Langspeeltijd * Long-playtime: Pop Singers A Go-Go: Dave Berry [ One Dozen Berrys], Crispian St. Peters [Follow Me], David Garrick [A Boy Called David], Paul Jones [Come Into My Music Box], Gene Pitney, Cliff [Finders, Keepers]*** Monday 16 May 202 *** [Ed’s Show, 2022-17; ,p. 220]

NEW SHOW: Pop Singers A Go-Go: Dave Berry [One Dozen Berrys], Crispian St. Peters [Follow Me], David Garrick [A Boy Called David], Paul Jones [Come Into My Music Box], Gene Pitney, Cliff [Finders, Keepers] *** REPEATED SHOW *   Back To 1969 with Rod Stewart [An Old Raincoat], Smokey Robinson & The Miracles [Going To A Go-Go], The Outsiders USA [Time Won’t Let Me], Status Quo [Picturesque Matchstickable Messages], Sandy Posey [Born To Be Hurt], Ralph McTell [My Side Of Your Window]  ***  Monday 16 May  2022, 12:00 noon till  04:00 in the morning *** Time Zone CET Brussels, Paris, Berlin *** [2022-18 = 2018-41] *** no. 220

 

 

RADIO 68: ALL THE REVOLUTIONARY SOUNDS AND VOICES THAT SHAPED THE SIXTIES 


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Showtime CETime Brussels 

  • 12:00 Pop Singers: Dave Berry, Crispian St. Peters 
  • 14:00 Rod Stewart, Status Quo, Outsiders
  • 16:00 Pop Singers: Dave Berry, Crispian St. Peters 
  • 18.00 Rod Stewart, Status Quo, Outsiders
  • 20.00 Pop Singers: Dave Berry, Crispian St. Peters 
  • 22:00 Rod Stewart, Status Quo, Outsiders
  • 24:00 Dave Berry, Crispian St. Peters 
  • 02:00 Rod Stewart, Status Quo, Outsiders
  • 04:00 Show Ends Here    

01 NEW SHOWPOP SINGERS
LOVE, PEACE & UNDERSTANDING Donovan: Wear Your Love Like Heaven.
POP SINGERS
DAVE BERRY: One Dozen Berrys, LP, 1966, entire A-side.
CRISPAN ST. PETERS: Follow Me, LP, 1966, choice tracks + Simply, LP, choice tracks.
DAVE BERRY: One Dozen Berrys, LP, 1966, entire B-side.
DAVID GARRICK: A Boy Called David, LP, 1967: choice tracks.
PAUL JONES: Come Into My Music Box, LP: entire A-side.
GENE PITNEY: I’m Gonna Be Strong, LP, 1965 +  Looking Through The Eyes Of Love, LP, 1965: choice tracks.
CLIFF: Finders, Keepers, LP, 1966 + Don’t Stop Me Now, LP, 1967 choice tracks.
WORD & FREE SPEECH:  Ho Chi Minh Dies, Zwartberg 1966, Muhammed Ali Against Draft, Charles Ducal.

02 REPEATED SHOWBACK IN 1969 1969… Rod Stewart, The Status Quo, Ralph McTell + The Outsiders
LOVE, PEACE & UNDERSTANDING
THE YOUNGBLOODS: Dreamer’s Dream (Earth Music, 1967).
LONGPLAYERS
ROD STEWART: An Old Raincoat Won’t Ever Let You Down, 1969: entire album.
SMOKEY ROBINSON & THE MIRACLES: Going To A Go-Go, 1964, choice tracks.
RALPH McTELL:  My Side Of Your Window, 1969, choice tracks.
THE STATUS QUO: Picturesque Matchstickable Messages From The Status Quo, 1969, choice tracks.
SANDY POSEY: I Take It Back, 1967, choice tracks.
THE OUTSIDERS (US): Time Won’t Let Me, 1966, A-side
WORD & FREE SPEECH: Ralph McTell (Factory Girl,  Blues in More Than 12 Bars), Derroll Adams, Tanks in Prague, Ho Ho Ho Chi Minh street slogan.

