Podcasts about Wind

Relax to the soothing sound of rain steadily drumming on a wooden roof, filling your space with warmth and calm. This two-hour soundscape is perfect for sleep, meditation, or focused work. Ideal for stress relief and enjoying the cozy atmosphere of a rainy day indoors.Lose the AD intros by becoming a subscriber!https://www.spreaker.com/podcast/asmr-rain-recordings--5347561/support

Are you still reading these silly show notes? Honestly, bless your heart. You're a true Time Machiner. Or you're just really bored at work. Anyway, on this week's episode, Dave and Milt climb into the Time Machine and rocket back to June 21, 1975 — the land of lava lamps, fringe vests, and an absolutely bonkers Billboard Top 10 Albums chart. We're talkin' Elton, Earth, Wind & Fire, The Beach Boys, and even Alice Cooper giving us all the Welcome-to-My-Nightmare vibes (spoiler: it's not a lullaby). But wait — Milt's back from Africa! That's right, our Chartmeister went on a literal safari. Lions. Giraffes. Possibly cursed sand. He's got stories, and Dave is mildly concerned for his health and sanity. Oh, and intern Jack "The Fact Machine" Nathanson drops in to host a chaotic 80s music trivia quiz that somehow leads to Warrant, Mr. Roboto, David Lee Roth, and yes, Michael Bolton co-writing a KISS song. You can't make this stuff up. The episode ends (because it has to) with the boys politely kicking some albums off the list and replacing them with stuff they actually like. Sorry, Chicago, but y'all were in your weird phase.

Steve Gruber discusses news and headlines

The Werewolf Next Door ep.782 S.J. Walker has published many short stories in dark fantasy, including 7 with Dragon Soul Press so far, among others. She has also sold stories to podcasts including Thirteen Podcast, Creepy Podcast, No Sleep, Flash Fiction Podcast, etc. She's currently working on her debut novel. More TTTV Stories by S.J. Walker https://talltaletv.com/tag/s-j-walker/   ---- Listen Elsewhere ---- YouTube:  https://www.youtube.com/c/TallTaleTV Website: http://www.TallTaleTV.com   ---- Story Submission ---- Got a short story you'd like to submit? Submission guidelines can be found at http://www.TallTaleTV.com   ---- About Tall Tale TV ---- Hi there! My name is Chris Herron and I'm an audiobook narrator. In 2015, I suffered from poor Type 1 diabetes control which lead me to become legally blind for almost a year. The doctors didn't give me much hope, predicting an 80% chance that I would never see again. But I refused to give up and changed my lifestyle drastically. Through sheer willpower (and an amazing eye surgeon) I beat the odds and regained my vision. During that difficult time, I couldn't read or write, which was devastating as they had always been a source of comfort for me since childhood. However, my wife took me to the local library where she read out the titles of audiobooks to me. I selected some of my favorite books, such as the Disc World series, Name of the Wind, Harry Potter, and more, and the audiobooks brought these stories to life in a way I had never experienced before. They helped me through the darkest period of my life and I fell in love with audiobooks. Once I regained my vision, I decided to pursue a career as an audiobook narrator instead of a writer. That's why I created Tall Tale TV, to support aspiring authors in the writing communities that I had grown to love before my ordeal. My goal was to help them promote their work by providing a promotional audio short story that showcases their writing skills to readers. They say the strongest form of advertising is word of mouth, so I offer a platform for readers to share these videos and help spread the word about these talented writers. Please consider sharing these stories with your friends and family to support these amazing authors. Thank you!   ---- legal ---- All stories on Tall Tale TV have been submitted in accordance with the terms of service provided on http://www.talltaletv.com or obtained with permission by the author. All images used on Tall Tale TV are either original or Royalty and Attribution free. Most stock images used are provided by http://www.pixabay.com , https://www.canstockphoto.com/ or created using AI. Image attribution will be declared only when required by the copyright owner. Common Affiliates are: Amazon, Smashwords  

Hour 2 - Jacob & Brandon wrap up the 1st full week of the fabulous Summer season with ideas on fixing the NBA Draft, the Royals Dodgers series and more stadium thoughts.

Wind power has run into some headwinds, and not the kind that spin its turbines.  Recently, President Trump has decided to wage war against the technology, an unwelcome bit of friction that coincides with rising costs in recent years. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Die Gründer Melvin Schwarz (Vision AI) und Marius Meiners (Peec AI) bringen mit ihren AI-Produkten frischen Wind in mittelständische Unternehmen und Marketingabteilungen. Im Gespräch mit Christoph Burseg verraten sie, was ein erfolgreiches AI-Produkt heute wirklich braucht, wie sie in Rekordzeit Wachstum erzielen – und warum Geschwindigkeit, Produktqualität und Vertriebsstrategie über Erfolg oder Scheitern entscheiden. In dieser Folge erfährst du: Wie Vision AI E-Commerce-Shops mit smarter Suche und Bildanalyse zu mehr Umsatz verhilft – und warum Recommendation Engines oft versagen. Warum Peak AI Unternehmen zeigt, wie sie in ChatGPT & Co. sichtbar werden – und welche Quellen die LLMs überhaupt nutzen. Weshalb sich deutsche Kunden mit AI oft selbst im Weg stehen – und was Gründer daraus lernen können. Wie sich Melvin und Marius mit ihren Teams in einem hochkompetitiven Markt behaupten – und was ihr größter Wachstumshebel war. Welche Rolle Product-Market-Fit, Markenauftritt und Vertriebsprozesse bei skalierenden SaaS-Produkten spielen.

