From the Facebook desk of Chris Frantz comes this from the trio TALKING HEADS theme at CBGBs
After it was Chris who let us know about the death at 91 of the legendary Mighty Sparrow [Slinger Francisco] father of calypso, reggae and soca from Trinidad he posts this which I had never heard
Recorded live at CBGB's in New York City on July 30, 1976. Talking Heads (still a trio at that time) and Television both played two sets that night - this recording is from the second Talking Heads set. This track was never released in any form.
John Hiatt & Lyle Lovett - Capitol Theatre, Port Chester, NY, 4-30-2015
PAUL SAYS: Here's another great concert from the April 2026 Port Chester soundboard bootleg leak. This one features John Hiatt and Lyle Lovett. But it's not a split bill where one of them played a set and then the other one did. Instead, both of them stayed on stage the entire time, frequently helping out on each others' songs. It was just the two of them on stage with their acoustic guitars.
Prior to getting this concert ready for posting, I had no idea how frequently Hiatt and Lovett have collaborated musically. They never put out an album together, so I'd missed it. But they're toured together like this almost every year since 2008, at least. And they've done it again this year as I write this in 2026.
As usual with these Port Chester boots, the sound is in mono. But other than that, the quality is excellent.
This album is two hours and six minutes long.
01 talk (John Hiatt & Lyle Lovett) 02 Lift Up Every Stone (John Hiatt) 03 talk (John Hiatt & Lyle Lovett) 04 Church (Lyle Lovett) 05 talk (John Hiatt & Lyle Lovett) 06 Buffalo River Home (John Hiatt) 07 talk (John Hiatt & Lyle Lovett) 08 Whooping Crane (Lyle Lovett) 09 talk (John Hiatt) 10 Marlene (John Hiatt) 11 talk (John Hiatt & Lyle Lovett) 12 Sonja (Lyle Lovett) 13 talk (John Hiatt) 14 Crossing Muddy Water (John Hiatt) 15 White Boy Lost in the Blues (Lyle Lovett) 16 talk (John Hiatt & Lyle Lovett) 17 Master of Disaster (John Hiatt) 18 talk (Lyle Lovett) 19 All Downhill (Lyle Lovett) 20 talk (John Hiatt & Lyle Lovett) 21 Real Fine Love (John Hiatt) 22 She's No Lady (Lyle Lovett) 23 talk (John Hiatt & Lyle Lovett) 24 Feels like Rain (John Hiatt) 25 Fiona (Lyle Lovett) 26 talk (John Hiatt & Lyle Lovett) 27 Thing Called Love (John Hiatt & Lyle Lovett) 28 L.A. County (Lyle Lovett) 29 talk (John Hiatt & Lyle Lovett) 30 Perfectly Good Guitar (John Hiatt & Lyle Lovett) 31 If I Had a Boat (Lyle Lovett) 32 Have a Little Faith in Me (John Hiatt) 33 My Baby Don't Tolerate (Lyle Lovett) 34 talk (John Hiatt & Lyle Lovett) 35 Slow Turning (John Hiatt) 36 talk (John Hiatt & Lyle Lovett) 37 Step Inside This House [Step Inside My House] (Lyle Lovett)
John Hiatt & Lyle Lovett - "Thing Called Love" (Letterman 2009)
All You Good Good People (Britpop And Beyond 1995 - 1999)
Britpop’s mid‑nineties surge was more than a chart moment; it was a collision of voices, attitudes and ideas that reshaped British guitar music. All You Good Good People captures that world in motion, gathering tracks that show how the era moved from sharp indie confidence to a broader, more exploratory sound. The compilation begins with the immediacy that defined the period: bright guitars, quick tempos, and lyrics rooted in everyday life. Bands like Elastica, Ash, Sleeper, The Bluetones and Gene brought a sense of urgency, turning small observations into big choruses. Even the quieter songs carried momentum, shaped by musicians who understood how to make intimacy feel electric.
As the set unfolds, the music grows wider and more ambitious. Supergrass, Cast, Ocean Colour Scene and Shed Seven deliver polished, muscular arrangements that still retain the spirit of small venues and late‑night radio. Electronic, Lush, Catatonia and Longpigs add texture, showing how Britpop absorbed influences from dance, shoegaze and alternative pop without losing its melodic core.
