most incredible rock & roll show ever. He pretty much blew us off the stage before we even got on the stage.” To make matters worse, Fotheringay’s set, which was mostly comprised of new material, was underrehearsed and sloppy, and from that point on no matter what they did people were counting the hours until the band split up. They struggled along for a while though, and started working on a second record, with Boyd again producing, though as Boyd later said “I probably shouldn't have been producing the record. My lack of respect for the group was clear, and couldn't have helped the atmosphere. We'd put out a record that had sold disappointingly, A&M was unhappy. Sandy's tracks on the first record are among the best things she ever did – the rest of it, who cares? And the artwork, Trevor's sister, was terrible. It would have been one thing if I'd been unhappy with it and it sold, and the group was working all the time, making money, but that wasn't the case … I knew what Sandy was capable of, and it was very upsetting to me.” The record would not be released for thirty-eight years: [Excerpt: Fotheringay, “Wild Mountain Thyme”] Witchseason was going badly into debt. Given all the fissioning of bands that we’ve already been talking about, Boyd had been stretched thin — he produced sixteen albums in 1970, and almost all of them lost money for the company. And he was getting more and more disillusioned with the people he was producing. He loved Beverly Martyn’s work, but had little time for her abusive husband John, who was dominating her recording and life more and more and would soon become a solo artist while making her stay at home (and stealing her ideas without giving her songwriting credit). The Incredible String Band were great, but they had recently converted to Scientology, which Boyd found annoying, and while he was working with all sorts of exciting artists like Vashti Bunyan and Nico, he was finding himself less and less important to the artists he mentored. Fairport Convention were a good example of this. After Denny and Hutchings had left the group, they’d decided to carry on as an electric folk group, performing an equal mix of originals by the Swarbrick and Thompson songwriting team and arrangements of traditional songs. The group were now far enough away from the “British Jefferson Airplane” label that they decided they didn’t need a female vocalist — and more realistically, while they’d been able to replace Judy Dyble, nobody was going to replace Sandy Denny. Though it’s rather surprising when one considers Thompson’s subsequent career that nobody seems to have thought of bringing in Denny’s friend Linda Peters, who was dating Joe Boyd at the time (as Denny had been before she met Lucas) as Denny’s replacement. Instead, they decided that Swarbrick and Thompson were going to share the vocals between them. They did, though, need a bass player to replace Hutchings. Swarbrick wanted to bring in Dave Pegg, with whom he had played in the Ian Campbell Folk Group, but the other band members initially thought the idea was a bad one. At the time, while they respected Swarbrick as a musician, they didn’t think he fully understood rock and roll yet, and they thought the idea of getting in a folkie who had played double bass rather than an electric rock bassist ridiculous. But they auditioned him to mollify Swarbrick, and found that he was exactly what they needed. As Joe Boyd later said “All those bass lines were great, Ashley invented them all, but he never could play them that well. He thought of them, but he was technically not a terrific bass player. He was a very inventive, melodic, bass player, but not a very powerful one technically. But having had the part explained to him once, Pegg was playing it better than Ashley had ever played it… In some rock bands, I think, ultimately, the bands that sound great, you can generally trace it to the bass player… it was at that point they became a great band, when they had Pegg.” The new lineup of Fairport decided to move in together, and found a former pub called the Angel, into which all the band members moved, along with their partners and children (Thompson was the only one who was single at this point) and their roadies. The group lived together quite happily, and one gets the impression that this was the period when they were most comfortable with each other, even though by this point they were a disparate group with disparate tastes, in music as in everything else. Several people have said that the only music all the band members could agree they liked at this point was the first two albums by The Band. With the departure of Hutchings from the band, Swarbrick and Thompson, as the strongest personalities and soloists, became in effect the joint leaders of the group, and they became collaborators as songwriters, trying to write new songs that were inspired by traditional music. Thompson described the process as “let’s take one line of this reel and slow it down and move it up a minor third and see what that does to it; let’s take one line of this ballad and make a whole song out of it. Chopping up the tradition to find new things to do… like a