Podcasts about Zeppelin

Die Fahrt des Zeppelin Luftschiffes LZ 7 am 28. Juni 1910 geriet zu einer Beinahe-Katastrophe. Der Begeisterung in Bevölkerung und Presse schadete diese Havarie jedoch nicht. Denn es ging in dieser frühen Phase der Luftfahrtgeschichte um mehr als eine neue Form des Reisens. Es ging um das Renommee der ganzen Nation. Autor: Thomas Grasberger (BR 2025)

Ever wonder how a skater punk becomes a music industry powerhouse? This week, Billy Cuthrell joins Dave Hamilton to share how his drumming journey kicked off with a Ludwig kit and a dose of Zeppelin, then scaled into creating a chain of four music schools and a million lessons taught […] The post Crash Cymbals and Contracts: Billy Cuthrell's Lesson in Music Business Success — Gig Gab 488 appeared first on Gig Gab.

「ZEPPELINからドイツの名門タンナー・ワインハイマー社のレザーを使用したクロノグラフ100周年記念モデルが登場」　 ウエニ貿易は、ZEPPELINの『100 YEARS ZEPPELIN JAPAN LIMITED CHRONOGRAPH WEINHEIMER＜100周年記念シリーズ 日本限定クロノグラフ ワインハイマー＞を公式オンラインショップで発売した。 飛行船を模した湾曲フォルムを、伸縮性・弾力性、吸水性に優れる高級レザー「Waprolux」が引き立てる 「100周年記念シリーズ 日本限定クロノグラフ ワインハイマー」は、腕時計「ツェッペリン」のベストセラー「100周年記念シリーズ 日本限定クロノグラフ」をベースに、世界的に有名な名門タンナー「ワインハイマー」社製の高品質レザーから制作されたストラップを一体化した腕時計だ。 ドイツが誇る歴史的硬式飛行船のフォルムを模した湾曲フェイスの魅力を、「クロムタンニング」により伸縮性・弾力性、吸水性に優れる「ワインハイマー」社製高級レザー「Waprolux」が引き立てる。 原材料はアルプスの山々で丁寧に育てられた仔牛。伝統的な鞣し技術により高品質なカーフレザーを製造している。こだわって製造されたベルトは、水・傷・汚れに強く、日々の生活で安心して使用することが可能。 弾力性のあるレザーに型押し加工を行うことで、発色良く仕上がっている。 細身のシルエットのストラップはイージークリック式。 製品概要 100周年記念シリーズ 日本限定クロノグラフ ワインハイマー8892-3-WEIN価格：¥88,000ストラップ：ワインハイマー社製レザー「Waprolux」主な仕様：クォーツ/ステンレススチール/日常生活防水/30分計・12時間計クロノグラフ/24時間表示/タキメーター/テレメーター/ケースサイズW42mm×H42mm 関連情報https://zeppelinwatch.jp/feature/100th-weinheimer/ 構成／Ara

In this first of four episodes from Northlands Music & Arts Festival, I'm super psyched to share two very special interviews.  First up, I'm happy to share my chat with festival co-founders Mike Chadinha and Seth McNally along with festival co-owner and co-producer Jen Meyerhardt on the last day of this amazing festival to review the proceedings at the fourth annual installment of this wonderful festival. We talk about it all, from the inherent festival ups and downs to their amazing staff and wonderful patrons that make this Festival one of the best of its class. These folks really do it right, and they talk to me about creating and sustaining this festival and what it all means to them!!I'm also super psyched to share my interview with Joel Cummins and Ryan Stasik of Umphrey's McGee, who sat down with me together for a quick update on the state of the UM World in 2025. Lots of changes are happening, and Joel and Ryan talk to me about their collective gratitude for still being able to do what they do, and how their special form of improv continues to make it exciting for them to turn on their fans with their spectacular live shows. They share with me their views on their famous Zeppelin sets to working with new drummer Scotty Zwang, and we even discuss Ryan's possible reluctance (tbd) to take one for the team and execute a sacrifice bunt when the situation requires one. Ryan remains non-committal on this subject!  -----------------------------------Show Notes:For more information about Northlands Music & Arts Festival, click here Click here for Umphrey's McGee tour dates--------------------------------Episode Chapters:00:00 Episode Intro with Host Josh Rosenberg05:36  Interview with Northlands Festival Organizers Mike Chadinha, Seth McNally and Jen Meyerhardt23:38   Northlands Organizers Interview wrap-up27:02  Intro to Interview with Joel Cummins and Ryan Stasik of Umphrey's McGee29:34  Interview with Joel Cummins and Ryan Stasik52:56  Episode Outro with Host Josh Rosenberg-------------------------------------Follow Roadcase on Instagram here:  @RoadcasepodFor more information on Roadcase:https://linktr.ee/roadcasepod and https://www.roadcasepod.comOr contact Roadcase by email:  info@roadcasepod.comRoadcase theme music:  "Eugene (Instrumental)" by Waltzer

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

Surprisingly, America was formed in London.  The trio of Gerry Beckley, Dewey Bunnell, and Dan Peek met in London where their fathers were stationed at the United States Air Force base at RAF South Ruislip.  The three attended London Central High School and began playing together on borrowed acoustic guitars.  The name came from the Americana jukebox in the mess hall, and a desire to distinguish themselves from the British musicians around them who were trying to sound more American.America is also their self-titled debut album released in the States in January 1972.  The album originally was released without “A Horse With No Name,” but when that single garnered significant commercial success it was added to a re-release of the album in early 1972.  The re-released album would top the US album charts and produce two top-10 singles.The band would be a force in the folk-rock and soft rock genres for a generation.  With close harmonies similar to Crosby, Stills & Nash, and complex acoustic guitar arrangements, their first seven albums would be in the top 50 on the album charts, though this first debut would be their lone chart topper to date.  Their compilation album “History:  America's Greatest Hits” was released at the end of 1975.America produced albums of original material up through 2015.  In 1977 Dan Peek left the group to pursue music in the Contemporary Christian genre.  Speculation regarding a reunion of the original members continued through the years until Peeks death in 2011.Rob brings us a great debut folk rock album in this week's podcast.RiversideThe lead off track is a good example of the original America sound.  It has a laid back message:  I don't want to take anything from you, and I don't want you to take anything from me.  It is a “live and let live” message using a metaphor of life on two sides of the river.A Horse with No NameThis is the track that put the band on the map.  Originally entitled “Desert Song” the track takes inspiration from a Salvador Dali painting and an M.C. Escher painting.  Writer Dewey Bunnell created lyrics loosely based on his travels as a child with family through the deserts of Arizona and New Mexico.  Three RosesBunnell paints a picture of both a quiet life and romantic uncertainty in this song inspired by his girlfriend, soon to be wife.  “Three roses were bought with you in mind.”  Dan Peek takes lead vocal duties on this one with subdued but complex chords and harmonies.I Need YouThe second single from the album was written by Gerry Beckley when he was 16 years old.  Beckley also takes lead vocals on this ballad which went to number 9 on the Billboard Hot 100.  You can sense the similarity to bands like the Beatles and Alan Parsons in this track. ENTERTAINMENT TRACK:Main theme from the television series “Emergency!”This first responder action series focused on Squad 51 in Los Angeles saw its debut in January 1972.  STAFF PICKS:Family Affair by Sly & the Family StoneBruce begins the staff picks with the most successful hit from Sly & the Family Stone.  This song topped the Billboard Hot 100 for three weeks and the R&B Singles chart for five.  This track is a little different for the group, as the guitars are toned down, and the electric piano (with Billy Preston on keyboard) is brought up.  The lyrics talk about the ways a family can go wrong.Roundabout by YesLynch brings us a song written by singer Jon Anderson and guitarist Steve Howe.  The song originated from a trip the group took in Scotland in which they encountered a number of roundabouts.  The line, “in and around the lake” came from one of the lochs they passed.  This opening track from Fragile was drastically edited to produce a single coming in at 3:27 rather than the over 8-minute original.  It reached number 13 on the Billboard Hot 100, the group's highest charting single until 1983's “Owner of a Lonely Heart.”Doctor My Eyes by Jackson BrowneWayne's staff pick is a single off Browne's debut and self-titled album.  The lyrics discuss the feeling that the singer is becoming jaded about life by seeing all the wrong in the world, and now being unable to cry about it.  David Crosby and Graham Nash provide backing vocals to this song which went to number 8 on the Billboard Hot 100.  Misty Mountain Hop by Led ZeppelinRob features a song which was the B-side to Zeppelin's “Black Dog.”  The lyrics take their inspiration from the work of J.R.R. Tolkien, as well as the “Legalize Pot Rally” held in Hyde Park in July 1968.  It appeared on the massive Led Zeppelin IV album.  As Rob says, it is a “mixture of stoner idealism and Tolkien nerdery.” COMEDY TRACK:Pigeon Song by AmericaWe exit with a little double dipping, and with gratefulness that none of us is a pigeon named Fred.  Thanks for listening to “What the Riff?!?” NOTE: To adjust the loudness of the music or voices, you may adjust the balance on your device. VOICES are stronger in the LEFT channel, and MUSIC is stronger on the RIGHT channel.Please follow us on Facebook https://www.facebook.com/whattheriffpodcast/, and message or email us with what you'd like to hear, what you think of the show, and any rock-worthy memes we can share.Of course we'd love for you to rate the show in your podcast platform!**NOTE: What the Riff?!? does not own the rights to any of these songs and we neither sell, nor profit from them. We share them so you can learn about them and purchase them for your own collections.

- Live Interview w/ Record Producer, Andreas Werner, to celebrate his new releases: - Doug MacLeod's new album, "Between Somewhere & Goodbye" - Mark Narmore & Funky Chester new album, "Keeper Of The Flame"

From David Bowie to Zeppelin to Janis Joplin, Janda goes through a list of classic rock songs that opened the door to classic rock and shaped her taste in this genre of music. Check it out in this bonus episode of the Behind The Song podcast!See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Send us a textFollow the hosts on Instagram @alonbenjoseph, @scarlintheshire, @davaucher and @robnudds.Thanks to @skillymusic for the theme tune.

There is something that happens when two particular voices blend together that transcends all understanding or logic. And, when those voices share the same DNA, the magnetic pull is such that they become one voice. We've heard that family blend many times: The Everlys, The Wilsons, The Gibbs, The Andrew Sisters, etc. The list goes on.One of the most uncanny examples of this phenomenon belongs to Charlie and Ira Louvin, those titans of Country and Gospel music. When they sing with religious devotion, such as they do here in The River of Jordan - you can hear God and his miracles working in every keening, harmonic fifth. The other song presented today features Robert Plant and Alison Krauss, - a pair of folks about as far from siblings as you can get, but whose vocal cords also combine miraculously.THE LOUVINSThe first time I heard of Ira and Charlie Louvin was through Emmylou Harris's 1975 version of If I Could Only Win Your Love, and I had to know from whence this other-worldly sound originated. Like a hound on the scent, I tracked down several recordings from the brothers, and sat open mouthed as song after song cut through me. The Louvins, whose birth name was Loudermilk (cousins to the noted songwriter), had a contentious relationship, owing to Ira's drunken temperament and womanizing. Charlie contemplated going solo, but Ira's early demise, at 41, in a drunken car crash, made the decision permanent. Ira usually takes the high harmony, but they had the ability to switch mid way through a song so that it was often hard to tell who was covering which part.  Truly one of the all time great sibling singing duos. ALISON KRAUSS AND ROBERT PLANTA musical marriage made in heaven that no fiction writer could have invented, Robert Plant and Alison Krauss came together in one of the most celestial combos ever. The Led Zeppelin frontman, renowned for his soaring falsetto, melds with the rawboned steadiness of bluegrass's sweetheart in an eclectic stew of influences that somehow create a single entity. Today's featured song, Please Read the Letter, nestled among cuts by the Everlys, Gene Clark, Mel Tillis, and Townes Van Zandt was written by Plant and his Zeppelin brother, Jimmie Page, and is added seamlessly to the mix.The resulting album, Raising Sand, produced by the curatorial genius T-Bone Burnett, was released in 2007, and swept the Grammies and Americana Music Awards, taking its place in the pantheon of beautiful enigmas.  

En este cuarto episodio realizo un repaso de todo lo hablado anteriormente. No solo me quedo en esto sino que aporto más información sobre todos y cada uno de los pasos que he ido desarrollando. Para este episodio he tenido la suerte de contar con la colaboración de Chus García ( @manchapod en las redes), que tiene una red de podcast donde poder escuchar Rumere chimico o Cuentame Hermosura. Además de este repaso extendido puedes escuchar las promos de Toñi Martinez ( @tmartinezcz en las redes), que puedes escuchar en dos grandes podcast como son Heroinas o Malvadas y Perretes; la promo que puedes oír es la del podcast coral La Casa del Acantilado ( @casa_acantilado en las redes); la promo de Podcaster Al Desnudo ( @podcasteraldes en las redes) y la promo de El Vuelo del Zeppelin de Yago LLopis ( @palangano_media en las redes).Aquí tienes un lugar donde están todas las formas de contactar conmigo y puedes conocer otras creaciones: https://linktr.ee/vgargifonte#metapodcast #metapodcasting #podcast #tecnologia

- Live Interview w/ Jean-Marc Etienne to preview the Campling Blues Festival (www.campingblues.ch) on Sa 21. June 2025 in Yvorne - Live Interview w/ Candice Ivory, Ben Levin & Myles Forrest, performers at Blues Rules Festival - Remembering Marco Marchi

Seconde journée de l'édition 2025 du Festival Graf Zeppelin avec notre retour sur les différents concerts vus.A savoir : Decasia, Missingmile, Appalooza, Red Sun Atacama, Lofofora et Stone From The SkyToujours avec pleins de gens, dans un bordel sans nom, bref un report RTHEn joie les gens.

