Langspeeltijd * Long-playtime of Monday 17 & Wednesday 19 June: Iron Butterfly, Andromeda, Chicago, Chris Farlowe & The Hill [Ed’s Show, 2019-22]
*** NEW SHOW: In-A-Gadda-Da-Vida, Chicago Transit Authority, Andromeda, Chris Farlowe & The Hill, Bonzo Dog Doo Dah Band *** REPEATED: The Innovators Blood, Sweat & Tears and Vanilla Fudge *** [2019-22, no. 86 = 2018-09 ] Monday 17 June, 12:00-24:00 hrs CET Brussels + Wednesday 19 June, 12:00-20:00 hrs CET Brussels] **** RADIO 68: ALL THE SOUNDS AND ALL THE VOICES OF THE SIXTIES ****
NEW SHOW: SPECIAL: IN-A-GADDA-DA-VIDA
CHICAGO TRANSIT AUTHORITY: first album, 1969, side 1 *** BONZO DOG DOO DAH BAND: URBAN SPACEMAN, LP, 1968, choice tracks *** IRON BUTTERFLY: In-A-Gadda-da-Vida, full album, 1969 *** ANDROMEDA, feat. John DuCann: 1969 album, B-side excerpts *** CHRIS FARLOWE & THE HILL, feat. Paul Buckmaster, Bruce Waddell and Steve Hammond (formerly with Fat Mattress): FROM HERE TO MAMA ROSA, LP, 1970, B-side *** WORD: Bonzo Dog Doo Dah Band: + KENNY WHITE: Che Guevera (cd ‘Long List of Priors’, 2016, thanks to Continental Record Services) + JOHN LENNON *** AND ALSO: THE HERD, THE FANTASTIC JOHNNY C., CANNED HEAT.
REPEATED 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
|Monday, Wednesday CET Brussels||Mon.||Wed.|
|Longplaytime new show: In-A-Gadda-Da-Vida||12, 16, 20 hrs||12, 16 hrs|
|Longplaytime repeated show: Vanilla Fudge, Blood, Sweat & Tears||14, 18, 22 hrs||14, 18 hrs.|
|End of show||24:00 Midnight||20:00 hrs|
HIGHLIGHT ** IN DE KIJKER
IRON BUTTERFLY: IN-A-GADDA-DA-VIDA
“Iron Butterfly are a fluke in the music world. Their sound is one thing and another all at once. Basically, they’re psychedelic, with creepy classical Vox organ by Doug Ingle, Middle Eastern influenced guitar by Erik Brann, a nd tribal drums by Ron Bushy. But there’s also a hard edge to it, which explains why the album has been cited as a big influence on heavy metal. (…) For this album, he (D. Ingle) crafted love songs, and dreamy tales of exploration. “Mirage,” a tribute to a friend just passed, is one of the best. “Termination,” inspired by Greek myths, is by far the most colourful, though. All in all, not bad. In-A-Gadda-Da-Vida was Iron Butterfly’s second album. Vocalist/organist Doug Ingle and drummer Ron Buhsy are joined by newcomers Lee Dorman and guitarist Erik Brann, the latter adding great depth to their sound. “Most Anything You Want” is a great fun opener, “Termination” is a psychedelic classic, and “Mirage” is just dreamy. But as we all know, the best song is the title track, that great 17-minute finale with wild solos and all kinds of metal-prophesying arrangements. It made them famous and remains one of the best moments of the late 1960s. This is Iron Butterfly’s most important album, and includes their most important song. It’s a gas.”
by Avram Fawcett All Rights Reserved http://rockasteria.blogspot.be/2010/10/iron-butterfly-in-gadda-da-vida-1968-us.html
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/
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).
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