You maybe want head over the Bookstore for New Year!

 

The New Adult Bookstore Motel, Records & Liquor

Jobe’s bin sharing 

from Grand Funk to the Wallflowers

from Alice in Chains  x 2

The Pogues

The Floyd

Pearl Jam

 P.I.L.

Eminem and books too!

Enoch dropped by

with Warren and Waylon and various good books too  

but Diamond Dave has been trying out his New Years’ Resolution!

with Henry Rollins

Average White Band with Ben E King!

Danceclass

Terrorvision

Rory’s Taste

and more Black Crowes

Jean-Michel says:

You KNOW it makes sense and you know what to do don’t you

The Adult Bookstore Motel, Records & Liquor 

Rory Gallagher and Götz Alsmann - Trouble Blues ‘87

 Rory and Gotz sign off!

I Got Troubles!

Götz Alsmann & Rory Gallagher Live 1987

while it is obviously a bit throw away I love the ending of the programme! Rorry’s expression±

Top notch!

Elvis Costello - Big Boys (demo) [Armed Forces] \ jt1674

 

https://www.tumblr.com/jt1674/805539616350420992/elvis-costello-big-boys-demo

Emitt Rhodes - Fresh As A Daisy | Herberg De Kelder

The Emitt Rhodes Recordings (1969-1973)

℗ 1971 Geffen Records Released on: 2009-07-14

 

Fresh As A Daisy

Emitt Rhodes — Fresh as a daisy

gives me happy feelings

HERBERG DE KELDER

Rock-a-Bye Boogie - Porter Wagoner and Skeeter Davis | Herberg De Kelder + Rock A Bye Boogie II

Rock-a-Bye BoogiePorter Wagoner and Skeeter DavisPorter Wagoner and Skeeter Davis Sing Duets

not the rockiest song you’ll hear today but . . . . . . . 

HERBERG DE KELDER

Still they keep on Rockin’!

Skeeter Davis and Porter Wagoner - Rock a Bye Boogie

Never forget it’s all about that bass . . . . . .

Postmodern Jukebox

Postmodern Jukebox they say:

End of the year sale at the Postmodern Jukebox Shop! Get official PMJ merch for up to 50% off now at: https://www.postmodernjukeboxshop.com/store

Florence and The Machine - Addiction + Sympathy Magic (from Luci)

 Florence Welch : People of Addiction.

For years, even as her dazzling talent brought her fame and adoration, Florence Welch was beset by self-loathing. Recently celebrating multiple years of recovery from addiction (s) she has shared how she finally called a truce in her internal war. [4 minute read]

''It takes a while to understand your worth. I got sober when I was 27, a few months after my birthday party, where my mother made a speech – a plea, really – to my friends to try to keep me alive and out of the notorious “27 club”.

After she’d finished, I put my face in my cake and got into the shower fully clothed. That day, I would never have believed my 30th birthday would be a sober, calm affair with nice friends and nice food that I actually ate; that I would have already waved the white flag at the party, one arm fluttering from the floor, I surrender, I’m done...

...After all, I’d been planning the alternative, week-long bacchanal to mark the end of my third decade, since my teens.

I tend to look back on that time with a mix of nostalgia and terror.

....

There’s a part of me that is in awe of that girl, her total disregard for self-preservation, how she could run at the world headfirst, eyes closed, with no care for the consequences. But I also want to hold her in my arms, say, “It’s OK, you’re OK, you can come down now. You’ve been screaming at the top of that tree for a bit too long.

...Although I admire it in a seasick way, a lot of my bravery in my teens and early twenties came from a place of self-loathing. I was able to push boundaries and take chances because I wasn’t very fussed about whether I came back alive.

Oblivion was usually the goal. I don’t know if it was owing to societal pressure, or a genetic predisposition to perfectionism and anxiety (eating disorders and addiction are rife in my family), but somewhere along the line I had learned that I was wrong, that I was not good enough, not smart enough, not thin enough.

..I was so angry with myself all the time.

How that happened, I don’t know – I am still trying to understand what makes young women go to war with themselves.

But the judgement choir never stopped singing. It still sings now, though not as loudly or as often, and when it does, I try not to self-medicate with straight vodka or starvation...

Sometimes I miss the wildness of my teenage years – breaking into abandoned buildings, climbing trees in Soho Square, staying out for days, picking up outfits and bruises on the way.

I was pretty feral for someone who still lived at home, albeit in a house of loving but absent academics and six teenagers, where it was easy to slip under the radar.

Everything was terrible and wonderful, and everyone was always madly in love or completely heartbroken, often in the space of half an hour.

I had some deeply questionable sartorial phases, from “drunk librarian” to “drunk bat witch”, and I now know for certain that a centre parting does not work with a large Edwardian forehead.

But most of it I wouldn’t take back...

It was strange to let go of all that, and I grieved for it for a while. Being a musician and a blackout drinker can lead you to have a rather coddled existence, and make it hard to grow up. Partying was, I felt, a defining feature of my personality – good at singing, good at drinking and good at taking drugs. (Note: if you think you are good at taking lots of drugs, it usually means you are not good at it and will have to stop eventually, or worse.)

