My Generation of Sun. 11, Tue. 13 March: Vince Taylor and Friends, Chicken Shack [Ed’s SHow, 2018-10]

NEW SHOW: Vince Taylor and Friends, Chicken Shack  ***  Repeated: Soul singles 1968, Luther Allison, Patrick Verbeke *** Ed’s Show, 2018-10, Sunday 11 March, 12 noon till 12 midnight CET Brussels & repeated  Tuesday 13 March, Feb., 12:00 till 20:00 hrs CET Brussels  *** RADIO 68: all the sounds and all the voices that shaped the sixties ***

THE PLAYLISTS

1 MY GENERATION (NEW)
SPECIAL:  VINCE TAYLOR & FRIENDS
VINCE TAYLOR LIVE A L’OLYMPIA: C’Mon Everybody (1961), Twenty Flight Rock (1065), Fever (1966) + previously unreleased “Cold, White and Beautiful + THE SHADOWS feat. Brian Bennett and Brian ‘Licorice’ Locking: : Blue Shadow (LP “Dance With The Shadows”, 1964 (by Brian Bennett, Vruab Locking, Hank Marvin, Bruce Welch)  + THE BEATLES feat. TONY SHERIDAN: What’d I Say + BIG JIM SULLIVAN COMBO: Hot Hiss Of Steam, b-side, 1961 single + BIG JIM SULLIVAN & JIMMY PAGE: Pageing Sullivan (< The Wild One, 1966) + THE KREW KATS: The Bat (unreleased at the time)   *** FORGOTTEN & OVERLOOKED THE BEAU BRUMMELS: Laugh Laugh , Just A Little (Top 20 USA, 1965) + THE SOPWITH CAMEL: Hello Hello (no. 26 USA 1967) *** LONGPLAYTIME : AUDIENCE (Waverley Stage Coach, first LP, 1969) + THE KINKS: Days (no. 12 UK / no. 17 Belgium < Village Green Preservation Society, 1968) + THE HERD: On Your Own (Paradise and Underworld, 1968)  *** WORD:  ROBERT F. WILLIAMS: Negroes, Whites and Violence ***

2 BLUESIDE (NEW)

SPECIAL: CHICKEN SHACK (THE DERAM YEARS): Crying Won’t Help You Now, Poor Boy (Imagination Lady, Deram, 1972), As Time Goes Passing By, Stan the Man, Unlucky Boy (Unlucky Boy, Deram, 1973) + TONY ASHTON BAND: Mercy Mercy (cd ‘Endangered Species’) *** THE ORIGINATORS  & INSPIRATORS : CHAMPION JACK DUPREE:  Lawdy Lawdy (Scooby Dooby Doo) + FREDDIE KING: Have You Ever Loved A Woman *** KEEPERS OF THE BLUES FLAME: JOHN OATES: Arkansas, DIg Black Deep (cd Arkansas, Thirty Tigers, 2018, thanks to V2 Records Belgium and Thirty Tigers records)  *** WORD:  MICHELE GAZICH: Guerra Civile + MATT JONES: Hell No, I Ain’t Gonna Go

3 MY GENERATION (repeated) 
SPECIAL:   SOULIN’ 68
JOE TEX: Men Are Scarce + DR. JOHN: Mama Roux (promo) + CLARENCE CARTER: Too Weak To Fight  + TYRONE DAVIS b-side Can I Change My Mind  + SHORTY LONG: Say What You Wanna (B of ‘Here Comes The Judge) + PERCY SLEDGE Between These Arms  b of ‘Sudden Stop’ + JAMES BROWN: Lickin’ Stick pt. 2 + MARVIN GAYE & TAMI TERELL: You’re All I Need  + THE INTRUDERS: Cowboys To Girls + JUNIOR WALKER & THE ALL STARS: Mutiny, B-side of Home Cookin’ + ARCHIE BELL & THE DRELLS: Tighten Up, parts 1 and 2  *** AND ALSO: P.P. ARNOLD, cd “Turning The Tide”, 2017 + THE TREMELOES, 1968  *** WORD: “Suicide In the Trenches” by Siegfried Sassoon, Peter Doherty + Keith Christmas: When the New Man Comes to Power (cd “Crazy Dancing Days”, 2016).

