Check this latest from Kelly!
.................................the blog nobody reads
Saturday, January 17, 2026
Kelly Eldridge Boesch : Leonardo!
PULP : DIFFERENT CLASS
without wishing to wind him up but Kostas has posted a potted biog of one Pulp album (Different Class) whose 3oth anniversary edition and standard deluxe double CD is STILL readily available and as I don’t post info re: still in print artist’s albums there is this . . . go buy it it’s under a tenner! Help supp[ort your local artists!
Share ROIOs!
https://pulp.roughtraderecords.com
https://superdeluxeedition.com/news/pulp-different-class-30th-anniversary/
Emily Barker NEWS! New poetry book (Sonogram) and is returning to the UK to tour!
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FANNY! A history . . . . . er well a cursory look at Fanny!
and don’t even get me started on “pre-FANNY”!?!?
From left, Jean Millington, Brie Darling, Wendy Haas Mull and June Millington were the pre-Fanny, self-founded Svelts garage band in a home they shared and rehearsed in, in Los Altos Hills in the 1960s.
Photo by Steve Griffith.
Birthdays: II ANDY ROURKE (THE SMITHS)
Andy Rourke was born in Manchester on this day in 1964.
Andy passed away 19 May 2023
Sorely missed a fine fine bassist
The Smiths - Sheila Take a Bow and Shoplifters of the World Unite live on the Tube 1987
wait until the end of this for Morrisey and co dancing to Andy’s baseline exit . . . . .
Birthdays: MICK TAYLOR | Don’s Tunes
Happy 77th birthday to Mick Taylor!

“It was quite a nerve-wracking experience when I was really young, following in the footsteps of Eric Clapton and Peter Green, but after a month or two I fitted in really well. It was basically all down to John Mayall’s stewardship and everything I learned from him about the blues. Travelling around with him in America made me become a good blues player and I developed my own style. We were playing in lots of iconic places like Winterland [in San Francisco] and the Fillmore East and West. One night at Winterland, Jimi Hendrix was top of the bill, John Mayall and myself and the Bluesbreakers opened the show, and Albert King was in the middle. It was incredible, especially when you consider the fact I was only about 18 years old.”
In June 69, Mick Jagger was casting for a replacement for Brian Jones, and asked Mayall for advice. Mayall recommended Taylor. “Live With Me was the very first track I ever played on,” Taylor recalls, “when they were putting the finishing touches to Let It Bleed. We actually recorded that the night I went for my audition at Olympic Studios, or maybe the night after.
"Then I overdubbed guitar on Honky Tonk Women. But Live With Me was special, because it was the first Stones song I ever played on. I remember [producer] Jimmy Miller jumping up and down in the control room and getting all excited about how good it sounded, having two guitars playing off each other. Because I think they’d missed that with Brian Jones in the two-year hiatus since their last live performance. The Stones actually hadn’t played together for a long time, so when I joined them it was like a new beginning. It was a new phase in their career, a new chapter.
By Rob Hughes (Classic Rock)
Don's Tunes
Lost Horizons - Every Beat That Passed [In Quiet Moments] | jt1674
. . . . we like these guys don’t we?
Tom Waits covered . . . . Vol II Albums That Should Exist
Covered: Tom Waits, Volume 2: 1994-2004
And like the rest of this series for Waits, most of the heavy lifting in making this album is thanks to Fabio from Rio. He basically found a zillion Waits covers, then whittled them down to his favorites. That was still a very large number, so I then listened to them and whittled them down a lot more.
Fabio also answered my request to do the write-ups for each album in this series. So here's what he had to say about this one. And thanks, Fabio, for all your work on these albums. Take it away:
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Around the mid-1980s, Waits began to break away from conventional arrangements. The music became more percussive and raw, foreshadowing a major stylistic shift. This period marks the end of his "classic singer-songwriter" phase and the start of a more radical artistic reinvention. Waits embraced experimental instrumentation, junkyard percussion, polyrhythms, and global folk influences. His work became deeply theatrical, influenced by Brecht, Weill, and his collaborations with his wife Kathleen Brennan. Songs feel like surreal street operas populated by grotesques and dreamers. This second volume includes mostly songs from that period.
The best known cover here is probably "Way Down in the Hole," due to its use in the HBO series "The Wire." (The Blind Boys from Alabama's version was used as the first season opening music, and other versions were selected for the remaining four seasons, including Waits' own original version.) Norah Jones' delicate outtake "Picture in a Frame" also got some recognition, especially after its inclusion in special editions of her breakthrough album "Come Away With Me."
"I Don't Wanna Grow Up" sounds so natural in the Ramones' catalog that many listeners assume it is an original. It was used as the opening track and first single of their last studio album. Waits' version (from the excellent 1992 album "Bone Machine") is way darker.
"Little Boy Blue" was never recorded by Waits himself. It was originally sung by actress Nastassja Kinski in Coppola's movie "One from the Heart," which is a musical composed by Waits. Here we have a bluesy version by jazz singer and pianist Holly Cole. Other highlights of the volume include Screamin' Jay Hawkins' "Whistling Past the Graveyard" and John Hammond's "Big Black Mariah" (which is taken from an album he did fully dedicated to Waits songs).
On the mellower side, there are soft-sounding melodic folk versions by Shawn Colvin and Valerie Carter that prove Waits can write poignant ballads. Overall, another very nice flowing album with well performed covers that honor Waits' music.
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This album is 58 minutes long.
01 The Heart of Saturday Night (Shawn Colvin)
02 Whistling Past the Graveyard (Screamin' Jay Hawkins)
03 16 Shells from a Thirty-Ought Six (Bob Seger & the Silver Bullet Band)
04 I Don't Want to Grow Up (Ramones)
05 Better Off without a Wife (Pete Shelley)
06 Little Boy Blue (Holly Cole)
07 Whistle Down the Wind (Valerie Carter)
08 The Briar and the Rose (Niamh Parsons)
09 Dirt in the Ground (Christine Collister)
10 Heartattack and Vine (Popa Chubby)
11 Invitation to the Blues (Jennifer Warnes)
12 Big Black Mariah (John Hammond)
13 Picture in a Frame (Norah Jones)
14 Way Down in the Hole (Blind Boys from Alabama)
15 Jockey Full of Bourbon (Los Lobos)


