Langspeeltijd * Longplaytime of Monday 08, Wednesday 10 October: Back in ’69 with Rod Stewart 1969, Ralph McTell, The Status Quo [Ed’s Show, 2018-39]

NEW SHOW: Rod Stewart 1969, The Status Quo, Ralph McTell + The Outsiders *** REPEATEDThe Soundtracks: Zabriskie Point, Blow-Up,  Here We Go, ‘Round The Mulberry Bush  *** Monday 08 October, 12:00-24:00 hrs  CET Brussels + repeated Wednesday 10 October, 12:00 till 20:00 hrs *** [2018-39 (54] *** RADIO 68: ALL THE SOUNDS AND ALL THE VOICES OF THE SIXTIES ****

NEW SHOW Sundays 12:00, 16:00 & 20:00 hrs ; Wednesdays 12:00 & 1600 hrs (Brussels CET)
SPECIAL: Back in 1969… Rod Stewart, The Status Quo, Ralph McTell + The Outsiders
LOVE, PEACE & UNDERSTANDING THE YOUNGBLOODS: Dreamer’s Dream (Earth Music, 1967).
ROD STEWART: An Old Raincoat Won’t Ever Let You Down, 1969: entire album.
SMOKEY ROBINSON & THE MIRACLES: Going To A Go-Go, 1964, choice tracks.
RALPH McTELL:  My Side Of Your Window, 1969, choice tracks.
THE STATUS QUO: Picturesque Matchstickable Messages From The Status Quo, 1969, choice tracks.
SANDY POSEY: I Take It Back, 1967, choice tracks.
THE OUTSIDERS (US): Time Won’t Let Me, 1966, A-side
WORD & FREE SPEECH: Ralph McTell (Factory Girl,  Blues in More Than 12 Bars), Derroll Adams, Tanks in Prague, Ho Ho Ho Chi Minh street slogan.

REPEATED SHOW Sundays 14:00, 18:00 & 22:00 hrs ; Wednesdays 14:00 & 1800  (Brussels CET)
SPECIAL  THE SOUNDTRACKS : ZABRISKIE POINT, Antonioni, 1970 (entire album): The Pink Floyd, Grateful Dead, The Kaleidoscope, Roscoe Holcomb, John Fahey, Jerry Garcia, Patti Page ** BLOW-UP, Antonioni, 1967 (choice tracks): Herbie Hancock, The Yardbirds with JEFF BECK and JIMMY PAGE, Tomorrow (two outtakes), Unknown Studio Musicians ** HERE WE GO ROUND THE MULBERRY BUSH, Clive Donner, 1968, entire album: The Spencer Davis Group, Traffic,  Andy Ellison (alternate versions instead of OST of  four Spencer Davis Group tracks: Taking Out Time, Picture Of Her,  Just Like Me, Possession) **
AND ALSO: THE UNITED STATES OF AMERICA, 1967: three alternate versions that did not make the LP: The American Metaphysical Circus, Heresy aka Coming Down, Mouse aka The Garden of Earthtly Delights  + DAVID HEMMINGS HAPPENS, 1967 **
WORD & POETRY: No pasarán * The Fugs & Alan Ginsberg: I Saw The Best Minds Of My Generation * Weathermen Announce Offensive *  Delphine Lecompte : Ik vergeet soms (exclusieve Radio 68-voorleessessie)


 Monday,  Wednesday CET Brussels Mon.    Wed.
 Longplaytime new show: Rod Stewart, Status Quo 12, 16, 20 hrs not repeated
Longplaytime repeated show: Soundtracks 14, 18, 22 hrs not repeated
End of show 24:00 Midnight 20:00 hrs


ROD STEWART: An Old Raincoat Won’t Ever Let You Down
Rod Stewart has released a new album, almost fifty years after his debut on Vertigo with “An Old Raincoat Won’t Ever Let You Down”. By that time, Stewart had been in a number of short-lived groups which featured future stars Julie Driscoll, Brian Auger and Long John Baldry. His venture with Jeff Beck would also prove to be short-lived, though it would bring him fame and lead to a creative partnership with The Jeff Beck Group’s bass-player Ron Wood. Stewart kept developing solo projects (mainly in the studio) alongside his engagement in The Faces. The break-up of this band, would also be the real start of Stewart’s international  breakthrough – embracing disco, Christmas songs and evergreens and, regretfully, abandoning his stunning earlier work.  His first LPs reveal a great singer with a unique capacity of interpreting songs.   By Eddy Bonte