Later selections reveal the era’s expansion beyond its own label. Lightning Seeds, Stereophonics, Primal Scream, Cornershop, Terry Hall and James blur the boundaries between indie, pop, art‑rock and groove‑driven experimentation. The mood shifts toward reflection, deeper production and broader emotional range. By the time Embrace, Gomez, Rialto, Puressence, Idlewild, Ultrasound, The Delgados and Doves appear, the sound has evolved into something darker, more atmospheric, and quietly ambitious, the beginning of post‑Britpop’s rise.
What makes All You Good Good People compelling is its sweep. It doesn’t freeze Britpop in its most obvious poses; it shows the movement’s full arc, from swagger to subtlety, from immediacy to introspection. For collectors, it’s a panoramic view of a scene that shaped a generation. For listeners, it’s a reminder that Britpop was never just attitude, it was melody, imagination and the thrill of hearing new voices find their place. (Butterboy)
She sang backup for Bob Dylan, Eric Clapton, and Jimi Hendrix — and never got the credit she deserved. Then she found the one man in Nashville who understood exactly how that felt.
Rita Faye Coolidge was born on May 1, 1945, in Lafayette, Tennessee, the daughter of a Baptist minister and a schoolteacher, into a family where music was not a hobby but a way of moving through the world.
Her father's Cherokee heritage and her mother's Scottish-Cherokee roots gave the Coolidge household a particular texture — spiritual, musical, close. Rita grew up singing in church beside her sisters Priscilla and Linda, three voices that harmonized with the easy precision of people who have been singing together since before they understood what harmony meant. On Saturday nights, the family gathered around the radio to listen to the Grand Ole Opry. The music came in clean and steady from Nashville, and Rita absorbed it the way she absorbed everything — completely, without effort, storing it somewhere deep.
She was not, on the surface, destined for the life she would eventually live.
She studied art at Florida State University, graduated with a degree in it, and moved to Memphis with plans that were still taking shape. She began singing commercial jingles to pay the bills — a practical choice that turned out to be an audition for something much larger. Her voice caught people's attention the way certain voices do: not loudly, but unavoidably. She was discovered by Delaney and Bonnie Bramlett, the husband-and-wife duo whose touring band was a gathering point for some of the most important musicians of the era, and she moved to Los Angeles.
What followed was one of the most remarkable invisible careers in the history of American music.
Rita Coolidge became the voice behind the voices. She sang backup for Joe Cocker on his legendary Mad Dogs and Englishmen tour, a traveling circus of talent that produced one of the great live albums of the rock era. She sang for Leon Russell, who was so taken with her that he wrote a song called "Delta Lady" specifically about her — a song that reached the top forty and attached a nickname to her that stayed for decades. She sang for Bob Dylan, for Jimi Hendrix, for Eric Clapton, for Stephen Stills, for Graham Nash. If you listened to rock music in the early 1970s, you heard Rita Coolidge without knowing her name. She was the warmth underneath the famous voices, the thing that made the records feel inhabited rather than merely performed.
Then came "Layla."
She had been dating Jim Gordon, the drummer in Eric Clapton's band Derek and the Dominos. Together, she and Gordon had written a piano piece — a melody she had developed, rooted in a Beethoven sonata she had been practicing. They played it for Clapton in England and left him a demo cassette. She thought nothing more of it.
A year later, she was in a recording studio getting her photograph taken when music came over the PA system. She recognized something immediately — the melody, her melody, running beneath the outro of a song she had never heard before. The song was "Layla." The piano coda that closes one of the most celebrated pieces of rock music ever recorded was built on what she had written, used without her knowledge, credited only to Clapton and Gordon.
She confronted people. She was told — by Robert Stigwood, Clapton's manager — that she was a girl and didn't have the money to fight it. The credit was never changed. Decades later, Bobby Whitlock, the keyboardist who had been in the room, confirmed her account publicly: "Jim took the melody from Rita's song and didn't give her credit for writing it''.