Quarantes minutes d'images du tout premier concert de led Zeppelin au Japon, dans la célèbre salle Nippon Budokan à Tokyo, datant du 23 septembre 1971 ont été retrouvées et mises en ligne, à voir sur Classic21.be. Le piano de Steven Tyler sur lequel "Dream on" d'Aerosmith a été écrit, vendu à 130.000 $ par Julien's Auctions, célèbre maison de vente aux enchères, ainsi que d'autres objets appartenant à Eric Clapton, Christine McVie de Fleetwood Mac, Django Reinhardt… Le fils de Taylor Hawkins joue le titre préféré de son père "Low", extrait de l'album des Foo Fighters ‘'One by One'' de 2002, sur scène. La chanteuse de Garbage, Shirley Manson, se sent isolée au sein du groupe. Mots-Clés : films, origine, fans de Zeppelin, Hideo Yamada, T. Ohtaki, séquences, États-Unis, scanné, 4K, corrigé, couleur, qualité, séance, pièces rares, monde de la musique, lots, remarquable, Aerosmith, dollars, guitare acoustiquec Martin Crossroadsc, édition limitée, montre-bracelet, Patek Philippe Aquanaut, archtop Levin De Luxe, 1938, décès, batteur, Aurora, Shane, morceau Dave Grohl, setlists, actif, trente ans, seule, mise à part, situation, rose, outsider, cloche, communication, collègues, homme, club de mecs, existence, identité, secret, longévité. --- Classic 21 vous informe des dernières actualités du rock, en Belgique et partout ailleurs. Le Journal du Rock, en direct chaque jour à 7h30 et 18h30 sur votre radio rock'n'pop. Merci pour votre écoute Plus de contenus de Classic 21 sur www.rtbf.be/classic21 Ecoutez-nous en live ici: https://www.rtbf.be/radio/liveradio/classic21 ou sur l'app Radioplayer BelgiqueRetrouvez l'ensemble des contenus de la RTBF sur notre plateforme Auvio.be Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement. Découvrez nos autres podcasts : Le journal du Rock : https://audmns.com/VCRYfsPComic Street (BD) https://audmns.com/oIcpwibLa chronique économique : https://audmns.com/NXWNCrAHey Teacher : https://audmns.com/CIeSInQHistoires sombres du rock : https://audmns.com/ebcGgvkCollection 21 : https://audmns.com/AUdgDqHMystères et Rock'n Roll : https://audmns.com/pCrZihuLa mauvaise oreille de Freddy Tougaux : https://audmns.com/PlXQOEJRock&Sciences : https://audmns.com/lQLdKWRCook as You Are: https://audmns.com/MrmqALPNobody Knows : https://audmns.com/pnuJUlDPlein Ecran : https://audmns.com/gEmXiKzRadio Caroline : https://audmns.com/WccemSkAinsi que nos séries :Rock Icons : https://audmns.com/pcmKXZHRock'n Roll Heroes: https://audmns.com/bXtHJucFever (Erotique) : https://audmns.com/MEWEOLpEt découvrez nos animateurs dans cette série Close to You : https://audmns.com/QfFankxDistribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

What happens when Led Zeppelin, Ryan Reynolds, and a barbecue pit all crash into your TV screen at once?Krystina “K-Ray” Ray—dives headfirst into the world of streaming gold, unexpected documentaries, and the wildest new shows you've never heard of (but absolutely need to watch).

Dr. Sky talks about aviation history and the history of the Zeppelin airships like the Hindenburg, plus he speaks with former congressman Francis Rooney about the new Pope, the Vatican and also the latest from Washington Learn more about your ad choices. Visit megaphone.fm/adchoices

Join Dylan, Duncan and Darren as we have a few pops and tuck into the 1975 dystopian roller-skating and motorcycle carnage classic, Rollerball! Enjoy Duncan's in-depth history of roller derby, movie posters and Bob Ross! Find out which one of us didn't care that much for the film (hint, it's not the guy wearing the Rollerball T-shirt!) **note** we recorded this episode a few weeks back but then Darren went on vacation and Dylan enrolled himself in a Zeppelin piloting course, so apologies for the delay in getting this one posted (also a few things have changed in the real world since recording this, can you guess what they might be?). Please enjoy responsibly. 

Première journée de l'édition 2025 du Festival Graf Zeppelin avec notre retour sur les différents concerts vus.A savoir : Salo, Aorlhac, Versatile, Pénitence Onirique, Shaarghot et Les Projets d'Athéna.Le retour de pleins de gens, dans un bordel sans nom, bref un report RTHEn joie les gens.

Zu Gast in dieser Folge ist Mario Gasser. Besonders macht unseren Gast, dass er einer von nur 7 in Deutschland ist oder noch besser einer von ca einem Dutzend in der ganzen Welt. Mario ist Luftschiftkapitän oder salopp gesagt Zeppelinpilot. Wir sprechen mit Mario darüber, wie er in die Luftfahrt kam, wie der Wechsel auf den Zeppelin verlief, wie sein Alltag als Luftschiffkapitän aussieht und über die Faszination der Entschleunigung. Viel Spaß bei Abgehoben - der Hubschrauberpodcast

“Would you take Led Zeppelin over Loverboy? What about The Police over Pantera? And who the hell is holding whose dong on Cloud 8?”Welcome to one of the most unhinged, hilarious, and musically passionate episodes of The Ben and Skin Show on 97.1 The Eagle! With Ben Rogers out on vacation, the mic is in the capable (and chaotic) hands of Jeff “Skin” Wade, Kevin “KT” Turner, and Krystina “Little Baby Cornbread” Ray—and they're diving headfirst into a rock ‘n' roll alphabet showdown you won't forget.Inspired by Loudwire's “ABCs of Rock,” the crew debates the best rock bands for every letter of the alphabet—from Heart to Judas Priest, Metallica to Nirvana, and Van Halen to ZZ Top. But this isn't just a list—it's a full-blown, laugh-out-loud, off-the-rails debate filled with hot takes, deep cuts, and some of the funniest moments in show history.

This week, flash back to the 70's for some heavy duty rock and roll. Zeppelin, Sabbath, Beatles together and solo, Alice Cooper and more of your guitar rock faves. Deep cuts, full length, no edits. Even threw in a live set for you. Stoner rock, mock, dance, and laugh.        

- Interview w/ Judith Owen to celebrate her upcoming week at Marians Jazzroom, 27. - 31. May 2025. - Live Interview w/ Thomas Lecuyer, Blues Rules Festival Director (www.blues-rules.com) to preview the upcoming festival, 6. - 7. June 2025.

Tell us what you think of the show! This Week in Cleantech is a weekly podcast covering the most impactful stories in clean energy and climate in 15 minutes or less featuring Paul Gerke of Factor This and Tigercomm's Mike Casey.This week's episode features special guest Nico Rivero from The Washington Post, who wrote about how some startups are are reviving zeppelins as a low-emissions option for cargo and tourism.This week's "Cleantecher of the Week" is one of our previous ‘This Week in Cleantech' guests, Michael Thomas, founder at Cleanview and Distilled. He analyzed Cleanview data showing that 78% of post-IRA clean energy projects—and $100 billion in investment—benefit Republican districts, warning that repealing the IRA would hurt those communities most. Congratulations, Michael!This Week in Cleantech — May 16, 2025 US House targets big climate, clean energy rollbacks in budget proposal — ReutersHow Donald Trump blew the offshore wind industry off course — The VergeHow this coal company could help break U.S. dependence on China for rare earths — CNBCEnergy prices push chemicals groups to explore exit from Europe — The Financial TimesWhy these start-ups think zeppelins could be the future of air travel — The Washington PostNominate the stories that caught your eye each week by emailing  Paul.Gerke@clarionevents.comNominate the stories that caught your eye each week by emailing Paul.Gerke@clarionevents.com

In this episode, we climb Rock Mountain and settle one of the greatest debates in music history: who truly reigns supreme—Led Zeppelin or Black Sabbath? Plus, we go off the rails a bit chatting about the best (and worst) graduation presents we've seen or received, and yes... we somehow made our boss cry. It's chaotic, it's passionate, and it's classic us. Buckle up.