Vier Monate nach dem historischen Tief bei der Bundestagswahl (16,4 %) sucht die SPD den Weg aus der Krise. Jetzt steht die SPD vor einer Art Neuanfang. Mit neuem Grundsatzprogramm, neuer Parteispitze und neuem Generalsekretär soll frischer Wind in die Partei kommen. Unsere Moderatorin Sabine Strasser hat mit unserer Hauptstadtkorrespondentin Barbara Kostolnik über das Treffen unter dem Motto "Veränderung beginnt mit uns" gesprochen.

Mit "Ironheart" (3:42) geht die letzte Marvel-Serie aus Phase V des MCU an den Start - eine Phase, die mit "Secret Invasion" katastrophal begonnen hat. Kann die Serie über ein junges, weibliches, afroamerikanisches Pendant zu "Iron Man" für einen versöhnlichen Abschluss sorgen? Die Tatsache, dass Disney+ sie innerhalb von nur acht Tagen versendet spricht zumindest für wenig Selbstvertrauen seitens der Macher. Andererseits erinnert Holger, Michael und Rüdiger das Abenteuer grundsätzlich an "Ms. Marvel", die ihrer Meinung nach frischen Wind in das MCU gebracht hatte. Im Anschluss geht es um die letzte Staffel des Netflix-Überhits "Squid Game" (32:50), der in der zweiten Staffel allerdings 30% an Zuschauerschaft und einiges an Goodwill verloren hatte. Können die letzten sechs Folgen, von denen Netflix die ersten fünf zur Verfügung gestellt hat, das Ruder wieder herumreißen? Cold-Open-Frage: "Wo sollte die nächste Staffel ,White Lotus' gedreht werden?"

BrandTrust Talks Weekly – Die Marketing- und Markennews der KW26 Die Generation Z ist so unzufrieden wie nie: gestresst, wechselbereit und verunsichert durch den KI-Wandel. Klassische Arbeitgeberversprechen greifen nicht mehr – Sinn allein reicht nicht. Das berichtet der Global Talent Barometer 2025 der ManpowerGroup. Was das für Employer Branding, Führung und den Umgang mit Technologie bedeutet, könnt ihr euch in der neuen Folge von BrandTrust Talks Weekly anhören. Außerdem: Zahlen der Woche: Ikea überholt Netflix als beliebteste Familien-Marke im YouGov-Ranking – spannende Veränderungen in den Top 10! Aufregen der Woche: Greenpeace crasht Jeff Bezos' Hochzeit in Venedig mit einem Riesenplakat – und trifft mit der Steuergerechtigkeits-Kampagne einen globalen Nerv. Die gute Nachricht der Woche: Serviceplan verliert trotz großer Kreativpreise den Penny-Etat – ein Beweis, dass starke Markenstrategie mehr zählt als nur Werbung. Fundstück #1 Magnum bringt mit kleinen Eis-Bonbons frischen Wind in die Marke – und begeistert die Gen Z mit einem stylischen Pop-up-Erlebnis inklusive Promis, Food-Hacks und Gratis-Eis. Fundstück #2 Otto nutzt seinen Kult-Slogan „Find ich gut“ mit eigenem Sommer-Song für eine humorvolle Urlaubskampagne. Fundstück #3 Apple zeigt mit dem Kurzfilm „Big Man“ und Rapper Stormzy die Profi-Kamera des iPhone 16 Pro in einem emotionalen Sozialdrama mit Kinoqualität. BrandTrust Talks ist überall hörbar, wo es Podcasts gibt.

It's the falsetto that's captured the hearts of music lovers for more than 5 decades now -- and the long list of awards and accolades behind his name affirms that his fandom comes for, well, good "Reasons." A talk with Denver native and East High School graduate Philip Bailey as he reflects on his life and legacy as lead singer of Colorado's adopted hometown band, Earth, Wind and Fire. Also, each year thousands of Coloradans visit the U.S. Capitol, hoping to catch the attention of the state's Congressional delegation. Recently, a lot of those lobbying efforts visits have been about Republicans' huge tax and spending package. 

✨ What You'll Discover This Week Ready to stop exhausting yourself by arguing with reality? Amanda, Laura, and Kendra are back with episode 172, diving deep into Byron Katie's powerful concept of "Noticing When Your Thoughts Argue with Reality." Spoiler alert: You can't teach a cat to bark!

This week, your Nice Hosts have a new prompt from a new source. Lydia's husband, Ian, draws from a rainy source of inspiration and the Hosts are all-in. We brush up on the water cycle, requisition the equipment, practice our Trans-Atlantic accents, dunk on hot dogs, and puzzle over water-based cloud economies.Big Pharma - SteamLe Ballon Rouge - WikipediaWater Cycle - WikipediaLoop Hero - SteamHuman Resource Machine - SteamPromptto match the current weather - what goes on inside the clouds during a thunderstorm?Game typeDesign documentPlayer count1RulesYou control a cloud factory and manage what the cloud distributesMission-based, scenariosPlenty of fun fantasy optionsCondition optionsSunshineWaterStatic (use a balloon?)WindThe shape of your factory/cloudWater is your core resourceUse it to build the factory, use it to make the rain and complete tasks, use it to expandGain it from water vapor and such (water cycle)Your factory is also water, you can reuse itYou go through a campaignPick between a set of jobs each time, bigger jobs give more repIsometric viewLevel 1: rain on the hot dog cartHave the cloud rain over an area for a specific period of timeThe mission before you just needed to dump some waterThe player needs to collect water to have enough rain on the hot dog cartAutomation is the gameYou need to shape the cloud to fit all of the machines that you order from a catalogCatalog has a ton of options, with their own efficienciesLevel 2: rain on a hot dog festivalLevel ??: Flood the Nile 

