Langspeeltijd * Long-playtime of Monday 10 & Wednesday 12 June * Two Innovators: Vanilla Fudge, Blood, Sweat and Tears [Ed’s Show, 2019-21]

*** NEW SHOW: The Innovators Blood, Sweat & Tears and Vanilla Fudge **REPEATED: Lightly Heavy with Mad River, Stone Country, Aguaturbia + The Aerovons, Amazing Blondel   *** [2019-21, no. 85 = 2018-08 (23)], Monday 10 June, 12:00-24:00 hrs  CET Brussels + Wednesday 12  June, , 12:00-20:00 hrs CET Brussels] **** RADIO 68: ALL THE SOUNDS AND ALL THE VOICES OF THE SIXTIES ****

PLAYLISTS 

NEW SHOW:
SPECIAL:    TWO INNOVATORS

BLOOD, SWEAT and TEARS feat. Al Kooper : CHILD IS FATHER TO THE MAN, released February 1968, full album  + VANILLA FUDGE: THE BEAT GOES ON, full album, released February 1968  ** AND ALSO: BOB DYLAN: Like A Rolling Stone (Highway 61 Revisited, Al Kooper on organ) + THE BLUES PROJECT feat. Al Kooper  +   I Can’t Keep From Crying Sometimes (by Al Kooper) ** WORD: Provo, Mohammed Ali On Vietnam

REPEATED SHOW:
SPECIAL
 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  ***

SHOWTIME

 Monday,  Wednesday CET Brussels Mon.    Wed.
 Longplaytime new show: Vanilla Fudge, Blood, Sweat & Tears 12, 16, 20 hrs 12, 16 hrs
Longplaytime repeated show:  Lightly Heavy 14, 18, 22 hrs 14, 18 hrs.
End of show 24:00 Midnight 20:00 hrs

HIGHLIGHT ** IN DE KIJKER

VANILLA FUDGE: THE BEAT GOES ON

“All of their albums captured a telltale snapshot of Vanilla Fudge’s ever-changing musical interests and talents over that lifespan, whether via the covers of established artists dominating the group’s eponymous first disc, or the self-penned material sprinkled throughout later efforts. The exception is 1968’s sophomore long-player, The Beat Goes On, which instead of proper songs consisted of a series of sound collages that to this day stubbornly refuse classification. This is in large part because the album’s recording sessions were allegedly hijacked.
According to band accounts in the years that followed, The Beat Goes On was both masterminded and orchestrated, not by the Fudge, but by its producer George Morton. It was he, they claim, who allegedly dragged the powerless young musicians along for a wild ride across four distinct musical “phases” fusing historical radio broadcasts and tripped-out mantras with brief musical vignettes. Some of these were crafted by the band, others were excerpted from the works of artists as diverse as Cole Porter, The Beatlesand Beethoven. The end results were so freaky and far-out they managed to baffle even the flower children that had taken root all over America’s opposite coast and, if anything, some musical fragments actually resembled the musique concrete creations found on vocal Vanilla Fudge critic Frank Zappa’s ‘Lumpy Gravy’.
All of which, made The Beat Goes On‘s relatively strong performance on the charts (it peaked at an impressive No. 17, likely on the strength of its more successful predecessor) perhaps the most unbelievable part of this entire story”. Quoted From, All Rights Reserved: http://ultimateclassicrock.com/vanilla-fudge-the-beat-goes-on/ 

http://www.vanillafudge.com/contents.htm

BLOOD, SWEAT & TEARS: CHILD IS FATHER TO THE MAN
“Shortly after that session (with Bob Dylan, playing organ on ‘Like A  Rolling Stone’), Kooper joined New York band the Blues Project, but stayed little more than a year. It was mid-1967 when he would put together his own vision for a contemporary rock band with Blood, Sweat and Tears. The initial idea was to expand on the concept of jazz rock or brass band rock put forth by bands such as the Buckinghams. Chicago  would also grow from this idea around the same time. Kooper assembled a core eight-man line-up to make this vision work. The band were soon signed to Columbia Records and work on Blood Sweat and Tears’ first album began in the fall of 1967. Released on Feb 21, 1968, Child is Father to the Man features a variety of interesting songs, most written by Kooper, but with a few well-selected songs from outside writers such as Randy Newman (JUST A SMILE / and Harry Nilsson / WITHOUT HER / . The LP begins with an overture that, like most good overtures, ties together various themes that will crop up on the album. (Quoted From, All Rights Reserved: Rolling Stone Magazine website).

THE AEROVONS
“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

MAD RIVER

“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

 

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