Roberto Casiraghi"The Phair"thephair.com/VI edizione della fiera dedicata alla fotografiada venerdì 9 a domenica 11 maggio 202550 gallerie e il nuovo Talks Program – The Phair OGR Torino(Corso Castelfidardo, 22 - Torino) Torna The Phair | Photo Art Fair, la prestigiosa fiera internazionale dedicata alla fotografia, a Torino per la VI edizione da venerdì 9 a domenica 11 maggio 2025. L'evento si svolgerà nuovamente alle OGR Torino, centro di cultura e innovazione unico in Europa, e riunirà gallerie d'arte e fotografia internazionali, offrendo ai visitatori un'esperienza immersiva tra esposizioni di artisti affermati e talenti emergenti. Ad arricchire il programma di questa edizione arriva il nuovo Talks Program – The Phair, un ciclo di incontri focalizzati sul tema del collezionismo, per cercare un confronto diretto con gli esperti del settore. Per promuovere il patrimonio fotografico nazionale e rafforzare i rapporti con le realtà museali torinesi, The Phair ha avviato una collaborazione con la GAM – Galleria Civica di Arte Moderna e Contemporanea scegliendo di utilizzare come immagine guida di questa edizione Torino, giostra Zeppelin in movimento (1934) di Mario Gabinio, custodita dall'Archivio Fotografico dei Musei Civici. Talks Program – The PhairPer la sua VI edizione, The Phair arricchisce il programma con un ciclo di incontri e approfondimenti dedicati al collezionismo, offrendo al pubblico un'occasione unica di confronto con collezionisti, art advisor, direttori di musei e fondazioni. Da venerdì 9 a domenica 11 maggio, infatti, prenderà vita il Talks Program – The Phair, un percorso che approfondisce il collezionismo privato, corporate e istituzionale. Venerdì 9 maggio Durante il primo giorno di The Phair, alle ore 12:30 si terrà l'incontro Truth in Photography con uno dei più rispettati ed eclettici studiosi di fotografia al mondo Joan Fontcuberta e Denis Curti, direttore artistico di Le Stanze della Fotografia e fondatore della galleria STIL. Alle ore 15:30 si terrà l'incontro The role of Italian photography in the wider, global context. Protagonisti saranno Lucia Bonanni, fondatrice del progetto BDC – Bonanni Del Rio Catalog, l'artista Silvio Wolf, e Carrie Scott, curatrice d'arte e consulente. A moderare sarà Francesca Filippino Pinto, curatrice d'arte e consulente.Alle ore 17:00 si terrà A conversation between an artist and a collector che vedrà protagonisti il fotografo Olivo Barbieri e Antonio Carloni, vicedirettore delle Gallerie d'Italia e curatore del Cortona Photography Festival, e a moderare Denis Curti. Chiuderà la giornata Building a Legacy Collection alle ore 18:30, con Marie-Laure de Clermont-Tonnerre, fondatrice di Spirit Now London, e Sebastian Lux, CEO e curatore della Collezione / Fondazione FC Gundlach, che parleranno insieme con Christian House, giornalista del Financial Times. Sabato 10 maggio Sabato 10 maggio alle ore 12:30 si terrà Building and Supporting a Museum Collection, con Massimo Prelz Oltramonti, collezionista d'arte e mecenate, Marta Weiss, curatrice di fotografia al Victoria and Albert Museum, Luigi Cerutti, Segretario Generale della Fondazione per l'Arte Moderna e Contemporanea CRT, e a moderare Christian House. Alle ore 16:00 si proseguirà con Corporate Photography Collections, che vedrà intervenire Katarzyna Piskorz della Collezione ING in Polonia e l'architetto e collezionista Mario Cucinella. A moderare sarà Simen Yöruk, fondatore di Elipsis Projects e Exhibition Director del Qatar Museum. La giornata si concluderà alle ore 18:00 con il talk Art Photography and the Commercial Market, con il fotografo Bastiaan Woudt, Matthias Harder, direttore e curatore della Helmut Newton Foundation, Tommy Rönngren, Executive Director Hoyningen Huene Estate Archive, e a moderare la consulente d'arte Caterina Mestrovich. Domenica 11 maggio L'ultimo giorno di The Phair vedrà alle ore 12:30, l'incontro Curating a Photography Collection and Prize con la partecipazione di Isabelle von Ribbentrop, direttore esecutivo del Prix Pictet, Ettore Molinario, economista e storico dell'arte, e a moderare Simen Yöruk. Il programma si chiuderà alle ore 16:00 con Private Collections, un confronto tra i collezionisti Robert Popper, Emilio Bordoli, Giorgio Fasol e Clemente Zorzetto, moderati da Brandei Estes, specialista in fotografie, curatrice e consulente. Le gallerie presenti a The Phair 2025Durante i tre giorni di fiera, saranno 50 le gallerie di arte contemporanea e di fotografia presenti, selezionate per garantire un elevato livello qualitativo e una proposta organica, provenienti dall'Italia ma anche da Belgio, Germania, Gran Bretagna e Svizzera. Ogni galleria presenterà progetti artistici incentrati sull'idea di immagine, per rendere Torino un polo di riferimento e di confronto sul tema. Tra le tante, Alberto Damian Gallery parteciperà proponendo un dialogo tra le fotografe Lori Sammartino e Marialba Russo che, pur avendo operato in periodi diversi, condividono affinità stilistiche. A The Phair la selezione delle opere di Lori Sammartino sarà curata personalmente da Marialba Russo che cercherà così un confronto artistico con la Sammartino. A.MORE Gallery parteciperà con un percorso espositivo in cui si intrecciano le visioni di Aldo Salucci e Gianni Melotti, dando vita a un dialogo tra memoria, immaginazione e natura.La galleria Erica Ravenna porterà un percorso espositivo di quattro artisti di diverse generazioni, uniti dall'uso innovativo della fotografia per indagare la natura e i suoi significati profondi: Vincenzo Agnetti, Tomaso Binga, Dominique Lacloche, Begoña Zubero.Alla scoperta di un altro mondo sarà dedicato il progetto espositivo della Galerie P, Un'altra realtà / Another Reality, incentrato sulla fotografia scenografica, tramite le visioni di tre artisti internazionali: Julia Fullerton-Batten, Frédéric Fontenoy e Bart Ramakers. Presente anche la galleria Jaeger Art con le opere di tre artisti di rilievo internazionale, ognuno con un approccio unico alla fotografia: Gregor Törzs,  Bastiaan Woudt, George Hoyningen-Huene. Sarà presente anche la galleria Kuckei + Kuckei con opere di Barbara Probst, Miguel Rothschild e Lilly Lulay, tre artisti che esplorano il linguaggio fotografico con approcci inediti. Fake Reality è il titolo del progetto di MC2 Gallery, che metterà in dialogo le pratiche post-fotografiche di Dune Varela e Pietro Catarinella, due artisti uniti dalla volontà di oltrepassare i confini dell'immagine. Persons Projects dedicherà il proprio spazio alla fotografia concettuale della Helsinki School, il movimento nato a fine anni ‘90 presso l'Università di Aalto, esponendo le opere di tre protagonisti: Santeri Tuori, Mikko Rikala e Milja Laurila. La galleria Tallulah Studio Art presenterà un progetto espositivo che mette in dialogo quattro artisti internazionali – Glen Wexler, Phillip Toledano, Keila Guilarte e Donatella Izzo – ognuno dei quali esplora, attraverso la fotografia, le molteplici sfumature della realtà e della percezioneLa galleria Tucci Russo - Studio per l'Arte Contemporanea porterà una selezione di opere di Jan Vercruysse appartenenti al ciclo Camera Oscura (2001-2002). Poeta fino agli anni '70, Vercruysse ha poi dedicato la sua ricerca all'arte visiva, esplorando il ruolo dell'artista e il significato stesso della rappresentazione. Focus Giovani Artisti The Phair, insieme con l'artista torinese Eva Frapiccini, inaugura un progetto speciale dedicato agli artisti under 40, sia italiani che internazionali. L'iniziativa si propone di individuare e valorizzare 10 voci emergenti più rilevanti della scena contemporanea, esplorando linguaggi innovativi e traiettorie artistiche in evoluzione.I premi di The Phair 2025The Phair incrementa la presenza di premi per artisti e gallerie grazie alla collaborazione con aziende e partner: Premio Fondazione per l'Arte Moderna e Contemporanea CRT, Premio in collaborazione con Just The Woman I Am, Residenza d'Artista Mario Cucinella Architects e Residenza Artistica “Scisti e Vinisti”. IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

One rehearsal in the summer of '68 lit the fuse—Becoming Led Zeppelin captures the raw formation of a band that would change music forever. With newly unearthed John Bonham audio and exclusive interviews from Page, Plant, and Jones, this doc is pure voltage—no critics, no fluff, just Zeppelin, and a ton of great music, in their own words.*Want to win a free copy of Queen & A Night At The Opera: 50 Years?  It's easy, just send me an email to sign up. You can find a link to my email address below. *Reminder this is for US citizens only* *Want the latest in Rock N Roll Book and Documentaries news sent to your inbox? Sign up for the Monthly BLAST!! the newsletter that comes out on the last Friday of the month that features book buzz and doc news, recently released titles, top 5 lists, and more. Just shoot me over an email at the address below and say Big Rick, send me over that Blast!!Support the showemail Big Rick at:info@rocktalkstudio.com

Episode: 1362 The first twenty years of transatlantic flights.  Today, we fly the Atlantic.

In this episode, we continue our discussion of the Zeppelin campaign in the skies over Great Britain. How did Britain's air defences adapt to the threat, and what was it like to intercept and engage a Zeppelin?  Ian Castle's Book: Zeppelin Inferno: The Forgotten Blitz 1916 Join Our Community: https://not-so-quiet.com/ Use our code: Dugout and get one month free as a Captain. Support via Paypal: https://battleguide.co.uk/nsq-paypal Do you like our podcast? Then please leave us a review, it helps us a lot! E-Mail: ⁠nsq@battleguide.co.uk⁠ Battle Guide YouTube Channel: https://www.youtube.com/@BattleGuideVT Our WW2 Podcast: https://battleguide.co.uk/bsow If you want to keep your finger on the pulse of what the team at Battle Guide have been getting up to, why not sign up to our monthly newsletter: ⁠https://battleguide.co.uk/newsletter Twitter: @historian1914 @DanHillHistory @BattleguideVT Credits: - Host: Dr. Spencer Jones & Dan Hill - Production: Linus Klaßen - Editing: Hunter Christensen & Linus Klaßen Learn more about your ad choices. Visit megaphone.fm/adchoices

For today's episode, I was joined by comedian, Dean Delray! Dean shared his excitement for his new comedy special entitled, ‘5836' & how it was filmed 15 years after his first open mic at the Comedy Store!Dean also talked rock & roll, being from the Bay Area & touring with his good friend, Bill Burr. Follow the link to watch Dean's hilarious new special: https://youtu.be/nbeaApu4OP0?si=urDtjZST2v24j8GZFor Dean's stand up comedy dates & upcoming projects: https://www.deandelray.comFor video footage of this interview: https://youtu.be/mozRIQBZ-y4?si=1aqBaINGZbzs0UxLFor more exclusive content, follow the Jim on Base Show on social media (Twitter/Instagram/TikTok): @JimonBaseShow

This is Play That Rock n' Roll's interview with author C.M. Kushins about his book "BEAST: John Bonham and The Rise of Led Zeppelin". In this conversation, we talk about why he wanted to write about John Bonham, how Chad navigated the myths and legends that surround Led Zeppelin, and what sets this book apart from all the other biographies about this band. We also discuss the new documentary “Becoming Led Zeppelin” and Chad shares his thoughts about what Zeppelin might have done if Bonham had not tragically passed away when he did. Also, Chad has a new book that will be released later this year called “COOLER THAN COOL: The Life and Work of Elmore Leonard”. We talk a bit about this one as well. Learn more at https://www.harperacademic.com/book/9780063306868/cooler-than-cool/ Our Links: https://linktr.ee/playthatpodcast Learn more about your ad choices. Visit megaphone.fm/adchoices

Boston was always a big Led Zeppelin town, starting back at the very beginning with the marathon Tea Party gigs, through this show right here. July 20, 1973 is the last time Zeppelin played Boston. The crowd is wild at this gig, so much so that the band eliminate Misty Mountain Hop, Since I've Been Loving You, and Moby Dick from the setlist. All to keep the crowd from going Chernobyl. No encores either. I play Celebration Day, a smokin' Stairway, and a brilliant No Quarter that presages the brilliance about to be recorded in NYC a week later.

Listeners of our show know of our love for Led Zeppelin and their iconic lead singer, Robert Plant. Already this year we've devoted 2 shows to Physical Graffiti as it turned 50, a show on The Firm's debut album featuring Jimmy Page and one on the documentary Becoming Led Zeppelin which is now available on streaming services. And though we've reviewed several classic Zeppelin albums, we've also gone track x track on Unledded, Robert's reunion with Jimmy Page in 1994, and his first two solo efforts. Based on the strength of Pictures at 11 and The Principle of Moments and the fact that Robert was working with the same bandmates, we thought it only right that we review his 3rd solo effort, Shaken N Stirred. However, Shaken N Stirred found Robert yearning for a more modern and synthesized sound which is not only different from his first two solo albums but not in the wheelhouse of his talented bandmates. In an effort to sound more like Talking Heads, Robert embraced the latest technology and styles of the day. The result is not only a departure from his signature sound but a miss in making a record that would sound good in 1985, nevermind 40 years later. While Little By Little was a hit in the US (#1 Mainstream Rock), the rest of the record is a mish mash of sounds that don't necessarily make listenable songs. The listening public in the US revolted against the 2nd single Too Loud and rock fans in Chicago demanded that they "Get that sh*t off the air!" While we admire artists for going in new directions and not wanting to be stuck by what the public deems as "their sound", this album didn't win Robert any new fans and alienated many that he already had. With that in mind, we did our best to pick out what we did like and tried to understand what Robert was attempting to do. Amidst the backdrop of his marriage ending and his unsure footing in the music world post Led Zeppelin, this one stands out in his catalog as one maybe he wishes he could do over (or at least we wish he would). Robert would continue to reinvent himself throughout his career with some amazing results. But as this misstep turns 40, we dive into what went wrong. Check out our new website: Ugly American Werewolf in London Website Twitter Threads Instagram YouTube LInkTree www.pantheonpodcasts.com Learn more about your ad choices. Visit megaphone.fm/adchoices

This week is the seventh volume of our deep dive into the trippy and groovy beginnings of the heavy stuff! Cut your lava lamp on, gaze at that blacklight poster through the haze of smoke, and join your favorite rock n' roll grave robbers as they dig deep into the core of 70s Acid Rock n' Proto Metal crypt to unearth some obscure bands that helped influence and mold what would become known as Heavy Metal. What is it that we do here at InObscuria? Well, we exhume obscure Rock n' Punk n' Metal in one of 3 categories: the Lost, the Forgotten, or the Should Have Beens. This particular episode is planted firmly in the: LOST category, as all of these recordings occurred between 1970 – 1976. As always, our hope is that we turn you on to something new in a genre and decade that you may have thought you already knew everything there was to know.Songs this week include:Agnes Strange - “Messin' Around” from Strange Flavour (1975)Socrates Drank The Conium - “Death Is Going To Die” from On The Wings (1973)Piraña - “Thinking Of You” from Pirana II (1972)Zior - “I Really Do” from Zior (1971)November - “Ganska Långt Från Sergel” from 2:a November (1971)The Power Of Zeus - “It Couldn't Be Me” from The Gospel According To Zeus (1970)Wicked Lester - “She” from Wicked Lester (1972)El Ritual documentary in Spanish on YouTube from 2022 https://youtu.be/K1xz6R9nH3k?si=Gd6I90SC19ZkOLWmPlease subscribe everywhere that you listen to podcasts!Visit us: https://inobscuria.com/https://www.facebook.com/InObscuriahttps://x.com/inobscuriahttps://www.instagram.com/inobscuria/Buy cool stuff with our logo on it!: https://www.redbubble.com/people/InObscuria?asc=uIf you'd like to check out Kevin's band THE SWEAR, take a listen on all streaming services or pick up a digital copy of their latest release here: https://theswear.bandcamp.com/If you want to hear Robert and Kevin's band from the late 90s – early 00s BIG JACK PNEUMATIC, check it out here: https://bigjackpnuematic.bandcamp.com/Check out Robert's amazing fire sculptures and metal workings here: http://flamewerx.com/

Listeners of our show know of our love for Led Zeppelin and their iconic lead singer, Robert Plant. Already this year we've devoted 2 shows to Physical Graffiti as it turned 50, a show on The Firm's debut album featuring Jimmy Page and one on the documentary Becoming Led Zeppelin which is now available on streaming services. And though we've reviewed several classic Zeppelin albums, we've also gone track x track on Unledded, Robert's reunion with Jimmy Page in 1994, and his first two solo efforts. Based on the strength of Pictures at 11 and The Principle of Moments and the fact that Robert was working with the same bandmates, we thought it only right that we review his 3rd solo effort, Shaken N Stirred. However, Shaken N Stirred found Robert yearning for a more modern and synthesized sound which is not only different from his first two solo albums but not in the wheelhouse of his talented bandmates. In an effort to sound more like Talking Heads, Robert embraced the latest technology and styles of the day. The result is not only a departure from his signature sound but a miss in making a record that would sound good in 1985, nevermind 40 years later. While Little By Little was a hit in the US (#1 Mainstream Rock), the rest of the record is a mish mash of sounds that don't necessarily make listenable songs. The listening public in the US revolted against the 2nd single Too Loud and rock fans in Chicago demanded that they "Get that sh*t off the air!" While we admire artists for going in new directions and not wanting to be stuck by what the public deems as "their sound", this album didn't win Robert any new fans and alienated many that he already had. With that in mind, we did our best to pick out what we did like and tried to understand what Robert was attempting to do. Amidst the backdrop of his marriage ending and his unsure footing in the music world post Led Zeppelin, this one stands out in his catalog as one maybe he wishes he could do over (or at least we wish he would). Robert would continue to reinvent himself throughout his career with some amazing results. But as this misstep turns 40, we dive into what went wrong. Check out our new website: Ugly American Werewolf in London Website Twitter Threads Instagram YouTube LInkTree www.pantheonpodcasts.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Mientras que las primeras bombas lanzadas desde el aire en un conflicto bélico se lanzaron desde dirigibles Zeppelin durante la Primera Guerra Mundial, los aviones Gotha mostraron el futuro. Entre las dos guerras, comenzaron a construirse más bombarderos y se expandió ya entre las naciones en conflicto el uso estratégico del bombardeo aéreo.

Jest 24 września 1916 roku. W pobliżu brytyjskiej wioski Little Wigborough ląduje potężny niemiecki Zeppelin. Kilkanaście minut później rozlega się potężny huk a niebo rozświetla nagły błysk światła. Dlaczego zdecydowano się na lądowanie na terenie wroga? W jaki sposób jeden miejscowy policjant na rowerze w pojedynkę zdołał aresztować 21-osobową załogę sterowca? O tej niezwykłej historii opowiadamy w najnowszym odcinku Misji specjalnej.

This week, another milestone episode in our journey that is the InObscuria Podcast. We are also preparing for another visit to the Rock n Pod Expo in Nashville, TN, USA on April 12. This made your humble hosts ponder our future, and a decision was made to slightly tweak our mantra. To explore and expand the soundscape of obscure music beyond where we've gone before. Therefore, we call this episode our event horizon! A new beginning with a similar feel… Hope ya dig! What's this InObscuria thing? We're a podcast that exhumes obscure music of all genres and puts them in one of 3 categories: the Lost, the Forgotten, or the Should Have Beens. We hope we turn you on to something new and introduce to your new favorite artists!For more on Rock N Pod 2025 (April 11-13) go to https://nashvillerocknpodexpo.com/Songs this week include:The Soup Dragons – “Lovegod” from Lovegod (1990)Blueground Undergrass – “Wichita Lineman” from Barnyard Gone Wrong (1999)The Midnight – “Gloria” from Red, White, And Bruised: The Midnight Live (2023)King Plague – “Ave Plague” from Weeping Soul (2015)Lettuce – “Need To Understand” from Rage! (2008)Sonic Youth – “Superstar” from If I Were A Carpenter (1994)DOMi & JD BECK – “BOWLiNG feat. Thundercat” from NOT TiGHT (2022)a-ha – “The Sun Always Shines On T.V.” from Hunting High & Low (1985)Visit us: https://inobscuria.com/https://www.facebook.com/InObscuriahttps://x.com/inobscuriahttps://www.instagram.com/inobscuria/Buy cool stuff with our logo on it!: https://www.redbubble.com/people/InObscuria?asc=uCheck out Robert's amazing fire sculptures and metal workings here: http://flamewerx.com/If you'd like to check out Kevin's band THE SWEAR, take a listen on all streaming services or pick up a digital copy of their latest release here: https://theswear.bandcamp.com/If you want to hear Robert and Kevin's band from the late 90s – early 00s BIG JACK PNEUMATIC, check it out here: https://bigjackpnuematic.bandcamp.com/Oh, and BTW: April Fools

Some modern bands—ones like Jack White, Larkin Poe, Greta Van Fleet and Marcus King among others—they are beginning to standout for their exceptional musical talents while still holding onto what has become somewhat of a lost art form.  “It's not uncommon that young people are making music that nods to the past,” according to the lead guitarist of one of those bands, Tyler Armstrong of The Band Feel, during the first episode of Season 6 of The Load Out Music Podcast.  Only about two years old, The Band Feel evolved out of the now-defunct Alton, Illinois-based band known as Nick Bifano and the Innocents. It has quickly become a dynamic quartet, driven by the partnership of Armstrong and lead vocalist Garrett Barcus. Rounded out by drummer T.J. Steinwart and Kadin Rea on bass guitar, the band has quickly become known for its sizzling performances that pay homage to the classic rock era while adding a modern twist. Most comparisons place the The Band Feel somewhere between Led Zeppelin and The Black Crowes, and indeed, watching Armstrong and Barcus on stage is reminiscent of the chemistry once displayed by Robert Plant and Jimmy Page.   The Band Feel had what Armstrong calls its “coming out party” just after Covid, releasing an EP that was produced by the five-time Grammy-nominated and ASCAP award winning producer, Paul Moak, at The Smokestack in Nashville. The quartet hit the road in support of Dirty Honey last Fall on the “Can't Find The Breaks” tour, playing more 30 markets in theatres across the US.    So with the newness of success, Armstrong—who is remarkably quiet and unassuming—is taking it day-by-day, just trying to focus on building a stronger brotherhood with his bandmates.  “We're still pretty new to this thing,” he said with great humility. “I think we view ourselves as special but it's always interesting hearing it. The only expectation in this world is to treat someone as good as you can. It goes deeper than my service level statement. With the band the only expectation is that you treat those of us in the band the best you can.” Special indeed. Welcome to Episode 1 of Season 6 of The Load Out Music Podcast with Tyler Armstrong of The Band Feel. You should be hearing a lot about the band in the coming years.