I greet you in Jesus' precious name! It is Thursday morning, the 26th of June, 2025, and this is your friend, Angus Buchan, with a thought for today. We start in the Gospel of Luke 8:23:”But as they sailed He (Jesus) fell asleep. And a windstorm came down on the lake, and they were filling with water, and were in jeopardy.” Jeopardy means danger, peril, risk or harm. How are you today, my dear friend? Are you in peril? Are you in jeopardy? Are you fearful? Do you feel like you're drowning? Well, let's go on to verse 25: “But He said to them…” Jesus said to them “…Where is your faith?” Today, we need to exercise our faith when the going gets tough. You know the old saying, “When the going gets tough, the tough keep going.” Listen to this: “…Where's your faith?” Listen to this: ”And they were afraid, and marveled…” This is after Jesus had stood up in the middle of the storm. Folks, I've been to that lake. I want to tell you it's not that big, it's 13 kilometres wide, it's 21 kilometres long. A good swimmer can swim that lake on a calm day but I want to tell you, it is perilous when it comes to storms. Now, we have been in the middle of that lake and we've had Holy Communion with a couple of other boats. It is an awesome experience but that lake is very, very deep. It's the lifeblood of the whole of the Middle East in that area, and so they were very afraid and they marvelled when they saw that the Lord calmed the storm, ”… saying to one another, “Who can this be? For He commands even the winds and water, and they obey Him!” You know, when we have our men's meetings all over the world, most of them are outdoors because there's no building that can house thousands of men, and then we are totally reliant on the weather and if the weather is otherwise, we have to call upon the name of the Lord. I don't know how many times, right up until the eve of the beginning of the meeting, when we have ordered a huge platform, toilets have been built, food has been organised, transport, advertising - and it is pouring with rain! That is when we have to call upon the Lord. “Lord. It's over to you.” We can do nothing else and many times, it makes me weep even telling this to you. I wake up in the early hours of the morning. I walk out. The rain has stopped on the big day. I look up into the sky, the stars are shining and then we say, ”Let it begin.” And what an incredible conference it is because the One who can direct the weather and the wind is Jesus Christ!Now, He can do the same in your life. What is it today that you are in jeopardy of? Let's put it before the Lord. Lord Jesus, I pray for my dear friend, listening to this message early this morning. Whatever it is, finances, health, future. Whatever it might be, we put it in your hands and we say, Lord, please work another miracle. In Jesus name. Amen.God bless you and have a wonderful day, Goodbye.

Listen and learn from our fantastic special guest in this classic interview on the Dear Katie Podcast.  In this week's episode, Claire and Katie sit down with Aishah Shahidah Simmons to discuss her survivorship, and the trauma and healing that would develop her artistic voice. Aishah's lived experiences as a survivor of childhood and adult sexual violence, a Black feminist lesbian, and a long-term Buddhist practitioner inform the creation of her work. Aishah Shahidah Simmons (she/her) is the creator of the 2006 groundbreaking Ford Foundation-funded film, NO! The Rape Documentary, and the editor of the 2020 Lambda Literary Award-winning anthology, love WITH accountability: Digging Up the Roots of Child Sexual Abuse.  Presently, she is a Soros Media Fellow completing her trilogy of cultural work that uses storytelling as a praxis to heal from, disrupt, and end sexual violence without relying on the carceral state. Hosts: Katie Koestner and Claire Kaplan Editor: Kelsey Styles Producers: Kelsey Styles and Emily Wang

In this episode, Derek Rishmawy, Alastair Roberts, and Brad East are joined by political theorist Jason Blakely to explore the life, work, and legacy of Alasdair MacIntyre. Best known for After Virtue, MacIntyre diagnosed the deep moral confusion of modernity and called for a return to virtue, tradition, and narrative. The conversation traces his journey from Marxism to Thomism, unpacks his critique of Enlightenment liberalism, and considers how his thought challenges both the postliberal right and progressive deconstruction. Along the way, the hosts reflect on what it means to form moral communities in a world of fragmented ethics. Chapters: 00:00 Beyond Mere Technocratic Pragmatism 02:01 Life, Work, and Legacy of Alisdair MacIntyre 07:00 After Virtue 09:53 Nuking the Enlightenment 14:20 Practice vs. Theory 16:55 In the Aristotelian Weeds 19:47 Objectivity 24:26 Where Is Sin? 28:44 Public Religion 32:51 Narrate Like the Wind! 37:50 The Religious Option 39:25 Competing Narratives 44:45 Post-Liberalism and the Benedict Option 51:03 How to Get Started

Tonight's reading comes The Wind in the Willows. Written by Kenneth Grahame and published in 1908, this story is a story of four animals and friendship. My name is Teddy and I aim to help people everywhere get a good night's rest. Sleep is so important and my mission is to help you get the rest you need. The podcast is designed to play in the background while you slowly fall asleep.For those new to the podcast, it started from my own struggles with sleep. I wanted to create a resource for others facing similar challenges, and I'm so grateful for the amazing community we've built together.