collage.” Generally speaking, Swarbrick and Thompson would sit by the fire and Swarbrick would play a melody he’d been working on, the two would work on it for a while, and Thompson would then go away and write the lyrics. This is how the two came up with songs like the nine-minute “Sloth”, a highlight of the next album, Full House, and one that would remain in Fairport’s live set for much of their career: [Excerpt: Fairport Convention, “Sloth”] “Sloth” was titled that way because Thompson and Swarbrick were working on two tunes, a slow one and a fast one, and they jokingly named them “Sloth” and “Fasth”, but the latter got renamed to “Walk Awhile”, while “Sloth” kept its working title. But by this point, Boyd and Thompson were having a lot of conflict in the studio. Boyd was never the most technical of producers — he was one of those producers whose job is to gently guide the artists in the studio and create a space for the music to flourish, rather than the Joe Meek type with an intimate technical knowledge of the studio — and as the artists he was working with gained confidence in their own work they felt they had less and less need of him. During the making of the Full House album, Thompson and Boyd, according to Boyd, clashed on everything — every time Boyd thought Thompson had done a good solo, Thompson would say to erase it and let him have another go, while every time Boyd thought Thompson could do better, Thompson would say that was the take to keep. One of their biggest clashes was over Thompson’s song “Poor Will and the Jolly Hangman”, which was originally intended for release on the album, and is included in current reissues of it: [Excerpt: Fairport Convention, “Poor Will and the Jolly Hangman”] Thompson had written that song inspired by what he thought was the unjust treatment of Alex Bramham, the driver in Fairport’s fatal car crash, by the courts — Bramham had been given a prison sentence of a few months for dangerous driving, while the group members thought he had not been at fault. Boyd thought it was one of the best things recorded for the album, but Thompson wasn’t happy with his vocal — there was one note at the top of the melody that he couldn’t quite hit — and insisted it be kept off the record, even though that meant it would be a shorter album than normal. He did this at such a late stage that early copies of the album actually had the title printed on the sleeve, but then blacked out. He now says in his autobiography “I could have persevered, double-tracked the voice, warmed up for longer – anything. It was a good track, and the record was lacking without it. When the album was re-released, the track was restored with a more confident vocal, and it has stayed there ever since.” During the sessions for Full House the group also recorded one non-album single, Thompson and Swarbrick’s “Now Be Thankful”: [Excerpt, Fairport Convention, “Now Be Thankful”] The B-side to that was a medley of two traditional tunes plus a Swarbrick original, but was given the deliberately ridiculous title “Sir B. McKenzie’s Daughter’s Lament For The 77th Mounted Lancers Retreat From The Straits Of Loch Knombe, In The Year Of Our Lord 1727, On The Occasion Of The Announcement Of Her Marriage To The Laird Of Kinleakie”: [Excerpt: Fairport Convention, “Sir B. McKenzie’s Daughter’s Lament For The 77th Mounted Lancers Retreat From The Straits Of Loch Knombe, In The Year Of Our Lord 1727, On The Occasion Of The Announcement Of Her Marriage To The Laird Of Kinleakie”] The B. McKenzie in the title was a reference to the comic-strip character Barry McKenzie, a stereotype drunk Australian created for Private Eye magazine by the comedian Barry Humphries (later to become better known for his Dame Edna Everage character) but the title was chosen for one reason only — to get into the Guinness Book of Records for the song with the longest title. Which they did, though they were later displaced by the industrial band Test Dept, and their song “Long Live British Democracy Which Flourishes and Is Constantly Perfected Under the Immaculate Guidance of the Great, Honourable, Generous and Correct Margaret Hilda Thatcher. She Is the Blue Sky in the Hearts of All Nations. Our People Pay Homage and Bow in Deep Respect and Gratitude to Her. The Milk of Human Kindness”. Full House got excellent reviews in the music press, with Rolling Stone saying “The music shows that England has finally gotten her own equivalent to The Band… By calling Fairport an English equivalent of the Band, I meant that they have soaked up enough of the tradition of their countryfolk that it begins to show all over, while they maintain their roots in rock.” Off the back of this, the group went on their first US tour, culminating in a series of shows at the Troubadour in LA, on the same bill as Rick Nelson, which were recorded and later released as a live album: [Excerpt: Fairport Convention, “Sloth (live)”] The Troubadour was one of the hippest venues at the time, and over their residency there the group got seen by many celebrities, some of whom joined them on stage. The first was Linda Ronstadt, who initially demurred, saying she didn’t know any of their songs. On