Special: 1966 ** REPEATED: Paint it, Black * Georgie Fame ** Radio 68: All the sounds and all the voices that made the sixties ** Happy To Be Different
SHOWTIME CET (Brussels) Sundays 12:00 noon > 16:00 hrs ** Repeated 16:00 > 20:00 hrs, 20:00 hrs > 24:000 hrs midnight and 24:000 hrs midnight > 04:00 hrs Monday Morning.
SHOWTIME GMT (London) Sundays 11 a.m. > 3 p.m. ** Repeated 3 p.m. > 7 p.m., 7 p.m. 11 p.m. and 11 p.m. > 3 a.m. UK Monday morning.
MY GENERATION & BLUESIDE: THE PLAYLISTS
MY GENERATION (new show)
SPECIAL: 1966 ** MICHEL POLNAREFF ** JACQUES DUTRONC ** THE BYRDS ** THE WHO ** THE KINKS ** THE CREATION ** HERMAN’s HERMITS ** THE INCREDIBLE STRING BAND ** THE SEEKERS ** DUSTY SPRINGFIELD ** ANDRE BRASSEUR ** RAY CHARLES **
MY GENERATION BLUESIDE (new show)
SPECIAL: 1966 with LEE DORSEY ** WILSON PICKET ** THE ROLLING STONES ** THE CHOCOLATE WATCH BAND ** DON COVAY ** CHICAGO, THE BLUES TODAY, vol. 1, 1966: OTIS SPANN’S SOUTHSIDE PIANO + JUNIOR WELL’s CHICAGO BLUES BAND + J.B. HUTTO & THE HAWKS **
MY GENERATION (repeated)
SPECIAL PAINT IT, BLACK with THE ROLLING STONES, SPENCER DAVIS GROUP, THE SILENCE, THE PRETTY THINGS, THE CRAZY WORLD OF ARTHUR BROWN, THE BONNIWELL MUSIC MACHINE, THE SEEDS, THE RED CRAYOLA (from the Mojo magazine cd)** AND ALSO: HEDGEHOPPERS ANONYMOUS ** HONEYBUS ** THE GOLDEN EARRINGS ** FLEETWOOD MAC ** DR. JOHN ** BARRY McGUIRE ** BRUCE SPRINGSTEEN & PETE SEEGER SESSIONS BAND ** Voice: MARTIN L. KING: We Shall Overcome **
MY GENERATION BLUESIDE (repeated)
SPECIAL GEORGIE FAME with GEORGIE FAME (FAME AT LAST, 1964 * SWAN SONGS, 2013), MOSE ALLISON, CACTUS, THE WHO ** AND ALSO: ROD STEWART with RON WOOD ** WEBB WILDER ** SHUGGIE OTIS ** PETE SEEGER ** CLIFF RICHARD: What‘d I say, Live in Japan 1968 **
MY GENERATION, incl. BLUESIDE: THE SHOW
MY GENERATION / BLUESIDE is a four-hour show. Each week, a new 60 minute episode followed by the previous show, totalling two hours of all the sounds and the voices that shaped the 60s. Each show includes a special highlighting one artist, release, topic or trend. BLUESIDE: a new 60 minute episode every week, followed by the previous show, totalling two hours of the blues that influenced and inspired the sounds of the sixties – from the originators till the present day. Each show includes a special highlighting one artist, release, topic or trend.
1966: SERIOUS ALBUMS and FUN SINGLES
“The music of 1966 hits the sweet spot between two eras. On one side, you have a period dominated by professional songwriters and an unpretentious pursuit of the pleasure principle, which was ending (or at least making itself less obvious). On the other side is a period of self-conscious artistic and intellectual exploration and cultural experimentation that was just starting to bubble up from the underground. It was the beginning of pop music being treated with a measure of seriousness; the first American rock magazine, Paul Williams’ Crawdaddy!, was created in ’66, and the Beatles and Bob Dylanbegan openly forsaking the star system, opting to cease touring in order to focus instead on creating the blueprint for the next 40 years of rock music. (In Dylan’s case, this decision came after his infamous tour with The Hawks, where he deliberately performed music he knew many of his fans hated. It would be another 10 years before this approach was officially codified as “punk rock.”)
But the music of ’66 wasn’t too serious; even thinking-man’s pop artists were expected to come up with radio product. It was the year before Sgt. Pepper officially made the LP the predominant artistic vehicle for pop artists; in ’66, making heart-stopping singles was at least as important as grouping songs together into a cohesive statement. As Dylan was blowing the doors wide open for lyrical expression and laying the groundwork for the counter-cultural takeover of mainstream pop culture with Blonde On Blonde, you could also hear his sweet ditty “I Want You” and the borderline novelty song “Rainy Day Women #12 & 35” on Top 40 radio. And while the Beach Boys, to quote Mike Love, “fucked with the formula” of their sun ’n’ fun hitmaking machine with Pet Sounds, plenty of that album’s songs became hits, including “Wouldn’t It Be Nice” and “Sloop John B.” (There was also the stand-alone single “Good Vibrations,” a profoundly influential force of nature all by itself.)”
PAINT IT, BLACK
Meaningful and intelligent lyrics were common in folk, blues or jazz – but in popular music clichés and cheap rhymes ware king. The reason is simple: pop music for youngsters was just another form of entertainment. Entertainers are meant to make you feel happy and create artificial worlds that make you forget – if only for an evening or the duration of a radio show – your daily routine, bad luck and utter misery. The first singles by The Beatles were no exception: Love me do, you know I love you, I’ll always be true… The Rolling Stones were among the first to pen songs with lyrics about all aspects of life: not just the bad sides, rather the the censored, hidden and not-fit-for-young-ears ones. In 1965, they summarized the frustration of an entire new generation with consumer society in a simple pop song: ‘I Can’t Get No Satisfaction’. Of course, there was Dylan and Donovan, but they belonged to the folk tradition and folk music is exactly music by, for and about the people, not about candles in the rain. Jagger and Richards continued with ‘Mother’s Little Helper’ and, of course ’Paint It, Black’. For the mid-sixties bathing in luxury and consumerism, these were dark, offensive and almost unbearable lyrics. Not only were these lyrics about something; the frustration, angst and revolt of that generation was given it’s own sound and beat: the droning fuzz of ‘Satisfaction’, the sitar of ‘Paint it, Black’ and, in all cases, a serious beat and pounding rhythm.
ABOUT the LP “FAME AT LAST”: “Following on from the blazing live set that was his debut, Fame’s first studio album is one of those discs to which only one appellation can truly be applied — it’s dangerous. A blistering romp through Fame and his Blue Flames’ repertoire of the day, fast and loose and driving, it captures one of Britain’s best-ever R&B troupes stepping so far beyond the customary precepts of the Beat Boom that, if you were to come to this record without knowing who it was, there’s no way you’d ever guess a bunch of (predominantly) Londoners were responsible. To pull out any highlights is to indicate that there are any corresponding low-lights — there aren’t. (Dave Thompson, www.allmusic.com)
Check out the wonderful 5 cd box: The Whole World Shaking: reissue of is first four LPs with tons of extras and a fifth disc with demos and rarities: