Free Speech * De Gedachten zijn Vrij: Hören Sie mal Rot, Prolétariat Révolutionnaire: Mon. 14, Tue. 15, Wed. 16 Sept. [Ed, 2015-35]


NEW:  CHANSONS DU PROLETARIAT REVOLUTIONNAIRE * HOREN SIE MAL ROT! AND ALSO: The Garden of Idan:  Yardbird John Idan’s solo project with a message ** FRANK ZAPPA: ABSOLUTELY FREE  (entire cd  from 2012 with 2 bonus tracks) + Billy Bragg  ** Lieven Tavernier * Roy Bailey & Tony Benn ** 

TIME ZONE Radio 68 = Central European Time (CET = Brusssels, Paris, Berlin) =  one hour ahead of GMT (London). Example: 20:00 hrs / 8 p.m. CET = 19:00 hrs / 7 p.m. GMT



NIEUW:MONDAYS: 16:00 hrs, TUESDAYS 12:00 and 16:00 hrs, WEDNESDAYS 12:00 hrs



Le passé de la chanson politique, et de la chanson détournée, est aussi ancien que l’histoire de la chanson elle-même. Outre toutes les chansons directement politiques, dont nous possédons tant d’exemples, vouées à la propagande ou à la critique, et ce à partir des Croisades, on peut aisément relever le caractère politique original d’un grand nombre de chansons que l’on a voulu ramener depuis à une insignifiance folklorique destinée à crétiniser les enfants. Ainsi, Auprès de ma blonde, chanson de marche des troupes de Turenne, exprime en fait le défaitisme profond des militaires de tous les temps : « Il est dans la Hollande, – Les Hollandais l’ont pris – Que donneriez-vous, belle, – Pour revoir votre ami ? – Je donnerais Versailles , – Paris et Saint-Denis. » Et Compère Guilleri, qui va à la chasse à la perdrix (c’est-à-dire le chouan qui va tirer sur les bleus, sur les soldats de la République), traduit les sentiments de toutes les guerres de partisans abandonnées par leur « direction extérieure » (« Me laisseras-tu, me laisseras-tu mourir ? »).
Le détournement, pour sa part, est plus inséparable encore de la chanson.

Dans les siècles où l’essentiel de la musique appartient au cérémonial religieux, c’est sur des airs d’église, alors connus de tous, que s’exprime, avec de nouvelles paroles, la vie profane du peuple : l’amour et les luttes politiques. Puis, aussitôt les mêmes airs sont repris, passant de l’un à l’autre de ces centres d’intérêt, et exprimant d’autres politiques en conflit. Ceci est particulièrement riche pendant la Fronde (1648-1652) et plus tard, bien sûr, pendant la Révolution de 1789. 

Cette pratique multiséculaire – transformer et chanter soi-même – avait reculé avec la passivité spectaculaire moderne, contemporaine de l’emploi aliénant des mass media qui centralisent, avec tout le reste de la communication sociale, l’émission des chansons ; et contemporaine aussi de la généralisation des « droits d’auteurs », qui transforment toutes les mélodies et toutes les paroles de votre bouche en propriété privée. Ce processus a été surtout marqué des années 40 aux années 60, et en France probablement plus que partout ailleurs, la pratique du détournement populaire étant restée assez vivante dans les pays anglo-saxons, ou même en Italie : on sait que la chanson des partisans de 1943-45, Bella Ciao, est le détournement d’une vieille chanson de travailleurs agricoles.

Jacques Le Glou

This album is a collection of labour songs recorded at the “Arbeiterliederfestival 1970” in Essen, originally released on “Pläne” in the 70s. It features classic songs like “Der rote Wedding”, “Brüder, zur Sonne, zur Freiheit”, “Gaslied”, “Einheitsfrontlied” and “Die Internationale” in recordings by artists like Hanns Dieter Hüsch, Dieter Süverkrüp, Dietrich Kittner, Franz-Josef Degenhardt and Lerryn. (ZeroGround) (released on Pläne, 1970, Germany, cd in 1998)



MONDAYS: 17:00 hrs, TUESDAYS 13:00 and 17:00 hrs, WEDNESDAYS 13:00 CET 

John Idan: The Folly, solo album
John Idan: The Folly, solo album

THE GARDEN OF IDAN:  John Idan’s solo album “The Folly” and an exclusive Radio 68 Interview * 

“John Idan’s “The Folly” is a solo album in the true sense of the word.  Not only did Idan write all the songs, he also played all the instruments – except for the strings.  “The Folly” is also a solo album in the sense that the music has nothing to do whatsoever with the sound of the groups he has played in, like The Jim McCarty Band, The Yardbirds and The Natural Blues Band. Now, how does “The Folly” sound then?  Easy question, complex answer – because John Idan’s song-writing pretty much covers most variants of present-day popular music: singer-songwriter, pure pop, psych, soul.  Style and  genre are, in fact, closely linked to the lyrics and their message, because this is an album with a message.
Before you start listening, we advise you to have look at the cover and the booklet that find John Idan sitting in pensive mood with a temple and a garden for background. John signs his foreword with ‘Peace’ – a rare word nowadays and John’s not a sixties child. Finally, Idan’s production company is called The Garden of Idan. When you listen to the music and the lyrics with those words and images n mind, the message will become clearer. Imagine yourself in the Garden of Idan.

