MONDAYS & TUESDAYS: 12:00 noon till 16:00 hrs and 16:00 till 20:00 hrs (CET (Brussels, Berlin)** GMT (London) : 11 a.m. till 3 p.m. and from 3 p.m. till 7 p.m. ** FORMAT: Free Speech consists of four 60-minute shows. A new show is added each week. It is followed by three previous shows. [2017-22 = 2016-35]
12 noon and 16:000 hrs CET (11 a.m. and 3 p.m. UK time) NEW SHOW
JUDY COLLINS: In My Life, 1966
We play six tracks from ‘In My Life’, plus other versions of these six songs – some are originals and older versions that inspired Collins, some are much later versions of songs that Collins did first; featuring The Beatles, Bob Dylan, The Royal Shakespeare Company, Chris Farlowe, Jacques Brel and Lotte Lenya.
13:00 and 17:00 hrs CET (12 noon / 4 p.m. UK time) REPEATED HERHALING
COLETTE MAGNY: Vietnam 67, Mai 68
Selected tracks from Magny’s albums “Vietnam 67” and “Mai 68” + songs from her blues album + versions of blues songs Magny used to sing by Josh White, Eric Burdon & The Animals and The Spencer Davis Group. And also: Maxime Le Forestier, Sugarloaf, Mai 68, Oakland antiwar protest (audio).
14:00 and 18:00 hrs CET (1 p.m. / 5 p.m. UK time) REPEATED HERHALING
THE UNITED STATES of AMERICA: seven tracks from the original album, 1968 ** AND ALSO: Kenny ‘Blues Boss’ Wayne * Mungo Jerry * The Byrds * 5th Dimension * Mama Cass * Degenhardt & Süverkrüpp * Miek en Roel * Voice: Jim Hightower http://jimhightower.com
15:00 and 19:00 hrs CET (2 p.m. / 6 p.m. UK time) REPEATED HERHALING
THE DAWN OF PSYCHEDELIA: RADIO 68 PLAYS selected tracks from the 2cd “Dawn of Psychedelia” and assorted pop songs that introduce and discreetly announce psychedelic music – the music form that was going to define pop in 1967: The Yardbirds * Pink Floyd * The Moody Blues ** Aldous Huxley * Gabor Szabo (Chico Hamilton) * Sounds Incorporated * Ken Nordine * Timothy Leary * Allen Ginsberg * Sonny Bono * Terry Randall * 13th Floor Elevators * The Deep ** Yusef Lateef ** The Leathercoated Minds * Grains Of Sand * Charles Lloyd Quartet *
ACHTERGRONDINFO ** MORE INFORMATION
JUDY COLLIS: IN MY LIFE, 1966
“’Released in 1966, ‘In My Life’ features songs by artists who didn’t ring a bell – yet. There are the first appearances of songs by Leonard Cohen on record. And though Randy Newman had been covered by some pop artists, he was yet to release his own album. Jacques Brel had done Carnegie Hall, but could hardly be called a household name in the USA. Peter Brook’s play “Marat/Sade” bore no relation to the popular music business at all, but it was a revolutionary piece of work, also stylistically, and Collins let herself inspire by it.
Whereas this isn’t an album of protest songs, some tunes quite explicitly reflect the values that were soon to define the sixties, such as pacifism (Brel’s ‘La Colombe’), or directly point towards revolutionary lyrics like (Brecht and Weil’s ‘Pirate Jenny’) and even to the French Revolution itself (Marat/Sade, after Peter Brook) “ (© Eddy Bonte)
“In My Life was the album most crucial to Judy Collins’s astonishing evolution from traditional folk singer to an artist not limited to any category. While folk music was certainly an element of this extraordinarily varied set, it was just one ingredient of a record that also drew from classical music, the theater, rock, and more. Some critics did try to classify the sound as “baroque folk” at the time, and if that’s an actual genre, In My Life is certainly the keystone baroque folk album. But the album transcends labels, testifying to her skill at interpreting material by an amazing array of writers in remarkably eclectic musical settings” (…) (by Richie Unterberger http://www.richieunterberger.com/inmylife.html)
COLETTE MAGNY: Vietnam 67, Mai 68
A l’occasion de la réimpression de son disque “Vietnam 67” en 1983, Colette Magny écrivait sur sa pochette du disque:
« En 1967, nous criions “Victoire au Vietnam”, “F.L.N. vaincra”. Et c’était juste, je suppose, à ce moment là. Aujourd’hui, après les témoignages parus dans “Le Monde”, bouleversée, je dois accepter que les “cages à tigres” sont de nouveau pleines. Et j’essaie de comprendre:
Que peut signifier le mot “cruauté” pour des femmes et des hommes cernés par l’horreur, engloutis dans un quotidien de terreur imposé par les U.S.A., enfants, en pleine guerre, sur les routes s’amusaient à sauter, rebondir sur le ventre d’un cadavre (Vietnamien, l’un des leurs) pour en extraire des bruits d’oesophage qui les faisaient rire ?
Que sont ces enfants devenus ? Quelles femmes ? Quels hommes
Quoi qu’il en soit, je maintiens mon admiration pour la détermination, l’intelligence et l’endurance du peuple vietnamien dans le combat pour sa liberté.