Enjoy the peaceful blend of gentle rain and soft birdsong in a quiet orchard surrounded by trees and open sky. This two-hour soundscape is ideal for relaxation, sleep, or deep focus, offering a perfect balance of natural serenity. Ideal for stress relief and quiet reflection.Lose the AD intros by becoming a subscriber!https://www.spreaker.com/podcast/asmr-rain-recordings--5347561/support

Guest: Chris Van Arsdale, Google Climate & Energy Research LeadWildfires aren't just a summer problem anymore. This past January, California faced an unusual and intense wildfire outbreak, with flames ripping through communities and forcing thousands to evacuate. What if we could catch wildfires in their earliest stages, before they spiral out of control? That's the goal of Google's FireSat, a revolutionary satellite system designed to spot fires as small as a campfire and deliver updates every 20 minutes. Today on Weather Geeks, we're talking to Chris Van Arsdale, a leader behind the FireSat project, about how it all works and how they are using AI to help the firefight before it even startsChapters00:00 Introduction to Wildfire Challenges and Firesat03:10 Chris Van Arsdale's Journey to Google and Climate Research06:09 Understanding the Firesat Satellite System09:01 Operational Use and Future of Firesat11:48 The Role of Google in Wildfire Detection15:06 Machine Learning and Data Challenges in Fire Detection18:10 Implications for Firefighting Strategies20:52 Future Data Applications Beyond Fire Detection23:58 Global Interest and Collaboration on Firesat26:49 Environmental and Security Considerations29:59 Sustainability and Future Launch Plans for Firesat32:50 Global Applications and Community Engagement35:56 Final Thoughts on Firesat's ImpactSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Have you ever had questions about how we dial in scopes, calculate DOPE charts, and make judgement calls in the field? Then this is the podcast for you. We're diving in how to make quick adjustments in the field, what factors affect your shooting, and even what yardage to dial in your rifle for. Listen in as we discuss: - What should you zero your rifle at - 100 vs 200 vs 300 yard zeros - Boresighting tips and tricks- Speeds and ballistic coefficients - What information do you need to build a DOPE chart - Trusting the chart or in field calculations - Wind adjustments - Practicing like you're going to hunt - How to get better at shooting - 3rd Annual Film Festival details - The Bighorn Trail Race Connect with Weatherby! Instagram: https://www.instagram.com/weatherbyinc/ Facebook: https://www.facebook.com/Weatherbyinc/ Follow our shotgun page! Instagram: https://www.instagram.com/wbyfieldandflight/ Facebook: https://www.facebook.com/WBYfieldandflight

On episode 256 of the Atlantic City podcast, Kyle and Craig play “Would You Rather” with some hypothetical slot scenarios, then Craig gives a full report on his day trip... Read more »

WOW what a powerful visual the Lord gave to me! ORDER BOOK HEREhttps://www.heatherbaxter.com/The Rain 

Welcome to a new episode of ASMR Sleep Recordings. In this episode, you will hear hard rain on the window. Improve your health and happiness.The sound you hear in this episode creates a calm atmosphere and at the same time blocks out disturbing noises. This will help you de-stress, unwind, and rest. Enjoy two hours of relaxing sounds to help you relax, focus, study and fall asleep.About ASMR Sleep Recordings:The purpose of ASMR Sleep Recording is to help you sleep and concentrate better. This particular episode lasts two hours and has no ads in the middle, so you won't be woken up or disturbed while focusing or relaxing. When you listen to ASMR Sleep Recordings, you can lock your phone, so you won't get any bothersome stimuli from notifications and other sounds from your phone. You can switch between apps while studying or working without pausing the ambient sound.About our sounds:Water creates a natural white noise. Infused with the relaxing quality of nature and the sound-masking properties of white noise, listening to running water is an ideal way to turn off all the stressful things life brings, and to de-stress. Some of our most popular sounds include a river, flowing creek, babbling brook, gentle waves on a lake, and a bamboo fountain. Rain also creates a natural white noise. Infused with the relaxing quality of nature and the sound-masking properties of white noise, listening to rain is an ideal way to switch off all the stressful things life brings and to de-stress. Some of our most popular sounds are rain on an umbrella, hailstorms, hard rain, soft rain, gentle rain, wind and rain, rain on a car.White noise helps babies and children to get a better and deeper night's sleep. This is because external sounds are masked by the noise. With white noise in the background, your child will not hear annoying cars driving by or dogs barking in bed. This allows your little one to sleep better. And it also saves you as a parent a lot of hours!Pink noise is more common in nature than you might expect. It can be compared to continuous rainfall or wind. In addition to white noise, pink noise is also increasing in popularity, especially in business environments. Because it can increase productivity, concentration and creativity.Brown noise can be compared to waves of the sea, a river current, strong winds or the sound of thunder during a storm. Like pink noise, brown noise is very similar to white noise. However, the frequencies have been lowered even further and a lot more concentrated. This gives it a rougher/coarse tone than pink noise. It sounds a bit deeper and a bit bass-like. The benefits of brown noise are the same as the other types of noise. It provides relaxation, increased focus and improved deep sleep.DISCLAIMER: Be aware that loud noises can damage your hearing. If you can't carry on a conversation without raising your voice while playing one of our spheres, the sound may be too loud for your ears. Do not place the speakers directly next to a baby's ears. If you have trouble hearing or ringing in your ears, stop listening to the white noise immediately and see an audiologist or your doctor. The sounds provided by ASMR Sleep Recordings are for entertainment purposes only and are not a treatment for sleep disorders or tinnitus. Consult your doctor if you regularly have severe sleeping problems, experience fitful/restless sleep or feel tired during the day.ASMR Sleep Recordings is the white noise and nature sounds podcast to help you sleep, study or soothe a baby. ASMR Sleep Recordings has uploaded more than 400+ episodes in the 4 years that the podcast has been online. You can listen to all episodes of the podcast on your favorite podcast platform. People use white noise for sleep, focus, sound masking or relaxation. This podcast has the sound for you, whether you're using white noise to study, to soothe a baby with cramps, to fall asleep, or to just enjoy a quiet moment. You don't need to buy a white noise machine if you can listen to these sounds for free.