being told they knew all of hers, she joined in with a rendition of “Silver Threads and Golden Needles”. Thompson was later asked to join Ronstadt’s backing band, who would go on to become the Eagles, but he said later of this offer “I would have hated it. I’d have hated being on the road with four or five miserable Americans — they always seem miserable. And if you see them now, they still look miserable on stage — like they don’t want to be there and they don’t like each other.” The group were also joined on stage at the Troubadour on one memorable night by some former bandmates of Pegg’s. Before joining the Ian Campbell Folk Group, Pegg had played around the Birmingham beat scene, and had been in bands with John Bonham and Robert Plant, who turned up to the Troubadour with their Led Zeppelin bandmate Jimmy Page (reports differ on whether the fourth member of Zeppelin, John Paul Jones, also came along). They all got up on stage together and jammed on songs like “Hey Joe”, “Louie Louie”, and various old Elvis tunes. The show was recorded, and the tapes are apparently still in the possession of Joe Boyd, who has said he refuses to release them in case he is murdered by the ghost of Peter Grant. According to Thompson, that night ended in a three-way drinking contest between Pegg, Bonham, and Janis Joplin, and it’s testament to how strong the drinking culture is around Fairport and the British folk scene in general that Pegg outdrank both of them. According to Thompson, Bonham was found naked by a swimming pool two days later, having missed two gigs. For all their hard rock image, Led Zeppelin were admirers of a lot of the British folk and folk-rock scene, and a few months later Sandy Denny would become the only outside vocalist ever to appear on a Led Zeppelin record when she duetted with Plant on “The Battle of Evermore” on the group’s fourth album: [Excerpt: Led Zeppelin, “The Battle of Evermore”] Denny would never actually get paid for her appearance on one of the best-selling albums of all time. That was, incidentally, not the only session that Denny was involved in around this time — she also sang on the soundtrack to a soft porn film titled Swedish Fly Girls, whose soundtrack was produced by Manfred Mann: [Excerpt: Sandy Denny, “What Will I Do With Tomorrow?”] Shortly after Fairport’s trip to America, Joe Boyd decided he was giving up on Witchseason. The company was now losing money, and he was finding himself having to produce work for more and more acts as the various bands fissioned. The only ones he really cared about were Richard Thompson, who he was finding it more and more difficult to work with, Nick Drake, who wanted to do his next album with just an acoustic guitar anyway, Sandy Denny, who he felt was wasting her talents in Fotheringay, and Mike Heron of the Incredible String Band, who was more distant since his conversion to Scientology. Boyd did make some attempts to keep the company going. On a trip to Sweden, he negotiated an agreement with the manager and publisher of a Swedish band whose songs he’d found intriguing, the Hep Stars. Boyd was going to publish their songs in the UK, and in return that publisher, Stig Anderson, would get the rights to Witchseason’s catalogue in Scandinavia — a straight swap, with no money changing hands. But before Boyd could get round to signing the paperwork, he got a better offer from Mo Ostin of Warners — Ostin wanted Boyd to come over to LA and head up Warners’ new film music department. Boyd sold Witchseason to Island Records and moved to LA with his fiancee Linda Peters, spending the next few years working on music for films like Deliverance and A Clockwork Orange, as well as making his own documentary about Jimi Hendrix, and thus missed out on getting the UK publishing rights for ABBA, and all the income that would have brought him, for no money. And it was that decision that led to the breakup of Fotheringay. Just before Christmas 1970, Fotheringay were having a difficult session, recording the track “John the Gun”: [Excerpt: Fotheringay, “John the Gun”] Boyd got frustrated and kicked everyone out of the session, and went for a meal and several drinks with Denny. He kept insisting that she should dump the band and just go solo, and then something happened that the two of them would always describe differently. She asked him if he would continue to produce her records if she went solo, and he said he would. According to Boyd’s recollection of the events, he meant that he would fly back from California at some point to produce her records. According to Denny, he told her that if she went solo he would stay in Britain and not take the job in LA. This miscommunication was only discovered after Denny told the rest of Fotheringay after the Christmas break that she was splitting the band. Jerry Donahue has described that as the worst moment of his life, and Denny felt very guilty about breaking up a band with some of her closest friends in — and then when Boyd went over to the US anyway she felt a profound betrayal. Two days before Fotheringay’s final concert, in January 1971, Sandy Denny signed a solo deal with Island records, but her first solo