Still Life 3 (Tuesday 5th July 2022)

There was a strong antipodean theme to Saturday's gin delivery, the main item being a bottle of Tasmanian gin, provided by Lark Distillery in an intriguing upside-down bottle, and named Forty Spotted Tasmanian Tassie Gin after the forty spotted pardalote, a rare bird that is unique to Tasmania.

The Craft Gin Club embargo is now lifted so here is the image I could not post on Saturday. It didn't include the pineapple garnish so I photographed that separately, by which time I had consumed the Kind bar. A few more of the constituents have seen been emptied or at least opened, but the gin and tonic pictured from this evening has used only the spicy pepperberry and lemon Nexba tonic water from the collection, other parts coming from earlier boxes of goodies.

L.
Wednesday 6.7.2022 (1149 hr)

Blip #3696 (#3446 + 250 archived blips taken 27.8.1960-18.3.2010)
Consecutive Blip #005
Blips/Extras In 2022 #133/265 + #054/100 Extras
Day #4485 (1045 gaps from 26.3.2010)
LOTD #2839 (#2679 + 160 in archived blips

Still Life series
Diary Blip series
Gin series
Craft Gin Club series
Alcohol series
Macro series

Taken with Panasonic/Leica DMC-LX100 M4/3 compact and +1 close-up filter

Lozarhythm Of The Day:
Robert Plant & Alison Krauss - The Price Of Love (2021)
Alison Krauss (ld vcl, fiddle) and Robert Plant (vcl) with Marc Ribot (el gtr, ac gtr), Buddy Miller (el mndln), Stuart Duncan (bnjo), Dennis Crouch (bass), Jay Bellerose (dr, perc)
For me the Everly Brothers' most golden period was their time with the Warner Brothers record label, between 1960 and 1970. This is despite publishing business problems early in the decade that denied them access to their favourite songwriters and, indeed, even their own compositions. I suspect that Robert Plant might agree with me, given the choices of Everlies material that he has performed and recorded in recent years.
During this time they were far more popular in the UK than in their homeland. The Price Of Love, a stomping Don and Phil composition, was a number 2 hit in the UK in 1965 but was not in the US top 100 at all, and so was quite possibly not known to Alison Krauss.
Having seen their performance of the song at Glastonbury, with a completely new arrangement and tempo, I ordered their new album Raise The Roof  from which it comes, and played it through twice when it came in the post on this afternoon.

One year ago:
Front Yard (Lupin seeds)