She never received a writing credit. She never received a royalty. "Layla" remains one of the most iconic songs in rock history, and the piano section that makes it unforgettable is officially credited to two men.
She carried that quietly and kept moving.
In 1973, she married Kris Kristofferson — the Rhodes Scholar turned Nashville janitor turned songwriter whose own career had been built on the understanding that talent and recognition do not always arrive together, that the music industry routinely takes what it wants from the people least positioned to fight back. They had known each other through the overlapping circles of Los Angeles and Nashville, two people from the edges of that world who had earned their places in it the hard way.
Together they made three albums and won two Grammy Awards for Best Country Vocal Performance by a Duo or Group. The marriage was a creative partnership as much as a personal one — two enormous careers running in parallel, two people who understood what the other had sacrificed. But the parallel lines eventually diverged. Kristofferson's film career pulled him away for longer stretches. Rita's solo career was accelerating. The distance between them grew until it became the kind that can't be closed.
They divorced in 1980.
Her solo work that decade was some of the best of her career. Her cover of Jackie Wilson's "(Your Love Has Lifted Me) Higher and Higher" reached number two on the Billboard charts in 1977 and earned her a gold record. "We're All Alone" followed. In 1983, she sang "All Time High" — the title theme for the James Bond film Octopussy — which became one of the most recognized Bond themes in the franchise's history.
She was not done there either. In the 1990s, she returned to her Cherokee roots with increasing deliberateness, forming a trio called Walela with her sister Priscilla and niece Laura Satterfield — a name that means "hummingbird" in Cherokee. The group performed at the Opening Ceremonies of the 2002 Winter Olympics in Salt Lake City, their voices carrying something ancient and particular into a broadcast watched by hundreds of millions of people.
She published her memoir in 2016 — a book that told the full story plainly, including "Layla," including Kristofferson, including the years of singing for everyone else before she sang for herself.
Returning quickly to the studio in the summer of 1973 with his Blueprint line-up, Rory was in a prolific and confident mood. Rehearsals for the album began at a rowing club in Cork city, which allowed Rory to develop the musical arrangements of his material at a leisurely, relaxed pace.
Tattoo’d Lady describes the fairground life style that had appealed to Rory since childhood and lyrically, he draws parallels between travelling entertainers and his own profession.
Rory was born, with a touch of irony, at The Rock Hospital, Ballyshannon. Rory rocked literally all of his life and this Cradle Rock is a rockin’ R&B cut that displays his exciting bottleneck style in full flight.
20:20 Vision features Rory on acoustic and highlights his fondness for Davy Graham’s acoustic style.
They Don’t Make Them Like You Anymore has a real cool jazz feel which is underscored with unison guitar and piano and some brilliant harmonics.
Livin’ Like A Trucker was written at a time when the band were increasing their touring activity in America, this number could have been a tour anthem, during his career Rory racked up over thirty long U.S. tours.
Gerry, Rod, Lou and Rory really lock in on Sleep On A Clothes Line which has shades of a riff Rory could have written for Taste.
Who’s That Coming starts with Rory playing his acoustic dobro in slide mode, the riff blends into Rory playing electric slide empahsizing Rory’s ability to play different blues styles from Delta to Chicago blues.
A Million Miles Away became one of the most loved numbers in Rory’s repertoire, it showcases the deep, introverted side of his emotions.
Admit It has a real jack hammer riff and is the perfect vehicle for a stinging Rory solo, Lou Martin lays down some great piano on this rock number.
Tuscon, Arizona by Link Wray (a then Polydor stable mate) is a colourful, laid back country track featuring some captivating lap-steel guitar.
by Donal Gallagher
Tracks
1. Tattoo'd Lady - 4:34
2. Cradle Rock - 6:15
3. 20:20 Vision - 4:02
4. They Don't Make Them Like You Anymore - 4:05
5. Livin' Like a Trucker - 4:19
6. Sleep on a Clothes Line - 5:13
7. Who's That Coming - 7:09
8. A Million Miles Away - 6:55
9. Admit It - 4:19
10.Tucson, Arizona (Bonus Track) - 3:47
All songs by Rory Gallagher except track 10 written by Doug Link Wray.
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