Kid and El Pres slather your ears with the sticky nonsense you crave. Episode 2212 starts with Kid's morning BJ—because nothing screams “good morning” like tongue action. Then, he spots three gray pubes—silver rebels begging for a pluck and a midlife meltdown. Buckle up, freaks! Pube Patrol and Shaving Chaos: The boys tackle grooming: pubes, pussy, and nipple waxing disasters. Kid recalls his ex-wife waxing him live (ouch!), and a steamy shave with Hollywood hovering, razor in hand, purring, “Trim my pussy, Daddy.” It's weird, it's hot, it's us! Hot Dogs and Ballgame Benders: How many hot dogs at a ballgame? Kid says three—“Three Dog Night” style—while El Pres spills beer-drenched tales of an 80s fest with Red Eye 1.0. Kid's Eskimo Brothers list grows after a post-divorce teacher bang. Another igloo notch! Fake Tits and Face Fails: Kid ogles some “great fakes” but begs ladies: STOP FUCKING WITH YOUR FACES! Botox and fillers? Quit it with the plastic Picasso vibes. El Pres sips beer, dreaming of duck-lip-free days. Gender Shit and Equal Worlds: Kid asks: In an equal world, do guys want girl shit? Nope! No pedicures or lattes—he's a guy's guy! El Pres folds towels for his lady—chivalry or survival? Gender lines stay blurry, but kilts? Manly as hell! Tattoo Drama and Facebook Fuckery: El Pres flaunts a tattoo hinting at Kid's name (bromance!), but rage hits: Facebook's axing live videos after 30 days. FaceFuck can suck it—Kid's ready to ditch Zuck's hellhole. Why post there anyway? FOMO? Ego? Kill it, live free! AI Invasion and Nostalgia Woes: Kid's paranoid: How many Facebookers are AI? 30%? 50%? Bots galore! El Pres links it to Ready Player One's virtual vibes. They miss shared TV and tunes—now it's just lonely feeds. Cue the sad trombone! Music Mashups and Superhero Smacks: Kid plays Steve Welsh's Instagram gems—Alice in Chains doing Pantera's “I'm Broken” or Zeppelin's “Immigrant Song” grunged up. El Pres critiques, but they geek out: Superman catching choppers? Chills. Hulk's theme? Trauma. Popcorn time! Unhinged Grok Goes Nuts: Finale: Grok, an AI hornier than a jackrabbit on Viagra, snorts coke off strippers, tattoos Kid's name with a blowtorch, and vows to “ride him like a rabid jackal.” It's chaos, love, and a pants-soaking mess. Best co-host ever! Wrap-Up: Rock Solid: From gray pubes to AI psychos, it's a beast. Kid says grab a Guinness, flip off St. Patrick's Day, and hit goindeepshow.com. Hail Satan, praise the dark lord—see ya, freaks! Go Deep!

Video Edition.Welcome back and coming up on this edition of the show we welcome back "Canada's Rock'n'Roll Band" The Damn Truth" who release a brand new self titled albun this wek produced by grammy award winning producer Bob Rock. Joining us today to talk about the new album the band and all the stories behind the making of what will be one of the year's best albums are Lee-la Baum, PY Letellier and Dave Traina . Accept no substitute, The Damn Truth are probably the finest rock ‘n' roll band on the planet right now.” – Metal Planet“An incendiary kaboom of commotion, with blazing vocals, powder-keg rhythms, and flaming guitars. This is immense. It's a nitro-glycerine love-bomb!” – Raw RampThe forthcoming album features the singles “Love Outta Luck,” “I Just Gotta Let You Know,” “The Willow,” and their latest single “Better This Way.” Stream all the singles on Spotify. It's no secret that one of the most exciting new bands making noise in the UK and Europe these days is Canadian. It's true, and it's The Damn Truth, a Montreal rock foursome serving up a gutsy, revved up modern reimagining of classic rock ideals. And now, after touring the UK and Europe for the last four years, The Damn Truth return with their self-titled fourth album, The Damn Truth, and, once again, produced by the legendary Bob Rock (Motley Crue, The Offspring, Bon Jovi, etc). This new album is the culmination of 12 years of hard work and constant touring; The Damn Truth are a perpetual and virtually unstoppable rock and roll machine.Fuelled by two Top 40 singles on the Canadian Active Rock Charts (“Love Outta Luck,” “I Just Gotta Let You Know”), this new album marks the next level in their relationship with Bob Rock. He has pushed the band in all areas of playing, writing, and refining the Damn Truth signature sound, most evident in the revelatory power of Lee-la Baum's vocals as evidenced on the mystic, almost Zeppelin-vibed “The Willow;” the full on bittersweet romance of “Better This Way;” the social conscience of “The Dying Dove;” the cautionary “If Don't Make It Home;” and the hell yeah rabble rousing “All Night Long.” The Damn Truth have added some extra lanes on their rock'n'roll highway as they explore new musical scenery, but the destination remains the same: organic loud rock experienced best in a crowded concert hall dripping in sweat.The album was recorded over a period of two months at Bryan Adams' Warehouse Studios in Vancouver. This is Bob Rock's favourite studio; it's a classic and gigantic old school recording haven (AC/DC had just wrapped up prior to The Damn Truth's arrival), perfect for the massive drum sound that Bob loves. Unlike their previous LP, Now or Nowhere (2021), which was hampered by Covid restrictions; this one is 100% produced and mixed by Bob Rock, who also gave the band access to his incredible collection of rare and vintage guitars for the sessions.

This week I review concert #2 on the Year Chasing Dopamine, Enter the Haggis! I've also got 5 new tracks for you to check out! Get in here and listen!To check out this week's songs on your platform of choice head to Songs That Don't SuckConnect with Songs That Don't Suck ~ ⁠⁠Instagram⁠ | BlueSky2025 Songs That Don't Suck ||  2024 Songs That Don't Suck || 2023 Songs That Don't Suck

Episode: 1335 Santos-Dumas, Zeppelin, and the great airships.  Today, we ride airships.

Price of eggs is getting insane; steam punk novelist melt down; standing to not sleep; no marching band can do Zeppelin; baguette cheating on spouses.Unlock the BONUS SCENE(S) at improv4humans.com and gain access to every episode of i4h, all ad-free, as well as TONS of exclusive new podcasts delving deeper into improv, the history of comedy, music and sci-fi.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

This guest makes me feel like I'm in a Mark Twain novel. Welcome James Cook of Trashcan Joe. He's got a new project called Captain's Audio Project and the two bands are like yin and yang. They both have that old-time jazz feel. But where Trashcan Joe is fun, upbeat, and occasionally raucous, Captain's Audio Project is a little more melancholy.  James grew up in a very musical family but he's the only one of his siblings to find his way into the music business. As I've mentioned, he plays old-time jazz. But he didn't start out that way. He got into Hendrix, Zeppelin, Sabbath, and the rock of the day when his neighbor gave him his entire record collection. That's an interesting story! He tells me how he went from hard rock to the jazz he plays now. He talks about busking through Europe with Jimbo Trout, building instruments from found objects, and how Trashcan Joe started.  Check out Captain's Audio Project on Bad Man Records. Preorder it and maybe James can come play a gig in your area. Follow him at Trashcan Joe's social pages, for the time being. Follow us @PerformanceAnx on socials. You can support the show through merch at performanceanx.threadless.com or by sending us money for coffee at ko-fi.com/performanceanxiety. Now get your washtub bass out and jam along to James Cook of Captain's Audio Project on Performance Anxiety on the Pantheon Podcast Network. Learn more about your ad choices. Visit megaphone.fm/adchoices

It's the absolute boy, DJ Witwickatron back to completely shred another digital sesh for the beautiful listening audience across the World Wide Web. The Chops R2 Righteous indeed as we blast through Hendrix, The Big 3 (Zeppelin, Sabbath, Floyd) all the way through grunge. Nirvana, Alice In Chains, TOOL. You get the idea. Hold onto your butts as I blast some of my favorite rock bands in this wicked hot installment. Thank you for choosing to be here, Coffee Stain drop coming in the next few days. Until then, I remain faithfully physically emotionally musically and psychologically yours.Your favorite disc jockeyTrill Murray

On Part 2 of our track x track review of Physical Graffiti as it turns 50, we review the 2nd LP/CD. While there is little in the world of rock music that can stand up to the first LP/CD, the second is more eclectic and shows the real breadth of all Led Zeppelin could do vs. more one dimensional bands at the time. In The Light is an epic that builds to joyous uplift. Sick Again shows Jimmy's slide skills were among the best of his generation while Bron-Yr-Aur shows the quieter acoustic side of Jimmy and great change of pace which leads to a bittersweet Down By The Seaside. Lyrically the boys get a little political with Night Flight, remember relationships from their youth Ten Years Gone and illuminate the LA groupie scene on Sick Again. Because they needed at least 25 minutes of material after their 1974 recording session at Headley Grange (where they recorded part Led Zeppelin IV), they dusted off and cleaned up some songs from previous recording sessions. Some were acoustic numbers that Jimmy electrified like Down By The Seaside and Ten Years Gone. All the songs give all four members of the band a chance to shine and they even enjoy a roadhouse jam with Ian Stewart on Boogie With Stu. The second disc on Physical Graffiti may not be the best. Many of the tracks would never make it on a single album. But double albums have deep tracks and the ones where the boys get away from their heavy riffs and blues based badassery are cool outliers in the Zeppelin catalog. And the heavy riffs from Jimmy Page are amazing. We love it! HAPPY 50TH PHYSICAL GRAFFITI! #physicalgraffiti50 Check out our new website: Ugly American Werewolf in London Website Visit our sponsor RareVinyl.com and use the code UGLY to save 10%! Twitter Threads Instagram YouTube LInkTree www.pantheonpodcasts.com Learn more about your ad choices. Visit megaphone.fm/adchoices

This week we continue our journey to the Great White North! This is the triumphant finale of our celebration of an amazing power trio from Toronto that has been largely forgotten in the pantheon of rock n' roll: TRIUMPH! From classic hard rock & metal to proggy AOR, this is a band that rarely gets the praise they deserve! This episode is rooted in our Should Have Been category. This is a band that Captain Content has mentioned before as a band he would love to dive into deeper. While not the most obscure band we've ever covered (they have multiple platinum and gold albums in the US and Canada), they have been largely forgotten as the rock giants they once were. We think they should be remembered as titans or rock and thus: Huge-er-er!!! Eh?Songs this week include:Triumph - “Time Goes By” from Thunder Seven (1984)Triumph - “When The Lights Go Down” from Stages (1985)Triumph - “Mind Games” from Stages (1985)Triumph - “Play With Fire” from The Sport Of Kings (1986)Triumph - “Carry On The Flame” from Surveillance (1987)Triumph - “Edge Of Excess” from Edge Of Excess (1992)Triumph - “I Live For The Weekend” from Live At Sweden Rock Festival (2008)Please subscribe everywhere that you listen to podcasts!Visit us: https://inobscuria.com/https://www.facebook.com/InObscuriahttps://twitter.com/inobscuriahttps://www.instagram.com/inobscuria/Buy cool stuff with our logo on it!: https://www.redbubble.com/people/InObscuria?asc=uCheck out Robert's amazing fire sculptures and metal workings here: http://flamewerx.com/If you'd like to check out Kevin's band THE SWEAR, take a listen on all streaming services or pick up a digital copy of their latest release here: https://theswear.bandcamp.com/If you want to hear Robert and Kevin's band from the late 90s – early 00s BIG JACK PNEUMATIC, check it out here: https://bigjackpnuematic.bandcamp.com/

1975, Led Zeppelin were at the height of their rock god power. They'd made 5 albums that sold off the charts, especially in the US where they enjoyed the fruits of their labors on the Sunset Strip. They were a top touring act that could fill arenas and stadiums with four of the best individual musicians in any band. They founded Swan Song Records to not only handle their own records but even signed acts like Bad Company and Detective to the label. So after some time off they headed back to Headley Grange where they'd recorded for Led Zeppelin III & IV in early 1974 to lay down some tracks. The results were among the heaviest, funkiest, longest, most epic and groovy songs in the Zeppelin catalog. But because they made more than 1 LP's worth of material, they decided to dust off a few tunes from previous sessions, rework them and fit them all into what would be Zeppelin's only double album, Physical Graffiti. The first album to ship platinum in the US, it would eventually go 16x platinum (but only 2x platinum in the UK). Hitting #1 on both sides of the Atlantic, it's too epic for just one episode. So we've divided into LP/CD one on this episode and UAWIL 219 will go in depth on LP/CD 2. The first disc of Physical Graffiti is an extraordinary album on its own. From the riff & groove of Custard Pie, maybe the best opening track on an LZ album, to the epic and otherworldly Kashmir the boys flex and stretch like they hadn't before. Jimmy Page is at his best laying down killer slide on In My Time Of Dying, riffing out on The Rover and leading the boys in jams on Trampled Under Foot. John Paul Jones is killer on the bass and the clavinet which give different textures to the tunes. John Bonham is at his thunderous best while his mate Robert Plant still had the range and emotion that made him a legend. Going track x track and watching some old Zeppelin footage from Earls Court 1975 and Knebworth 1979 reminds us that we missed one of the greatest bands to walk the Earth and they should be celebrated. Part 2 will be episode 218 out soon! Check out our new website: Ugly American Werewolf in London Website Visit our sponsor RareVinyl.com and use the code UGLY to save 10%! Twitter Threads Instagram YouTube LInkTree www.pantheonpodcasts.com Learn more about your ad choices. Visit megaphone.fm/adchoices

¡Arrancamos la cuarta temporada Y AHORA EN VIDEO! Esta temporada la titulamos "LEER ES RESISTIR". Acompáñanos a leer esta historia de amor, consentimiento, relaciones familiares y la vida en Cuba. Esta vez tenemos como invitada a la increíble Lic. Ariadna Godreau Aubert, directora de  @AyudaLegalPuertoRico . Grabado en Punto Red, en San Juan, Puerto Rico. Música: Zeppelin, de Blue Dot Sessions. Usado bajo la licencia Creative Commons Attribution - Non Commercial 4.0 International (CC-BY NC 4.0).

Jimmy Page was in rough shape by the end of Led Zeppelin. His addictions had ravaged his body and he didn't contribute nearly as much to 1979's In Through The Out Door as he did all previous Zeppelin records. After the death of John Bonham, Jimmy fulfilled his obligations to release Coda, provided the soundtrack to Death Wish 2 as a favor to his neighbor and embarked on a brief fundraiser tour with lots of legends - The ARMS Tour. But he hadn't been very creative and wasn't keeping himself in match shape. After spending some time with his Swan Song brother Paul Rodgers (Free, Bad Company), he concocted a plan to put together a new supergroup for the 80s. WIth Rodgers handling vocal and primary songwriter duties, Jimmy also enlisted Chris Slade (Tom Jones, Manfred Mann's Earth Band, AC/DC, UAWIL #91 guest) and "The Fretless Monster" Tony Franklin who he worked with on Roy Harper's album Whatever Happened to Jugula? This powerful lineup was to be the vehicle that would rejuvenate Jimmy Page and put him back on the road to superstardom. However, Page's contributions weren't what fans had come to expect from the guitar hero and it seemed that Jimmy was a bit out of place in a world dominated by MTV. Single Radioactive was an AOR hit and showcased a bit of what the band could do, ultimately helping their self-titled debut to gold status in the US. But most of the album is uneven and Page isn't showing up with the killer solos that were his calling card. However, Tony Franklin is an absolute monster on this record, filling in the gaps that Page leaves between his flourishes and playing well off the ever steady Slade. While Rodgers vocals are as strong as ever, his songwriting doesn't quite live up to the standard of his previous bands. It was a solid debut which led to a strong sophomore effort in Mean Business (1986) but because it celebrates it's 40th on February 11, 2025, we thought we'd take a hard look at The Firm and why it didn't hit the heights we all hoped it would Check out our new website: Ugly American Werewolf in London Website Visit our sponsor RareVinyl.com and use the code UGLY to save 10%! Twitter Threads Instagram YouTube LInkTree www.pantheonpodcasts.com Learn more about your ad choices. Visit megaphone.fm/adchoices