The post 6/24/25 – Fire & Wind appeared first on Frontline Ministries International.

Heavy rain and wind warnings are in place for large parts of the South Island. MetService's head of weather news Heather Keats spoke to Ingrid Hipkiss.

Ulbrich, Uwe www.deutschlandfunkkultur.de, Studio 9

Today's poem is Telephone of the Wind by Eddie Kim.The Slowdown is currently taking a break. We'll be back soon with new episodes from a new host. This week, we're going back into the archive to revisit Tracy K. Smith's time as host. Today's episode was originally released on August 12, 2020.In this episode, Tracy writes… “Today's poem takes me back to the time when telephones and the distances they allowed us to cross were monumental.”Celebrate the power of poems with a gift to The Slowdown today. Every donation makes a difference: https://tinyurl.com/rjm4synp

Brooke and Tyler have their first return guest as Jen Neal ( Creative Development at Dragonsteel ) helps get a handle on what comes next for the Cosmere after the climactic ending of Wind and Truth. Together the trio looks at how Retribution will impact the ecology and characters on Roshar, the coming clash with Harmony, and how the true battle has only just begun. #AllSpoilers Support this podcast by becoming a Patron on Patreon (https://www.patreon.com/CosmereConversations) Original music by David Gruwier (https://twitter.com/DGruwier). "Radiant" (https://www.youtube.com/watch?v=A5CFAZUv4C0) by David Gruwier.

With the Wind with Dr. Paul – Show 178: Pediatric Perspectives: Allopathic Medicine Misses Root Causes with Ken Stoller M.D Presenters: Dr. Paul Thomas and Dr. Ken Stoller Length: Approx. 42 minutes ________________________________________ Summary: In this revealing episode of Pediatric Perspectives, Dr. Paul welcomes Dr. Ken Stoller, a fellow pediatrician and outspoken critic of modern allopathic medicine. Drawing from decades of experience, Dr. Stoller unpacks why he believes mainstream healthcare fails to address the root causes of disease—and how this system has evolved into what he calls a “death cult.” From questioning vaccine safety and the lack of informed consent to discussing hyperbaric oxygen therapy and dietary interventions, Dr. Stoller provides a compelling case for rethinking medicine as we know it. Dr. Paul and Dr. Stoller also reflect on their personal awakenings and professional sacrifices made in pursuit of truth and health advocacy. The conversation ends with practical advice for parents navigating today's toxic health landscape: prioritize nutrition, reject harmful interventions, and take full responsibility for your family's health. ________________________________________ Key Points: • How allopathic medicine avoids root causes and prioritizes symptom suppression • The troubling history and lack of informed consent behind the hepatitis B vaccine • Hyperbaric oxygen therapy and its overlooked role in treating brain-related conditions • Dietary dangers including seed oils, processed foods, and environmental toxins • Vaccine-induced encephalopathy and the mislabeling of autism • Strategies parents can adopt to protect their children's health, including diet and avoiding unnecessary pediatric interventions ________________________________________ Resources: • Incurable Me by Dr. Ken Stoller: https://www.amazon.com/Incurable-Me-Research-Clinical-Practice/dp/1536669458 • Pro Oxygen | Dr. Stoller's Hyperbaric Practice: http://stollerhbot.com/ ________________________________________ Conclusion: Dr. Ken Stoller's journey from mainstream pediatrician to outspoken advocate for medical reform is both courageous and eye-opening. This episode challenges deeply held assumptions about vaccines, healthcare institutions, and chronic disease—and encourages parents to think critically and act independently in pursuit of true wellness. ________________________________________ Call to Action: Don't miss this powerful discussion. Watch the full episode of

In 2015, Misty Copeland became the first Black woman to become principal dancer at the American Ballet Theatre. Her heartfelt memoir “The Wind at My Back” pays tribute to her mentor and fellow dance pioneer Raven Wilkinson, who performed in the segregated South as a member of the Ballet Russe de Monte Carlo in the 1950s. A few years back, Misty joined guest host Talia Schlanger to talk about Raven's incredible life and legacy.