4 BLUESIDE (repeated)

SPECIAL: LUTHER ALLISON
STARTER: BILL WYMAN’s RHYTHM KINGS and GEORGIE FAME*** THE ORIGINATORS  & INSPIRATORS : JERRY ROLL MORTON *** SPECIAL LUTHER ALLISON: LUTHER ALLISON: Little Red Rooster, 4:00 In The Morning, Every Night About This Time (Bartholomew / Domino) debut LP Love Me Mama, 1969) + LUTHER ALISON with PATRICK VERBEKE: Nobody But You  (cd My Blues, Ruf Records, 2001) + PATRICK VERBEKE: De quoi j’vais me plaindre, Sado-Maso Blues + PATRICK VERBEKE, Alain Briaux & VINCE TAYLOR: Money Honey *** KEEPERS OF THE BLUES FLAME: BERNARD ALLISON: You’re Gonna Need Me (by L. Allison, cd “Let It Go”, Ruf, 2017, Thanks to Ruf Records and V2 Records Belgium)  + STEVIE WONDER: Fingertips, pt. 2  *** WORD:  JOHN DENVER: Peace + The Strangest Dream; CLAUDE McKAY: If We Must Die

ACHTERGRONDINFORMATIE ** BACKGROUND

 VINCE TAYLOR

Vince Taylor never made it in the UK or the US, but he was huge in Belgium and France. His singing  voice wasn’t anything special, but on stage he was a real phenomenon, a devil all clad in black leather with chains, medals and bracelets, putting on a unique physical stage act that involved rolling on his back. Some of his numerous French gigs were recorded and Big Beat Records put out a cd with seven songs captured at the Paris Olympia  on various occasions in 1961, 1965 and 1966. The cd is augmented with two early singles on Parlophone, five tracks on Palette (incl. the unreleased ‘Cold, White and Beautiful’).
Taylor compensated his voice by putting on a show, but also by hiring some of the best UK musicians around. On his Parlophone singles from (1959-1960), Vince Taylor was accompanied by the likes of  Brian ‘Licorice’ Locking (bass), Brian Bennett (drums), Tony Sheridan (voc, gtr) and Joe Moretti (gtr). Next, Locking and Bennett moved to Marty Wilde’s backing group, the Wild Cats, which developed into The Krew Cats featuring Big Jim Sullivan on lead. At the end of 1961, Brian Bennett became a Shadow. After a short stint with Adam Faith’s Group The Roulettes, Locking equally joined The Shadows (as both Tony Meehan and Jet Harris had left by that time). Jim Sullivan also lead his own group, The Big Jim Sullivan Combo (one single in 1961), before becoming an in-demand session player who would keep on releasing solo stuff every now and then, such as the LP ‘Sitar Beat’. (Eddy Bonte).
RADIO 68 PLAYS tracks from the Big Beat cd ‘Live At The Olympia’, The Shadows feat. Bennett and Locking, The Krew Kats feat. Jim Sullivan, The Big Jim Sullivan Combo (b-side of their only single) and The Beatles feat. Tony Sheridan.

LUTHER ALLISON

“By 1957, Allison had dropped out of school and formed a band called The Rolling Stones. Unhappy with the name, they became The Four Jivers, gigging all over the West Side of Chicago. Before long, Luther was jamming with the West Side’s best, including Magic Sam, Otis Rush, and Freddie King, who encouraged Allison to sing. “That,” said Allison, “was my school.” When King began to tour nationally in the early 1960s, Allison took over King’s band as well as his weekly gigs at Walton’s Corner and became one of the hottest acts on the West Side. For five years, Allison honed his craft. He moved to California for a year and cut sides with fellow Chicagoans Shakey Jake Harris and Sunnyland Slim. He cut his first two songs as a leader on the now-classic Delmark anthology, Sweet Home Chicago, before releasing his first solo album (also on Delmark), Love Me Mama , a record of hard-hitting blues that spoke to the growing rock audience. But even before his debut album came out, Luther landed a headlining spot at the influential Ann Arbor Blues Festival in 1969, and went from relative unknown to major blues-rock attraction. “His guitar riffs seemed to defy the possible,” raved John Fishel, the program director of the festival, who brought Allison back to perform at the following two festivals”.  Quoted from / All Rights Reserved: http://www.rufrecords.de/index.php?option=com_content&view=article&id=27:biography-l-allison&catid=10&Itemid=194&lang=en

SOUL MUSIC IN 1968

“Aretha Franklin began the year with her best album to date, Lady Soul, but had trouble coming up to that high point during the rest of the year. In some ways her career is indicative of soul music’s development this year: having already created an extremely high standard for herself, she is now having trouble either living up to it or finding new directions in which to grow. News of her forthcoming jazz-oriented album bodes well for her in this respect, because it shows that she is aware of the problem. Prior to 1968, Atlantic records had distributed Stax records and had contributed to formulating its policies. In 1968, Stax separated from Atlantic and was bought by Gulf and Western. Jim Stewart remains the president of Stax and is now on his own. The initial efforts of Stax as an independent have been superb: the label’s very first release, Booker T. and the MGs “Soul Limbo,” was a big hit. Musically, it was noteworthy primarily because of Al Jackson’s excellent percussion work. Eddie Floyd had several great records this year, particularly “Bring It On Home” and the little known “Get On Up Big Bird.” There was also William Bell’s moving “Tribute To a King” which used the traditional folk ballad form to pay homage to Otis Redding”.
Quoted from / All Rights Reserved: https://www.rollingstone.com/music/features/rock-68-19690201