But the new-found thrill of leaving somewhere with all my belongings, having not been felt up by someone inappropriate in a car park, has still not left me.

It feels miraculous to spend my Mondays working or reading rather than binge-watching Bake Off, unable to move, intermittently weeping into a pillow, hoping the bunting will block out the regret.

There are other everyday miracles, too. I haven’t weighed myself in four years – I have no idea how much I weigh right now.

Five years ago, I could have told you how much in the morning, at night, clothes on, clothes off.

With and without jewelery.

To let go of that sometimes feels like a bigger achievement than headlining Glastonbury.

It may sound as if I’m being dramatic (who, me?), but anyone who has lived under the tyranny of the scales will understand how much it takes to trust your body.

I thought my relationship with food could never be normal; I believed it was damaged beyond repair.

But I can honestly say I don’t really think about it now. I don’t diet. I don’t fucking “cleanse”. I try not to think of any food as bad or good.

It took me a long time, but the obsession has lifted. And I had to do the worst thing I could think of – start talking about it.

An eating disorder wants you silent, ashamed, isolated. It will tell you anything to keep you all to itself. It’s probably telling you right now that you shouldn’t say its name, that it’s your friend. But your body is more than a thing to be looked at, it works with you, not against you. You do not beat your own heart.

This is not to say that I have it all figured out – I am not a beacon of sanity. If you have denied yourself nourishment, you can often deny yourself emotional nourishment, too.

I find it hard to accept love, hard to accept stability. A large capacity for joy means an even larger capacity for gloom.

..And I’m no longer sure about the rock’n’roll behaviour often expected of artists. Too many talented people have died, and the world feels too fragile to be swigging champagne and flicking the finger at it.

Most of the friends that I drank with have had to stop. They wash up one by one like driftwood, and we stand together on the shore in shocked relief. We cook, we talk, we work.

People have started having children and going to bed early. And all the boring “grown-upness” that we rejected then now seems somehow rebellious. It is an act of rebellion to remain present, to go against society’s desire for you to numb yourself, to look away. But we must not look away.

Adapted from British Vogue Magazine. [2019] Author: Florence Welch.

Curated a by Addiction Actually. 2025

Photo by Grateful Addicts in Recovery.

#addictionactually #florencewelch #mentalhealth #wedorecover

#addiction #addictionactually #florenceandthemachine

Florence and The Machine - Sympathy Magic

For No One - MonaLisa Twins (The Beatles Cover) // MLT Club Duo Session

The girls have a new album Duo Sessions III  . . .check it out

monalisa-twins

Kelly Eldridge Boesch - starts the day [week?] gazing into the aquarium!

  . . . . something fishy going on (sorry . . . not sorry!)

Kelly Eldridge Boesch

Kelly says: Another strange one for you today. In going back to old #midjourney prompts I tried one with this cool style ref code and got these really odd looking sea creatures and fish. I absolutely love these. I animated these using @pika_labs AI and it did such a great job. They came out so cool. Song made using @sunomusic

Richard Thompson - BBC Sessions, Volume 9: 1996-1997 | Albums That Should Exist

 

Richard Thompson - BBC Sessions, Volume 9: 1996-1997

Paul says: Here's another BBC album by singer-songwriter Richard Thompson. This one is a collection of studio sessions.

In 1996, Thompson released the double album "You? Me? Us?" In my opinion, it wasn't as strong as most of his previous solo albums, and probably would have been better as a single album. Then in 1997, he released the album "Industry," with Danny Thompson (no relation). Half of the songs were his, and half were instrumentals by Danny. The songs by Richard were great, but the instrumentals mostly seemed like filler. 

Considering both of those albums were flawed, it's nice to have this collection, because it mostly consists of the strongest songs from both of those albums. There are a couple of songs from other albums, such as "Beeswing" and "Keep Your Distance," but not many. I count five songs from "You? Me? Us?" and three songs from "Industry." One song, "Bathsheba Smiles," was unreleased at the time and would appear on his next studio album, "Mock Tudor."

Most of the songs, tracks two through seven and nine through eleven, come from two sessions on the Andy Kershaw radio show. The first track is from the Bob Harris radio show, and the last one is from the Cambridge Folk Festival. (Highlights or even full sets of that festival are often broadcast by the BBC.) All of those songs are unreleased. That leaves just one officially released song, "Lotteryland." It also comes from one of the Andy Kershaw sessions, but it came out on the "The Live and Music Of" box set.

This album is 47 minutes long.

01 Beeswing 
02 Cold Kisses 
03 Dark Hand Over My Heart 
04 Hide It Away 
05 The Ghost of You Walks 
06 Train Don't Leave 
07 She Cut Off Her Long Silken Hair 
08 Lotteryland 
09 Drifting through the Days
10 Bathsheba Smiles
11 Keep Your Distance 
12 Sweetheart on the Barricade 

Some favourite Richard songs here from Dark Hand to Ghost of you and from You Me Us - She Cut Off Her Long Silken Hair! I loved it when it came out and couldn’t stop playing it but Paul may be right and that it isn’t in the top ten of Thompson albums but heck it’s awful close! Superb!