Langspeeltijd * Long-playtime of Monday 08 & Wednesday 10 July: Fairport Convention, Three Dog Night, The Temptations [Ed’s Show, 2019-25]
NEW SHOW: Fairport Convention, Three Dog Night, The Temptations *** REPEATED: The Rolling Stones (live tracks from new cd ‘Honk’), Neil Young & Crazy Horse (1st LP, 1969), The Velvet Underground (LP, 1969) *** Monday 08 July, 12:00-24:00 hrs CET Brussels + repeated Wednesday 10 July, 12:00 till 20:00 hrs CET Brussels *** [2019-25, no. 89 ] ***
*** RADIO 68: ALL THE SOUNDS AND ALL THE VOICES OF THE SIXTIES ***
|New show: Fairport Convention, Three Dog Night||12:00|
|Repeated show: Stones, Neil Young, Velvet Underground||14:00|
|End of show||24:00||20:00|
SPECIAL: FAIRPORT, THREE DOG KNIGHT
FAIRPORT CONVENTION Liege and Lief, 1969, tracks 1-5.
THREE DOG NIGHT: 1st album, 1969, part 1.
FAIRPORT CONVENTION Liege and Lief, 1969, tracks 6-8.
THREE DOG NIGHT 1st album, 1969, part 2.
THE TEMPTATONS Cloud Nine, LP, 1969, choice tracks.
AND ALSO: JEFF BECK GROUP + SPANKY & OUR GANG + LOVE, PEACE & UNDERSTANDING Ferre Grignard: My Crucified Jesus + HOMAGE TO CATALUNYA: Guillem d’Efak: Vell riu nostre (Ol’ Man River, 1965 EP) + FREE SPEECH: Paul Robeson, Ferre Grignard
SPECIAL :THE ROLLING STONES, NEIL YOUNG, VELVET UNDERGROUND
LOVE, PEACE & UNDERSTANDING Crosby, Stills & Nash: Marakesh Express.
HOMAGE TO CATALUNYA Guillem d’Efak: Vell riu nostre (Ol’ Man River, 1965 EP).
THE ROLLING STONES Honk , cd, 2019 (cd3: previously unreleased live recordings, part 1).
NEIL YOUNG & CRAZY HORSE Everybody Knows This Is Nowhere (1969, LP, side 1).
THE ROLLING STONES Honk, cd, 2019 (cd3: previously unreleased live recordings, part 2).
NEIL YOUNG & CRAZY HORSE Everybody Knows This Is Nowhere (1969, LP, side 2).
THE VELVET UNDERGROUND White Light, White Heat (LP, 1969, choice tracks).
WORD & FREE SPEECH & POETRY Hippies in Nederland 2 en 3 * Paul Robeson * Siegfried Sassoon + Dimitri Van Toren
HIGHLIGHT ** IN DE KIJKER
THREE DOG NIGHT:
(…) “There were exceptions, of course (Joe Cocker, the Monkees, most of the Motown crew), and most bands did toss at least a few covers into their repertoire, but for the most part artistic credibility was assessed, at least in part, by songwriting chops alongside the artist’s playing and singing.
Three Dog Night, formed in 1967, was one of those exceptions, a band whose value lie not in its compositional skills but in its knack for choosing songs, written by others, that fit their style and continually broadened their appeal. They were song interpreters, not song creators. Over the course of six years, 1969-75, the trio of vocalists—Danny Hutton, Cory Wells and Chuck Negron—placed 22 singles onto the Billboard Hot 100, of which an astounding half made it to the top 10. Three of those reached the coveted #1 spot.
But what made Three Dog Night such a unique phenomenon was not only their success rate, but the fact that no two of those songs sounded alike. 3DN had impeccable taste, and in the process of crafting hits that defined them they introduced or, at the very least, boosted the profile of some of the best songwriters of the era, among them Harry Nilsson, Randy Newman, Laura Nyro, Paul Williams, Hoyt Axton and Leo Sayer” (…). Source / All Rights Reserved: https://bestclassicbands.com/three-dog-night-cover-songs-10-25-18/
NEIL YOUNG & CRAZY HORSE
“Neil Young’s second solo album, released only four months after his first, was nearly a total rejection of that polished effort. Though a couple of songs, “Round Round (It Won’t Be Long)” and “The Losing End (When You’re On),” shared that album’s country-folk style, they were altogether livelier and more assured. The difference was that, while “Neil Young ”was a solo effort,”Everybody Knows This Is Nowhere” marked the beginning of his recording association with Crazy Horse” (…)With them, Young quickly cut a set of loose, guitar-heavy rock songs — “Cinnamon Girl,” “Down by the River,” and “Cowgirl in the Sand” — that redefined him as a rock & roll artist. The songs were deliberately underwritten and sketchy as compositions, their lyrics more suggestive than complete, but that made them useful as frames on which to hang the extended improvisations (“River” and “Cowgirl” were each in the nine-to-ten-minute range)” (…)
Source / All Rights Reserved: www.allmusic.com AllMusic Review by William Ruhlmann
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