The cd opens with the beautiful “Ballad Of Myself”, in which Idan tells you the story of his life. Nothing too surprising there, except for the line “Well, there must be some design in the connection in our lives”.  Nothing  just happens like that. But whose design is it then? That is revealed in the last refrain: “It is only by the Grace of God  do I live and tell my tale” – mind the capital letters. You  might  remark that that so many American artists (John Idan is from Detroit)  refer to God, since religion is an integral part of everyday life there, much more so than in Europe. Such, however, is not the case, since “God” here clearly refers to a spiritual feeling, a bond between all human being but not by the hand of those human beings. I find a holistic approach here,  but I’m not sure Idan would agree. At any rate, “We all belong in this wondrous life”, though it’s not  directly clear how or why.  Some mysticism is to be found here too.
Above all, this is e massage of love. Love brings enlightenment.  John Idan wants to share, he hopes that people with different opinions will at least agree “to live in peace”.  John Idan isn’t a saint. There are moments of frustration and sadness, probably even despair or hopelessness, though he doesn’t say that aloud. Sadness is a probability, and so is madness, no less. Armed with love, peace and belief, John Idan has the strong will to overcome and pleads his god to help me in this endeavour.

The psychedelic song “The Kali Yuga’s Getting Hot”, refers to Hinduism, the Kali Yuga being an age that is about to end, the period  in which mankind fought, killed, plundered, burned and moved away from god. A new age is coming. In the sixties, that was the Age of Aquarius.

How about the music? Well, you will find plenty of reviews going into that. Just check them out on John Idan’s website:  And listen to this show, of course”.

Review by Eddy Bonte, 06 Sept. 2015

MONDAYS: 18:00 hrs, TUESDAYS 14:00 and 18:00 hrs, WEDNESDAYS 14:00 hrs

FRANK ZAPPA: ABSOLUTELY FREE + Billy Bragg (a selection from “Must I Paint You A Picture? The Essential Billy Bragg, cd1)

Foreword to the “Absolutely Free Libretto”
words & music by FRANK ZAPPA
© 1967 Frank Zappa Music, BMI a subsidiary of Third Story Music BMI


Zappa Absolutely Free over

Music has always shown how people think and feel, according to John Tasker Howard. He is probably right. The music of the MOTHERS speaks of the feelings of what might be described as THE VAST MINORITY. The feelings of the people on the fringe of everything … the ones who don’t care if they’re IN or OUT … don’t care if they’re HIP, HEP, SWINGIN’ or ZORCH. This is the audience the MOTHERS want to reach… those few who have the power within themselves to cause or motiviate social change but have never used it for one reason or another. If you are reading this and understand it (even if you have short hair and watch TV 18 hours a day), it is time that you realized WHO and WHAT YOU ARE. It is time you realized what the words to our songs mean.

This album was recorded the week before Thanksgiving, November 1966 in Los Angeles at the  Sunset-Highland Studios of T.T.G. Inc.,  in a series of 4 sessions (about 25 studio hours). It was edited and re-mixed in New York City at the MGM Studios in 5 sessions (about 35 studio hours) the following week. The album was finally released around May 26, 1967 … the reason for the delay? Partly because of this libretto. The original plan was to include within the album, the words in this brochure. The record company attempted to censor the words and a long involved discussion ensued. We were forced to manufacture this product.

The music itself took several years to compose (America Drinks & Goes Home was writtten in 1964 … most of the other segments were written before or shortly after  Freak Out!, our first album, was released in 1966). We hope that this material will help you to enjoy our work on a more personal level.

Thank you
Frank Zappa
for the MOTHERS of Invention


MONDAYS: 19:00 hrs, TUESDAYS 15:00 and 19:00 hrs, WEDNESDAYS 15:00 hrs 

LIEVEN TAVERNIER & UNITED BRASS: De fanfare van honger en dorst
ROY BAILEY & TONY BENN: The Writing On the Wall


Alleen al omdat hij “De fanfare van honger en dorst” componeerde, verdient Lieven Tavernier een ereplaats in het Pantheon van het Nederlandstalige lied, mocht hij zoiets al willen natuurlijk.  Het is namelijk een onsterfelijk nummer, wat het drukt in enkele ogenschijnlijk eenvoudige strofen essentiële levenservaringen uit: de hoop die illusie wordt, de desillusie die hoop wordt wanneer anderen overnemen, lees: het leven verder zetten, nooit  aflatend. Sommige mogen hier het failliet van een generatie in horen,  vooral diegenen die aan de kant stonden te wachten tot de anderen zouden verongelukken, ikzelf hoor met Lieven Tavernier alweer een andere fanfare in de verte. En hun brommend geluid gaat crescendo (Eddy Bonte)
Op  ‘De fanfare van Honger en Dorst’ herneemt de 66-jarige artiest tien van zijn oudere nummers met United Brass, een vijfendertigkoppige blaaskapel uit het Leuvense. Samen met onverwachte tonaliteiten brengt hun alliantie ook een mozaïek van uiteenlopende sferen aan de oppervlakte. Producer Yves Meersschaert voorziet de songs van prachtige nieuwe arrangementen, die nu eens uitgesproken elegisch (‘In Knokke’, ‘Kerstdagmorgen’), dan weer luchtig tot opgewekt aandoen (zie: het zonovergoten ‘Molenstraat’). Tijdens ‘Sleutels’ zie je, in gedachten, zelfs enkele rijpere stellen over de dansvloer schuiven
(Dirk Steenhaut). Verder lezen:

ROY BAILEY & TONY BENN: The Writing On the Wall

Recorded live at Cambridge Folk Festival in 2000 this CD is a good substitute for those who haven’t yet managed to catch their show and a fine reminder for those who have. Benn’s contribution is a skip through the history of resistance to oppression and exploitation in England from the Peasants’ Revolt of the 14th century up to the present day…. All this is interspersed with and illustrated by, songs from folk-singer Roy Bailey At the end of the first half Bailey had the audience singing the chorus of one of the West’s most famous revolutionaries.
Socialist Review March 2005





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