album would not end up produced by Joe Boyd. Instead, The North Star Grassman and the Ravens was co-produced by Denny, John Wood — the engineer who had worked with Boyd on pretty much everything he’d produced, and Richard Thompson, who had just quit Fairport Convention, though he continued living with them at the Angel, at least until a truck crashed into the building in February 1971, destroying its entire front wall and forcing them to relocate. The songs chosen for The North Star Grassman and the Ravens reflected the kind of choices Denny would make on her future albums, and her eclectic taste in music. There was, of course, the obligatory Dylan cover, and the traditional folk ballad “Blackwaterside”, but there was also a cover version of Brenda Lee’s “Let’s Jump the Broomstick”: [Excerpt: Sandy Denny, “Let’s Jump the Broomstick”] Most of the album, though, was made up of originals about various people in Denny’s life, like “Next Time Around”, about her ex-boyfriend Jackson C Frank: [Excerpt: Sandy Denny, “Next Time Around”] The album made the top forty in the UK — Denny’s only solo album to do so — and led to her once again winning the “best female singer” award in Melody Maker’s readers’ poll that year — the male singer award was won by Rod Stewart. Both Stewart and Denny appeared the next year on the London Symphony Orchestra’s all-star version of The Who’s Tommy, which had originally been intended as a vehicle for Stewart before Roger Daltrey got involved. Stewart’s role was reduced to a single song, “Pinball Wizard”, while Denny sang on “It’s a Boy”: [Excerpt: Sandy Denny, “It’s a Boy”] While Fotheringay had split up, all the band members play on The North Star Grassman and the Ravens. Guitarists Donahue and Lucas only play on a couple of the tracks, with Richard Thompson playing most of the guitar on the record. But Fotheringay’s rhythm section of Pat Donaldson and Gerry Conway play on almost every track. Another musician on the album, Ian Whiteman, would possibly have a profound effect on the future direction of Richard Thompson’s career and life. Whiteman was the former keyboard player for the mod band The Action, having joined them just before they became the blues-rock band Mighty Baby. But Mighty Baby had split up when all of the band except the lead singer had converted to Islam. Richard Thompson was on his own spiritual journey at this point, and became a Sufi – the same branch of Islam as Whiteman – soon after the session, though Thompson has said that his conversion was independent of Whiteman’s. The two did become very close and work together a lot in the mid-seventies though. Thompson had supposedly left Fairport because he was writing material that wasn’t suited to the band, but he spent more than a year after quitting the group working on sessions rather than doing anything with his own material, and these sessions tended to involve the same core group of musicians. One of the more unusual was a folk-rock supergroup called The Bunch, put together by Trevor Lucas. Richard Branson had recently bought a recording studio, and wanted a band to test it out before opening it up for commercial customers, so with this free studio time Lucas decided to record a set of fifties rock and roll covers. He gathered together Thompson, Denny, Whiteman, Ashley Hutchings, Dave Mattacks, Pat Donaldson, Gerry Conway, pianist Tony Cox, the horn section that would later form the core of the Average White Band, and Linda Peters, who had now split up with Joe Boyd and returned to the UK, and who had started dating Thompson. They recorded an album of covers of songs by Jerry Lee Lewis, the Everly Brothers, Johnny Otis and others: [Excerpt: The Bunch, “Willie and the Hand Jive”] The early seventies was a hugely productive time for this group of musicians, as they all continued playing on each other’s projects. One notable album was No Roses by Shirley Collins, which featured Thompson, Mattacks, Whiteman, Simon Nicol, Lal and Mike Waterson, and Ashley Hutchings, who was at that point married to Collins, as well as some more unusual musicians like the free jazz saxophonist Lol Coxhill: [Excerpt: Shirley Collins and the Albion Country Band, “Claudy Banks”] Collins was at the time the most respected female singer in British traditional music, and already had a substantial career including a series of important records made with her sister Dolly, work with guitarists like Davey Graham, and time spent in the 1950s collecting folk songs in the Southern US with her then partner Alan Lomax – according to Collins she did much of the actual work, but Lomax only mentioned her in a single sentence in his book on this work. Some of the same group of musicians went on to work on an album of traditional Morris dancing tunes, titled Morris On, credited to “Ashley Hutchings, Richard Thompson, Dave Mattacks, John Kirkpatrick and Barry Dransfield”, with Collins singing lead on two tracks: [Excerpt: Ashley Hutchings, Richard Thompson, Dave Mattacks, John Kirkpatrick and Barry Dransfield with Shirley Collins, “The Willow Tree”] Thompson thought that that album was the best of the various side projects he was involved in at the time, comparing it favourably to Rock On, which he thought was rather slight, saying later “Conceptually, Fairport, Ashley and myself and Sandy were developing a more fragile style of music that nobody else was particularly interested in, a British Folk Rock idea that had a logical development to it, although we all presented it our own way. Morris On was rather more true to what we were doing. Rock On was rather a retro step. I'm not sure it was lasting enough as a record but Sandy did sing really well on the Buddy Holly songs.” Hutchings used the musicians on No Roses and Morris On as the basis for his band the Albion Band, which continues to this day. Simon Nicol and Dave Mattacks both quit Fairport to join the Albion Band, though Mattacks soon returned. Nicol would not return to Fairport for several years, though, and for a long period in the mid-seventies Fairport Convention had no original members. Unfortunately, while Collins was involved in the Albion Band early on, she and Hutchings ended up divorcing, and the stress from the divorce led to Collins developing spasmodic dysphonia, a stress-related illness which makes it impossible for the sufferer to sing. She did eventually regain her vocal ability, but between 1978 and 2016 she was unable to perform at all, and lost decades of her career. Richard Thompson occasionally performed with the Albion Band early on, but he was getting stretched a little thin with all these sessions. Linda Peters said later of him “When I came back from America, he was working in Sandy’s band, and doing sessions by the score. Always with Pat Donaldson and Dave Mattacks. Richard would turn up with his guitar, one day he went along to do a session with one of those folkie lady singers — and there were Pat and DM. They all cracked. Richard smashed his amp and said “Right! No more sessions!” In 1972 he got round to releasing his first solo album, Henry the Human Fly, which featured guest appearances by Linda Peters and Sandy Denny among others: [Excerpt: Richard Thompson, “The Angels Took My Racehorse Away”] Unfortunately, while that album has later become regarded as one of the classics of its genre, at the time it was absolutely slated by the music press. The review in Melody Maker, for example, read in part “Some of Richard Thompson’s ideas sound great – which is really the saving grace of this album, because most of the music doesn’t. The tragedy is that Thompson’s “British rock music” is such an unconvincing concoction… Even the songs that do integrate rock and traditional styles of electric guitar rhythms and accordion and fiddle decoration – and also include explicit, meaningful lyrics are marred by bottle-up vocals, uninspiring guitar phrases and a general lack of conviction in performance.” Henry the Human Fly was released in the US by Warners, who had a reciprocal licensing deal with Island (and for whom Joe Boyd was working at the time, which may have had something to do with that) but according to Thompson it became the lowest-selling record that Warners ever put out (though I’ve also seen that claim made about Van Dyke Parks’ Song Cycle, another album that has later been rediscovered). Thompson was hugely depressed by this reaction, and blamed his own singing. Happily, though, by this point he and Linda had become a couple — they would marry in 1972 — and they started playing folk clubs as a duo, or sometimes in a trio with Simon Nicol. Thompson was also playing with Sandy Denny’s backing band at this point, and played on every track on her second solo album, Sandy. This album was meant to be her big commercial breakthrough, with a glamorous cover photo by David Bailey, and with a more American sound, including steel guitar by Sneaky Pete Kleinow of the Flying Burrito Brothers (whose overdubs were supervised in LA by Joe Boyd): [Excerpt: Sandy Denny, “Tomorrow is a Long Time”] The album was given a big marketing push by Island, and “Listen, Listen” was made single of the week on the Radio 1 Breakfast show: [Excerpt: Sandy Denny, “Listen, Listen”] But it did even worse than the previous album, sending her into something of a depression. Linda Thompson (as the former Linda Peters now was) said of this period “After the Sandy album, it got her down that her popularity didn't suddenly increase in leaps and bounds, and that was the start of her really fretting about the way her career was going. Things only escalated after that. People like me or Martin Carthy or Norma Waterson would think, ‘What are you on about? This is folk music.'” After Sandy’s release, Denny realised she could no longer afford to tour with a band, and so went back to performing just acoustically or on piano. The only new music to be released by either of these ex-members of Fairport Convention in 1973 was, oddly, on an album by the band they were no longer members of. After Thompson had left Fairport, the group had managed to release two whole albums with the same lineup — Swarbrick, Nicol, Pegg, and Mattacks. But then Nicol and Mattacks had both quit the band to join the Albion Band with their former bandmate Ashley Hutchings, leading to a situation where the Albion Band had two original members