In this episode of 'All Things Book Marketing,' host Smith Publicity's Corinne Moulder talks with Lee Wind, Chief Content Officer for the Independent Book Publishers Association (IBPA). Lee discusses his award-winning program 'We Are Stronger Than Censorship,' which counteracts book challenges by donating books to promote freedom to read. He shares insights on creating impactful book marketing strategies, emphasizing the importance of allyship and his experiences as an author focusing on queer history and social justice.Lee also introduces his upcoming picture book, Like That, Eleanor: The Amazing Power of Being an Ally. For more information, visit wearestrongerthancensorship.org and leewind.org.00:00 Introduction and Guest Welcome00:19 Lee Wind's Background and Achievements01:52 We Are Stronger Than Censorship: The Motivation03:22 Challenges and Strategies in Book Banning05:32 Program Partnerships and Community Involvement07:23 Impact and Future Goals of the Program20:38 The Importance of Allyship21:51 Lee Wind's New Book: Like That, Eleanor29:02 Book Marketing Tips and Strategies38:43 Conclusion and Call to ActionFor more information visit Smith Publicity, connect with Corinne Moulder and Lee Wind.

3 monumental scenes in one single chapter, For The Broken -- FN Episode 256 | | | | On Renarin and Rlain - For any interested to hear more of our thoughts and counterpoints to them, we currently have an excellent discussion going in our Discord. All statements must be kept respectful and courteous. Join our Discord -> Podcast Discussion channel -> On Renarin and Rlain Thread

Christian Joel Ramos "The Podcast Mercenary" reviews Hayao Miyazaki's Nausicaä of the Valley of the Wind

Mark is joined in the studio by Mark Falzon (aka MarkFunk45)   Twilight – Maze ft Frankie Beverley Jupiter – Earth, Wind & Fire Serious – XL Middleton/Kazzey Mirror Ballin' – X-Ray Ted Can't Touch Me Anymore – Strike One I Want You – Dotty Green Dance To The Music – Sly & The Family Stone Hard To Handle – Patti Drew You Bring Out The Best In Me – DIT Band Bounce, Rock, Skate, Roll – Vaughan Mason Skate – Silk Sonic Keep Me Home – Kraak & Smaak ft Dez I Thought It Was You – Herbie Hancock Precious Little Diamond – Fox To Fox We Got To Hit It Off (Dimitri From Paris Liberated Women Mix) – Millie Jackson Love Contest – The Joneses (Dave Lee Extended Disco Mix) Yolga Nehri – Arsivplak Camel Bossa – Derboukas Inside My Love – 45 Trio You're All The Boogie I Need – Teena Marie Ready Or Not – Cat Miller The Music Got Me – Visual Rock – Al Hudson & The Partners Don't Stop The Music – Yarbrough  & Peoples

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

TheHide.TV Everyday Sniper Podcast: Chris and Frank Live  More from the Live stream on TheHide.TV where Chris and talk about the week's shooting activities and our general philosophy on precision rifle shooting.  We bounce topic and go from Wind discussions to fundamentals interchangeably, it just flows from us.  Chris is doing various competitions around Colorado from NRL Hunter to ELR, so we go over the nuances to each other.  Check out Hide TV to follow us Live or as always thanks for listening, thanks for sharing, and thanks for being a part of the Everyday Sniper Podcast 

Send us a textThere is a richness to the new children's book, Like That Eleanor: The Amazing Power of Being an Ally by writer Lee Wind and illustrator Kelly Mangan, that affords a caregiver and a child myriad opportunities for discussion, exploration, and, ultimately, connection. It weaves history lessons with contemporary, school scenarios that young children will recognize in a way that entertains while modeling skills that young children need. I think Lee and Kelly have created something special, and I was excited to talk to both of them about their process and what they want kids and adults to take away from this book. More about Lee and Kelly and Like That Eleanor: The Amazing Power of Being an Ally is at talkingaboutkids.com.

A light rain drips and patters into the grass on a cool day.Spotify listener? Lose the intros by becoming a subscriber!⁠⁠⁠⁠⁠⁠ https://anchor.fm/tmsoft/subscribe⁠⁠⁠⁠⁠⁠Looking for something specific? Check out our playlists: ⁠Waves⁠, ⁠Rain⁠, ⁠Storms⁠, ⁠Meditation⁠, ⁠Fire⁠, ⁠Wind⁠, ⁠Fans⁠, ⁠Nature⁠, ⁠Trains⁠, ⁠Traffic & Cars⁠, ⁠Household⁠, ⁠City⁠, ⁠Winter⁠⁠⁠⁠⁠⁠⁠Learn more about the White Noise App⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Download the White Noise app for free!⁠⁠⁠⁠⁠⁠⁠⁠Listen to Our Albums Ad Free on Spotify!⁠⁠⁠⁠

Immerse yourself in the lush ambiance of a tropical rainforest with two hours of steady rainfall. The vibrant soundscape blends warm rain with the rich textures of jungle life, perfect for sleep, meditation, or relaxation. Ideal for escaping into nature and relieving stress with every drop.Lose the AD intros by becoming a subscriber!https://www.spreaker.com/podcast/asmr-rain-recordings--5347561/support

At times we will go through trials and need to be lifted up. Control, attitude, and faith in God's power will create wind beneath our wings. Click here to see the speech page.Support the show: https://ldsp-pay.ldschurch.org/donations/byu/byu-speeches.htmlSee omnystudio.com/listener for privacy information.