“I know what you’re thinking – Rod Stewart? And I agree; a Stewart album would normally be the last thing I’d listen to, much less recommend. But this, his first solo LP, comes highly recommended for all those into the heavy acoustic rock groove of the Stones’s Beggars Banquet; in fact, this album could easily be re-titled “Beggars Banquet II” — even the cover follows the original “RSVP” Beggars Banquet sleeve. (And to make the Stones similarity more obvious…it features Ron Wood on guitar, years before he replaced Mick Taylor.) An ancient issue of Rolling Stone informed me of the LP. Greil Marcus raved about it in his Feb 7, 1970 review, even claiming it was the only album of late ‘69 (other than Let It Bleed) which picked up the mantle laid down by Beggars Banquet. Marcus is one of those reviewers who, analytical as he can be, I’ve always respected, mostly because he was one of the very few critics who praised Skip Spence’s Oar…back when it was originally released. (…).
“Street Fighting Man” opens the record, and it’s a great song, not just a great cover. It starts off all heavy acoustic rock, pounding drums, pedal steel guitar, banging piano, and an acoustic guitar riffing away. Stewart’s vocals lack the vitriol of Jagger; he instead sings with the raspy wail we know so well. A brief bass solo and it’s back into the groove, here a bit fatter than the proto-punk of the Stones original. An electric guitar pops up for an extended jam session in the middle; you think the song’s over much too abruptly, but then it picks back up – from what was the beginning of the Stones original. “Everywhere I hear the sound of marching, charging feet, boy,” wails Rod on multi-tracked vocals, and you can’t deny the power. Another bass solo, then things get real weird…a treated piano begins to play the opening chords of that psychedelic Stones classic, “We Love You!” What must this have sounded like in the back-to-the-roots era of late 1969?”.
Quoted from / All Rights Reserved Review by  Joe Kenney

“Made in Great Britain in 1966, the flat-out great Blow-Up (in the U.K., Blow-Up) was Michaelangelo Antionioni’s  first English-language effort. “Inspired” by Argentinean writer Julio Cortázar’s 1959 short story Las babas del diablo (literally, “The Devil’s Drool”), Blow-Up was nominated for two Academy Awards – in addition to winning the Palme d’Or. (…). Blow-Up, for its part, is not only a great work of art but a great work of philosophy as well, one as impressive as Antonioni’s Italian masterpiece, La Notte (1961). Also of interest, Blow-Up caused a bit of a stir upon its release for its depiction of female nudity, casual sex, and drug use. Of course, forty years later this all seems a bit silly, considering how tame the scenes look to the modern viewer”.  (Quoted from:

“Everyone who has seen “Blow-Up” will know that it’s The Yardbirds, in a recording made with the rare Jeff Beck and Jimmy Page line-up, who provide the film with its exciting live rock group action cameo, and they are seen, and here heard, blazing through an interpretation of the old Tiny Bradshaw via Johnny Burnette Rock ‘N’ Roll Trio chestnut ‘Train Kept-A-Rollin’ – here redesigned as the sharper-titled ‘Stroll On’ – yet that’s only a smidgeon of what’s on offer.

This recently-issued reassessment of the soundtrack via the Music on Vinyl outlet presents everything in a vibrant, altogether more alive way for the up to date listener to get their head into. A few of the instrumental pieces – almost all created by the great Herbie Hancock number among the set’s most colourful creations, including the highly effective ‘Bring Down The Birds’.

Most people who are even just a little bit bothered about those types of fascinating behind-the-scenes insights will know nowadays – well at least since the initial vinyl reissue way back in the late 80s / early 90s – that one of director Michelangelo Antonioni’s first choice London groups for the onstage club guitar smasherama scenario was to have been the never less than intriguing, always effortlessly endearing Tomorrow, the British psychedelic pop legends who would later go on to give us such mercurial-sounding underground pop gems as ‘My White Bicycle’ and ‘Revolution’. Here, they can be heard as they transit forward from their more mod-inclined previous incarnation when they operated as the In Crowd, and now giving out with the softly attacking charm of ‘Am I Glad To See You’.” (Quoted from:

DISCLAIMER:  Radio 68  promotes certain types of music and word, see our Policy in ‘About Us’. Illustrations and Quotations are solely used to enhance this promotion and are thus used for information and educational purposes only. Illustrations and Quotations are All Rights Reserved. Radio 68 may not own the rights to the illustrations on Sources are clearly mentioned. No use is made of sources which explicitly prohibit use by third parties, except when prior permission has been granted. Radio 68 pays artists copyrights to Sabam Belgium. Radio 68 is a free, self-contained, non-commercial and not-for-profit project that receives no income from ads, sponsoring, subsidies or other external sources whatsoever.

Leave a comment

This site uses Akismet to reduce spam. Learn how your comment data is processed.