Après un éveil politique tardif (fin de la guerre d’Algérie), j’enclenchai un intérêt passionné et passionnel pour les “événements”. D’où ces chansons braquées sur l’actualité (certains textes élaborés à partir de coupures de journaux, par ex. : “A Saint Nazaire”). (…)
Si ma passion de comprendre et de témoigner demeure, elle est désormais animée de vigilance » (Colette Magny, septembre 1983) (Source inconnu)
L’année suivante avec l’album « Vietnam 67 », Colette Magny se pose véritablement en chroniqueuse militante de son époque : guerre du Vietnam (« Vietnam 67 »), soutien à Cuba (« Viva Cuba »), aux grévistes des chantiers navals de Saint-Nazaire (« A Saint-Nazaire »), dénonciation des maladies causées par la bombe atomique (« Bura-Bura » sur les rescapés d’Hiroshima) alors que la France vient de procéder à des essais nucléaires aériens en Polynésie… Elle met également en musique deux poètes du XVIe siècle : Oliver de Magny (« Aurons-nous point la paix ? » qui condamne la guerre) et Louise Labbé (« Baise m’encor ‘ ») ainsi que Vladimir Maïakovski (« Désembourbez l’avenir ») et une nouvelle fois Victor Hugo (« La blanche aminte »). http://www.lehall.com/consultez-l-histoire/artistes/magny-colette
RADIO 68 PLAYS selected tracks from Magny’s albums “Vietnam 67” and “Mai 68”. We also broadcast songs from her blues album, plus versions of blues songs Magny used to sing by Josh White, Eric Burdon & The Animals and The Spencer Davis Group. And also: Maxime Le Forestier, Sugarloaf, Mai 68, Oakland antiwar protest (audio).
THE UNITED STATES OF AMERICA
“ (…) The band barely lasted two years, released only one album (in 1968, which Columbia’s marketing department sat on its hands to promote), and ended up a cult favourite that would later be speculated as a phantom influence for the Krautrock sound. The USA’s self-titled album still stands above the work of most of their Monterey-era, psych-rock peers, and this long-awaited reissue tacks on 10 tracks’ worth of audition tapes, B-sides, and alternate takes.
The band’s deft addition of electronic noise and modulation into what would otherwise be soundtracks for the Beach Boys’ California or ham ‘n’ eggs Anglo-rock was several years ahead of its time. Former UCLA ethnomusicology instructor Joseph Byrd concocted miracles with ‘musique concrete’ -style tape collages and white noise blurts that veered in and out of the songs like uninvited but still welcome guests. He also tackled a dub-like mixology of tape delays and ring-modulated fade-outs and, best of all, distorted and punch-drunk synthesizers that sound indistinguishable from electric guitars. This was a fresh approach to rock from a unique group of musicians: UCLA students who had studied Cage and Karlheinz Stockhausen but, as Byrd’s liner notes claim, were “ignorant” of rock roots. And, although the band does indulge a few moments of awestruck discovery of their instruments’ capabilities, the noise generally works with the music rather than simply being fodder from badge-wearing freaks tying to spook the Organization Man.
If USA had an anthem, it was “The American Metaphysical Circus”. The track opens with a pleasantly disorienting hodgepodge of sampled John Philip Souza marches and Byrd’s faithful kiddie-baiting Ringling Bros. calliope melodies before chanteuse Dorothy Moskowitz arrives with her herbal tea-watered croon, carefully enunciating like a three-nights-of-sleep-deprived mother’s lullaby. Meanwhile, electric violinist/ring modulator foreman Gordon Marron emits aurora borealis streaks of police siren wails and bassist Rand Forbes keeps the music resting its head on a bar table all night long (…)”. (Source: http://pitchfork.com/reviews/albums/8385-united-states-of-america- )
INTERVIEW with J. Byrd: http://www.cloudsandclocks.net/interviews/Byrd_interview.html
THE DAWN OF PSYCHEDELIA
The 2cd “The Dawn of Psychedelia” (Cherry Red, 2015) tries to trace and explain the origins of psychedelic pop music and quite correctly points towards the early sixties, the fifties and occasionally even further back in time – to the Beats, new jazz forms (e.g. Sun Ra), experimental composers like Varèse, the introduction of new substances like marihuana, LSD or mescaline (Aldous Huxley’s “The Doors of Perception” about his mescaline habit appeared in 1954), art forms that broke all the rules (Pollock, Dalí) and Indian music.
By the end of 1966, the global success of of rock’n’roll, yeah-yeah, beat and white R&B was fading. First of all, pop musicians increasingly recorded self-written material or turned to songwriters who created a body of work outside the official song-writing business (Bob Dylan, Randy Newman, Neil Diamond, Tim Hardin). Second: as they developed their creativity, these young composers searched for new sounds and found these in their very own past (folk music), in other genres (free jazz) or even in an entirely different culture – the Indian sitar being the prime example. Songwriters with an ear for production – like Brian Wilson – needn’t even travel in time or space, but used the new technology to create unheard of sounds in the studio.
Psychedelic pop music then show the following features:
exotic (sitar), new (melotron), but equally traditional instruments like the flute;
music interspersed with spoken word, voices, street noise and all sorts of weird sounds;
electronic effects, from the wah-wah pedal to feedback, fuzz and distortion;
complex patterns, chord changes, improvisation, solo and repetition (jazz being the main source here);
the incorporation of other art forms on stage (action painting, dancing, light shows) and the extensive use of modern graphics for LP sleeves;
lyrics about esoterical, psychological and spiritual themes, often sung in a high, shrill voice and sometimes used for effect only.
“The Dawn of Psychedelia” consists of music and spoken word. There’s a lot of jazz here, some Varèse and tons of sitar. The spoken word tracks cover anything from an interview snippet with Dalí to a recipe for ‘Hashish Fudge’. The merit of this release is to clearly show that psychedelic pop didn’t come out of the blue, but the downside is that many tracks can easily be replaced by some other piece of music or spoken word.
RADIO 68 PLAYS selected tracks from the 2cd “Dawn of Psychedelia” and assorted pop songs that introduce a