The salient point of this discussion revolves around the creative process of song writing, specifically the dichotomy between spontaneous inspiration and disciplined effort. We delve into the complex interplay of emotions and thoughts that artists experience when crafting their songs. It is elucidated that while some individuals may find success in a structured approach to songwriting, others discover that their most profound work emerges organically, often in moments of unanticipated clarity. We also explore the notion that artistic expression transcends competition, emphasizing that music serves as a medium for sharing emotions rather than vying for superiority. Ultimately, we reflect on the significance of authenticity in the creative journey and the importance of remaining true to oneself amidst external expectations.Takeaways: The creative process often eludes structured attempts, manifesting instead in spontaneous moments of inspiration. I recognize that the most profound ideas tend to arrive all at once, necessitating immediate documentation. There exists a pervasive sentiment that artistic expression should transcend competitive evaluations and comparisons. We must prioritize the authenticity of our feelings in the songwriting process over external expectations and judgments. Companies mentioned in this episode: Earth, Wind and Fire R. Kelly Michael Jackson

Welcome to a new episode of ASMR Sleep Recordings. In this episode, you will hear peaceful rain on the roof. Improve your health and happiness.The sound you hear in this episode creates a calm atmosphere and at the same time blocks out disturbing noises. This will help you de-stress, unwind, and rest. Enjoy two hours of relaxing sounds to help you relax, focus, study and fall asleep.About ASMR Sleep Recordings:The purpose of ASMR Sleep Recording is to help you sleep and concentrate better. This particular episode lasts two hours and has no ads in the middle, so you won't be woken up or disturbed while focusing or relaxing. When you listen to ASMR Sleep Recordings, you can lock your phone, so you won't get any bothersome stimuli from notifications and other sounds from your phone. You can switch between apps while studying or working without pausing the ambient sound.About our sounds:Water creates a natural white noise. Infused with the relaxing quality of nature and the sound-masking properties of white noise, listening to running water is an ideal way to turn off all the stressful things life brings, and to de-stress. Some of our most popular sounds include a river, flowing creek, babbling brook, gentle waves on a lake, and a bamboo fountain. Rain also creates a natural white noise. Infused with the relaxing quality of nature and the sound-masking properties of white noise, listening to rain is an ideal way to switch off all the stressful things life brings and to de-stress. Some of our most popular sounds are rain on an umbrella, hailstorms, hard rain, soft rain, gentle rain, wind and rain, rain on a car.White noise helps babies and children to get a better and deeper night's sleep. This is because external sounds are masked by the noise. With white noise in the background, your child will not hear annoying cars driving by or dogs barking in bed. This allows your little one to sleep better. And it also saves you as a parent a lot of hours!Pink noise is more common in nature than you might expect. It can be compared to continuous rainfall or wind. In addition to white noise, pink noise is also increasing in popularity, especially in business environments. Because it can increase productivity, concentration and creativity.Brown noise can be compared to waves of the sea, a river current, strong winds or the sound of thunder during a storm. Like pink noise, brown noise is very similar to white noise. However, the frequencies have been lowered even further and a lot more concentrated. This gives it a rougher/coarse tone than pink noise. It sounds a bit deeper and a bit bass-like. The benefits of brown noise are the same as the other types of noise. It provides relaxation, increased focus and improved deep sleep.DISCLAIMER: Be aware that loud noises can damage your hearing. If you can't carry on a conversation without raising your voice while playing one of our spheres, the sound may be too loud for your ears. Do not place the speakers directly next to a baby's ears. If you have trouble hearing or ringing in your ears, stop listening to the white noise immediately and see an audiologist or your doctor. The sounds provided by ASMR Sleep Recordings are for entertainment purposes only and are not a treatment for sleep disorders or tinnitus. Consult your doctor if you regularly have severe sleeping problems, experience fitful/restless sleep or feel tired during the day.ASMR Sleep Recordings is the white noise and nature sounds podcast to help you sleep, study or soothe a baby. ASMR Sleep Recordings has uploaded more than 400+ episodes in the 4 years that the podcast has been online. You can listen to all episodes of the podcast on your favorite podcast platform. People use white noise for sleep, focus, sound masking or relaxation. This podcast has the sound for you, whether you're using white noise to study, to soothe a baby with cramps, to fall asleep, or to just enjoy a quiet moment. You don't need to buy a white noise machine if you can listen to these sounds for free.

671 - Recorded live on June 17, 2025 Ambience for the night: Anguirel - Mist & Twilight https://anguirelsynth.bandcamp.com/album/mist-twilight **Playlist** 1) Venus Star - No Prism 2) Dimidium Mei - Zza płomieni 3) Mordhell - Eternal Damnation 4) Diabolism - Epos For The Pagan Times Of Winter 5) Svart Grav - Längtans stjärna **talk** 6) Xasthur - Spell Within the Wind (re-recorded) 7) Slavia - E.O.N 8) Nagyszeben - S.M.O.D. 9) :Nahtmar: - Isara 10) Onirik - To My Last Day On Earth **talk** 11) Azazel - Virgin's Cunt Bleeding for Baalberith Live every Tuesday at 9pm ET on NSTMRadio.com

Written on the Wind Front Row Classics is taking a look at one of the most popular films in the catalog of Douglas Sirk. Brandon and Emmett Stanton discuss 1956’s Written on the Wind. The hosts celebrate Sirk’s signature style and melodramatic tone that permeate through all his films. The two also discuss the star … Continue reading Ep. 320- Written on the Wind →

