Langspeeltijd * Long-playtime: Monday 03 & Wednesday 05 June: Mad River, Stone Country, Aguaturbia [Ed’s Show, 2019-20]
*** NEW SHOW: Lightly Heavy with Mad River, Stone Country, Aguaturbia + The Aerovons, Amazing Blondel *** REPEATED: Back to February 1968 with Tomorrow, Fleetwood Mac, Fairport Convention and OZ *** [2019-20 = 2018-07, no. 84], Monday 03 June, 12:00-24:00 hrs CET Brussels + Wednesday 05 June, 12:00-20:00 hrs CET Brussels] **** RADIO 68: ALL THE SOUNDS AND ALL THE VOICES OF THE SIXTIES ****
SPECIAL: SLIGHTLY HEAVY
THE AEROVONS: Resurrection (LP recorded 1969, US group, UK release cd 2003) ** MAD RIVER: MAD RIVER, USA, 1968 *** STONE COUNTRY: STONE COUNTRY, USA, 1968 *** AGUATURBIA: PSYCHEDELIC DRUGSTORE (Spain, 1969) *** AMAZING BLONDEL: LP, 1970 ** AND ALSO: JACK WHITE, THE MONKS *** WORD & POETRY: Antiwar Poetry by Bill Ehrhart and John Musgrave + antiwar song by John Denver ***
SPECIAL: BACK TO FEBRUARY 1968 with TOMORROW feat. Keith West, Twink, Steve Howe, John Junior Wood: TOMORROW (entire album) *** PETER GREEN’s FLEETWOOD MAC: first album, entire album (with a few alternate takes) *** FAIRPORT CONVENTION; first album, feat. Judy Dyble, Richard Thompson, Simon Nicol, Ashley Hutchings ; produced by Joe Boyd; Tracks 1-6 ** OZ: John Lennon!
|Monday, Wednesday CET Brussels||Mon.||Wed.|
|Longplaytime new show: Lightly HEavy||12, 16, 20 hrs||12, 16 hrs|
|Longplaytime repeated show: Back to February 1968||14, 18, 22 hrs||14, 18 hrs.|
|End of show||24:00 Midnight||20:00 hrs|
HIGHLIGHT ** IN DE KIJKER
“The Aerovons returned to London in March the following year to record at the Abbey Road studio – at the same time as the Beatles were recording the album Abbey Road. “They were forever sneaking off to have their pictures taken with Beatles equipment,” remembers Alan Parsons, who engineered both albums.
The Beatles would often ask how Resurrection was progressing and were always on hand for advice. “If I had a guitar sound question I could always ask George,” says Hartman. “But John wasn’t so approachable. I mean, he probably was but I didn’t feel like bugging him. He was always with Yoko, every second. He’d go into the bathroom and she’d lean against the wall and wait for him to come out.”
The Aerovons couldn’t help being inspired by their heroes – but they are more than Beatles soundalikes. On Resurrection they created a magic, melancholy cobweb of sound, drenched in cellos, the cries of seagulls and even Big Ben chimes. “The buzz around Abbey Road was that these guys are really good,” says Parsons. “I remember thinking, ‘My God, they really have a chance to be the next Beatles.’ Everybody at the label thought that.” Quoted from / All Rights Reserved: The Guardian https://www.theguardian.com/music/2003/jul/16/artsfeatures.popandrock
“Our political colours were amplified by our friendships with some of the radical poets and thinkers of the times. Richard Brautigan, The Diggers, Allen Ginsberg, Lenore Kandell, Peter Berg, Carl Ogelsby- all of them played a part in forming our music. It was crucible of alternative culture and we appreciated the new perspectives on old news that was evolving. One of my favourite gigs was at University of California in Santa Barbara. We were the music part of an evening of poetry by “Poets Against the War in Vietnam”. That pretty much placed us where we wished to be in the spectrum of culture of the time. We were less of a dance band than an expression of a young, rebellious, state of mind. Being from a liberal college, we also appreciated the fusion of art and politics that was happening.” Quoted from / All Rights Reserved: http://www.psychedelicbabymag.com/2014/03/mad-river-interview-with-rick-bockner.html
OZ and the obscenity trial
“The archive has been made available “for historical and research importance”. And, presumably, for anyone who wants to have a nosy at the infamous Schoolkids issue, which was edited by 20 teenagers and features a Rupert Bear montage that resulted in Oz’s editors – Neville, Jim Anderson and Felic Dennis – being charged with “conspiracy to corrupt public morals”. The six-week trial became the biggest culture war of the time. (…) All of which is contained in the colourful pages of the magazine (colourful apart from when they were broke and had to publish in black and white). “To see it online from beginning to end is to see everything the 60s produced – gay liberation, feminism, sex, the pill, acid, rock music, Vietnam,” Anderson says. “Everything the establishment hated was in Oz.” (Quoted from, all rights reserved: https://www.theguardian.com/media/shortcuts/2016/mar/06/return-oz-most-controversial-magazine-60s-goes-online
RADIO 68 PLAYS JOHN LENNON (Do the Oz) and BILL ELLIOTT AND THE PLASTIC OZ BAND (single). Lennon supported OZ openly.
FAIRPORT CONVENTION’s First album
“By far the most rock-oriented of Fairport’s arly albums, this debut was recorded before Sandy Denny joiined the band (Judy Dyble handles the female vocals). Unjustly overlooked by listeners who consider the band’s pre-Denny output insignificant, this is a fine folk-rock effort that takes far more inspiration from West Coast ’60s sounds than traditional British folk. Their chief strengths at this early juncture were the group’s interpretations, particularly in the harmony vocals, of obscure tunes by American songwriters such as Joni Mitchell, Bob Dylan Emitt Rhodes and Jim and Jean. Their own songs weren’t quite up to that high standard, but were better than many have given them credit for, with “Decameron” and “Sun Shade” in particular hitting wonderfully fetching melancholic moods. It’s true that Fairport would devise a more original style after Denny joined, but the bandmembers’ first-class abilities as more American pop-folk-rock-styled musicians on this album shouldn’t be undersold” (Quoted from allmusic.com, all rights reserved, text by R. Unterberger)
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