Free Speech: De Gedachten zijn Vrij: Platoon, Simplement par amour * Mon. 26, Tue. 27 June [2017-23]

NEW * NIEUW: PLATOON, the soundtrack * Christine Pire & Ronny Roose **  REPEATED/ HERHALING: JUDY COLLINS **  COLETTE MAGNY ** THE UNITED STATES of AMERICA *** ** There is no freedom without freedom of speech: always, everywhere and for everyone. Anything less is a violation of it.    [2017-23 = 2016-36]
Platoon cover OST

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.

12 noon  and 16:000 hrs CET (11 a.m. and  3 p.m. UK time) NEW SHOW
PLATOON, the complete OST:  The Vancouver Symphony Orchestra, The Doors, Smokey Robinson, Merle Haggard, Jefferson Airplane Aretha Franklin, Otis Redding, Percy Sledge, The Rascals ** Christine Pire & Ronny Roose: Simplement par amour ** AND ALSORichard Thompson, John Lennon & Yoko One ‘Bed Peace’, Grace Petrie.

13:00 and 17:00 hrs CET (12 noon  / 4 p.m. UK time) REPEATED   HERHALING
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.

14:00 and 18:00 hrs CET (1 p.m. / 5 p.m. UK time) REPEATED   HERHALING
COLETTE MAGNY: Vietnam 67, Mai 68Selected 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).

15:00 and 19:00 hrs CET (2 p.m. / 6 p.m. UK time) REPEATED   HERHALING
: 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



Platoon cover OST

“In compiling the soundtrack for Oliver Stone’s Academy Award winning 1986 Vietnam War epic Platoon, producer Bud Carr opted to eschew original composition in favor of a collection of songs from the ’60s in an attempt to capture the period. Many of the songs he selected were not even used in the film. The only excerpt from Georges Delerue’s score that made it onto the album was “Barnes Shoots Elias.” The ’80s were not a golden age for sales of original score soundtracks. With only a handful of exceptions (e.g., Vangelis’ Chariots of Fire and a few of John Williams’ blockbuster soundtracks), most of the commercially successful soundtrack albums contained hit singles from pop artists. And as Platoon was one of the few Best Picture winners from the era that failed even to land an Original Score nomination at the Oscars, Carr was probably wise to make that decision. He populated the album with classic rock & roll songs like the Doors’ “Hello, I Love You,” Otis Redding’s “(Sittin’ On) The Dock of the Bay,” Jefferson Airplane’s “White Rabbit,” and Aretha Franklin’s “Respect.” But the soundtrack’s best moments are not from the ’60s at all. They are the Delerue-conducted excerpts from Samuel Barber’s haunting “Adagio for Strings,” which served as the theme for the movie and bookend the album as the first and last tracks”.  Review by Evan Cater
RADIO 68 PLAYS THE ENTIRE SOUNDTRACK plus assorted antiwar songs and audio.


Christine Pire LR 2

Bij wijze van contrast, spleen we ook het zonnige, poëtische en soms ook ernstige (maar nooit te lang) werk van Christine Pire en Ronny Roose.  Frans chanson, covers van hun grote idolen en veel eigen nummers in de Franse traditie! RADIO 68 draait verscheidene nummers uit hun cd “SIMPLEMENT PAR AMOUR”
CHRISTINE PIRE: “Christines roots liggen in Oostende.  Samen met haar ex-partner Duc Ducquennoy vormde ze de kern van het theatergezelschap James Ensor. Ze speelde ettelijke beklijvende rollen in ontelbare stukken, van o.a. Claus, Shakespeare, Shepard, Vinterberg en won ook diverse keren de Octaaftrofee, de Oostendse Oscar zeg maar. Zelf regisseerde ze ‘Klaprozen’, waarin live-muziek een belangrijke rol speelde, en ‘Nadien’, waarvoor ze gelauwerd werd met de Octaaf voor Beste Productie.
Zingen deed ze altijd al, en op het podium gebeurde dat uitgebreid in de monoloog ‘Ik speel het zelf wel klaar’, waarin ze op gitaar begeleid werd door een andere Ensorspeler, Ronny Roose”. (…)


“’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

COLETTE MAGNY: Vietnam 67, Mai 68

Colette Magny Vietnam67 Mai68 LOWRES

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 »).

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).


United States of America cover lowres

“ (…) 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: )

INTERVIEW with J. Byrd:


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