01. Cheyenne Giles ft Casey Cook - Beat Goes On [Dim Mak] 02. Polar Bears - Are You Ready? [New Noise] 03. Russell Dickerson - Happen To Me (Steve Aoki Remix) 04. DIM MAK NEW RELEASE PLAYLIST: Crumb Pit & Amanda Joy - Heart Already Broken [Dim Mak] 05. Callie Reiff - Crazy Girl [Dim Mak] 06. NIIKO X SWAE - International Party Girl [Dim Mak] 07. FRIDAY FLASHBACK: Basstian & MERYKO - Burnin' Up [New Noise] 08. DIM MAK PICK OF THE WEEK: Thomas Gold - Blue Monday [Dim Mak] 09. Dannic - My Mind [Dim Mak] 10. Mike Posner - I Took A Pill In Ibiza (Steve Aoki Remix) [Dim Mak] 11. Henry Fong - That Sound [Dim Mak]   12. Guest Mix: Tristan ChantZ   Feel It In My Heart (feat. Lido Leks) - Tristan ChantZ Magic Carpet - Kyle Watson, MAY BBY (I Wanna Give You) Devotion (Cave Studio Edit) - Nomad Power - Brad Wood (UK) Superstition (The Sponges & N2N Remix) - Stevie Wonder Toxic - Chris Lake Soul Sacrifice - Dombresky September (TUCCI Remix) - Earth, Wind and Fire Dancing Queen (Tristan ChantZ ReWerk) - ABBA Dance With Somebody (Thomas Anthony Remix) - Whitney Houston Rock The Casbah (Twin Diplomacy Remix) - The Clash Party Til The Lights Come On - Tristan ChantZ, Kasto, Lido Leks Don't Stop (Tristan ChantZ Mashup Remix) - Various Artists ID - Tristan ChantZ Nasty - Marc Spence GNASTY (Clean Edit) - Tristan ChantZ, THAT 808   13. Timmy Trumpet & 3 Are Legend - Country Roads [Dim Mak]

Kansas, after working hard for years, finally had a top-five hit with "Dust in the Wind" from their 1977 album Point of Know Return. Thinking it was time to move away from the progressive sound they had nurtured over the course of their career, they went about producing Monolith themselves, pursuing a more commercial sound.  

As we drift into midsummer night dreams, it remains only to give an accounting of the State of the Podcast before we take a semi-hiatus for the next several weeks. There are a couple episodes planned, but otherwise we'll see you on the airwaves again in mid-August or thereabouts. In the meantime, we've got some data about listenership in the last six months, an update on the Changeling 30th Anniversary Project, some discussion of upcoming episodes, and the nervosa in the room: the rumors around Changeling 5th Edition. Is that enough to keep things tidy until our return? We hope so...! Stay cool in the summer heat (or warm if you are in the winter half of the planet), and in the idle times, feel free to reach out to us at one of our usual haunts: Discord: https://discord.me/ctp Email: podcast@changelingthepodcast.com Facebook: https://www.facebook.com/profile.php?id=100082973960699 Mastodon: https://dice.camp/@ChangelingPod Patreon: https://www.patreon.com/changelingthepodcast YouTube: https://www.youtube.com/@ChangelingThePodcast your hosts Josh Hillerup (any pronoun) finds the word "swelter" to be most unseemly in mixed company. Pooka G (any pronoun/they) doesn't sweat, but instead slowly evaporates into pitiful and rainbow-hued wisps of steam. ...and at last one morning the diffident and delaying dog-rose stepped delicately on the stage, and one knew, as if string music has announced it in stately chords that strayed into a gavotte, that June at last was here. —Kenneth Grahame, The Wind in the Willows

Today, we're talking about everyone's... well, okay maybe not everyone's favorite Wind and Truth character. But certainly one we got more of than I think we expected! It's Sigzil! We talk about his plotline here and also in Sunlit Man. This episode we have Evgeni (Argent), David (Windrunner), Grace (thegatorgirl), Jessie (Lady Lameness), and Ala (Rasarr)! Thumbnail by Anthony Avon, for the Cosmere RPG: https://www.artstation.com/artwork/K3OO5o If you like our content, support us on Patreon: https://www.patreon.com/17thshard Purchase merch here! https://store.17thshard.com/ For discussion, theories, games, and news, come to https://www.17thshard.com Come talk with us and the community on the 17th Shard Discord: https://discord.gg/17thshard Want to learn more about the cosmere and more? The Coppermind Wiki is where it's at: https://coppermind.net Read all Words of Brandon on Arcanum: https://wob.coppermind.net Subscribe to Shardcast: http://feeds.soundcloud.com/users/soundcloud:users:102123174/sounds.rss Send your Who's That Cosmere Characters to wtcc@17thshard.com

The US military strikes multiple nuclear facilities in Iran. Afterward, Iran launched a barrage of missiles, hitting multiple cities in Israel. Details on President Trump's address after the strikes.A suspected gunman was killed outside a church in a Detroit suburb. One man was injured: a security guard on the scene.Three people found dead in North Dakota after tornadoes wreaked havoc. Wind speeds were so high they also blew over a dozen train cars off their tracks.Two guests join us to break down just how significant the US strikes on Iran were, and what they mean for the region and the world.How an American surgeon saved lives under enemy fire in Vietnam. Vital Signs' host Brendon Fallon shares highlights from his interview with US Military veteran and cardiothoracic surgeon, Allen Davies.And, thousands of people gathered in New York City, to walk through the night—on a shared mission to end suicide and shed light on the importance of mental health.