of Fairport plus their longtime drummer while Fairport Convention itself had no original members and was down to just Swarbrick and Pegg. Needing to fulfil their contracts, they then recruited three former members of Fotheringay — Lucas on vocals and rhythm guitar, Donahue on lead guitar, and Conway on drums. Conway was only a session player at the time, and Mattacks soon returned to the band, but Lucas and Donahue became full-time members. This new lineup of Fairport Convention released two albums in 1973, widely regarded as the group’s most inconsistent records, and on the title track of the first, “Rosie”, Richard Thompson guested on guitar, with Sandy Denny and Linda Thompson on backing vocals: [Excerpt: Fairport Convention, “Rosie”] Neither Sandy Denny nor Richard Thompson released a record themselves in 1973, but in neither case was this through the artists’ choice. The record industry was changing in the early 1970s, as we’ll see in later episodes, and was less inclined to throw good money after bad in the pursuit of art. Island Records prided itself on being a home for great artists, but it was still a business, and needed to make money. We’ll talk about the OPEC oil crisis and its effect on the music industry much more when the podcast gets to 1973, but in brief, the production of oil by the US peaked in 1970 and started to decrease, leading to them importing more and more oil from the Middle East. As a result of this, oil prices rose slowly between 1971 and 1973, then very quickly towards the end of 1973 as a result of the Arab-Israeli conflict that year. As vinyl is made of oil, suddenly producing records became much more expensive, and in this period a lot of labels decided not to release already-completed albums, until what they hoped would be a brief period of shortages passed. Both Denny and Thompson recorded albums at this point that got put to one side by Island. In the case of Thompson, it was the first album by Richard and Linda as a duo, I Want to See the Bright Lights Tonight: [Excerpt: Richard and Linda Thompson, “I Want to See the Bright Lights Tonight”] Today, I Want to See the Bright Lights Tonight is widely regarded as one of the greatest albums of all time, and as one of the two masterpieces that bookended Richard and Linda’s career as a duo and their marriage. But when they recorded the album, full of Richard’s dark songs, it was the opposite of commercial. Even a song that’s more or less a boy-girl song, like “Has He Got a Friend for Me?” has lyrics like “He wouldn’t notice me passing by/I could be in the gutter, or dangling down from a tree” [Excerpt: Richard and Linda Thompson, “Has He got a Friend For Me?”] While something like “The Calvary Cross” is oblique and haunted, and seems to cast a pall over the entire album: [Excerpt: Richard and Linda Thompson, “The Calvary Cross”] The album itself had been cheap to make — it had been recorded in only a week, with Thompson bringing in musicians he knew well and had worked with a lot previously to cut the tracks as-live in only a handful of takes — but Island didn’t think it was worth releasing. The record stayed on the shelf for nearly a year after recording, until Island got a new head of A&R, Richard Williams. Williams said of the album’s release “Muff Winwood had been doing A&R, but he was more interested in production… I had a conversation with Muff as soon as I got there, and he said there are a few hangovers, some outstanding problems. And one of them was Richard Thompson. He said there’s this album we gave him the money to make — which was I Want to See the Bright Lights Tonight — and nobody’s very interested in it. Henry the Human Fly had been a bit of a commercial disappointment, and although Island was altruistic and independent and known for only recording good stuff, success was important… Either a record had to do well or somebody had to believe in it a lot. And it seemed as if neither of those things were true at that point of Richard.” Williams, though, was hugely impressed when he listened to the album. He compared Richard Thompson’s guitar playing to John Coltrane’s sax, and called Thompson “the folk poet of the rainy streets”, but also said “Linda brightened it, made it more commercial. and I thought that “Bright Lights” itself seemed a really commercial song.” The rest of the management at Island got caught up in Williams’ enthusiasm, and even decided to release the title track as a single: [Excerpt: Richard and Linda Thompson, “I Want to See the Bright Lights Tonight”] Neither single nor album charted — indeed it would not be until 1991 that Richard Thompson would make a record that made the top forty in the UK — but the album got enough critical respect that Richard and Linda released two albums the year after. The first of these, Hokey Pokey, is a much more upbeat record than their previous one — Richard Thompson has called it “quite a music-hall influenced record” and cited the influence of George Formby and Harry Lauder. For once, the claim of music hall influence is audible in the music. Usually when a British musician is claimed to have a music ha

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