ACHTERGROND ** BACKGROUND 

DAVE BERRY: ONZE DOZEN BERRYS

It’s now 40 years since Dave Berry’s ‘ eponymous debut album was released and it resounds with the distinctive vocal style It’s now 40 years since Dave Berry’s ‘ eponymous debut album was released and it resounds with the distinctive vocal style still sustaining him today as a cornerstone of the Sixties performing scene
Of course this is most obviously the case with ‘The Crying Game’, the extraordinary recording which introduced the wounded, vulnerable delivery that became a Berry trade mark. Ethereal and chillingly haunting, the song was a high-quality add­ition to the 1964 singles charts, and proves a devastatingly powerful opener to a CD comprising two original Dave Berry LPs.
That first album also included a rendition of ‘ Memphis Tennessee’ – the number written by his namesake Chuck, which had brought him a first minor hit the previous year. But you can visualise Dave’s moody stage charisma seeping from the grooves as he confidently dips his brush into an extensive palette and daubs the canvas with a colourful mix of contemporary material.
There are examples of the same kind of r’n’b as his Decca label-mates the Rolling Stones were tackling at the same time but elements of folk, country and skiffle-blues are among other diversities.
A crucial role is played by session guitarists Big Jim Sullivan and Jimmy Page, each of them shining with an inventive display of technical wizardry. ‘One Dozen Berrys’ was released in 1966 after he had become a well established figure in the pop currency of international record sales, live shows and TV appearances and the LP duly rein­forced his evident popularity. ‘I’ve Got My Tears To Remind Me’ a song written by Jackie DeShannon and Jimmy Page showcases Dave at his melodramatic best. With other tracks having been drawn from a variety of sources, including Chuck Berry again, Bobby Goldsboro and Burt Bacharach-Hal David ( Berry’s hit ‘Baby It’s You), an­other wide sweep in content and approach is assured from the outset. by Russell Newmark ( Quoted from The Beat Magazine All Rights Reserved.

ROD STEWART: An Old Raincoat Won’t Ever Let You Down

Rod Stewart has released a new album, almost fifty years after his debut on Vertigo with “An Old Raincoat Won’t Ever Let You Down”. By that time, Stewart had been in a number of short-lived groups which featured future stars Julie Driscoll, Brian Auger and Long John Baldry. His venture with Jeff Beck would also prove to be short-lived, though it would bring him fame and lead to a creative partnership with The Jeff Beck Group’s bass-player Ron Wood. Stewart kept developing solo projects (mainly in the studio) alongside his engagement in The Faces. The break-up of this band, would also be the real start of Stewart’s international  breakthrough – embracing disco, Christmas songs and evergreens and, regretfully, abandoning his stunning earlier work.  His first LPs reveal a great singer with a unique capacity of interpreting songs.   By Eddy Bonte

“I know what you’re thinking – Rod Stewart? And I agree; a Stewart album would normally be the last thing I’d listen to, much less recommend. But this, his first solo LP, comes highly recommended for all those into the heavy acoustic rock groove of the Stones’s Beggars Banquet; in fact, this album could easily be re-titled “Beggars Banquet II” — even the cover follows the original “RSVP” Beggars Banquet sleeve. (And to make the Stones similarity more obvious…it features Ron Wood on guitar, years before he replaced Mick Taylor.) An ancient issue of Rolling Stone informed me of the LP. Greil Marcus raved about it in his Feb 7, 1970 review, even claiming it was the only album of late ‘69 (other than Let It Bleed) which picked up the mantle laid down by Beggars Banquet. Marcus is one of those reviewers who, analytical as he can be, I’ve always respected, mostly because he was one of the very few critics who praised Skip Spence’s Oar…back when it was originally released. (…).
“Street Fighting Man” opens the record, and it’s a great song, not just a great cover. It starts off all heavy acoustic rock, pounding drums, pedal steel guitar, banging piano, and an acoustic guitar riffing away. Stewart’s vocals lack the vitriol of Jagger; he instead sings with the raspy wail we know so well. A brief bass solo and it’s back into the groove, here a bit fatter than the proto-punk of the Stones original. An electric guitar pops up for an extended jam session in the middle; you think the song’s over much too abruptly, but then it picks back up – from what was the beginning of the Stones original. “Everywhere I hear the sound of marching, charging feet, boy,” wails Rod on multi-tracked vocals, and you can’t deny the power. Another bass solo, then things get real weird…a treated piano begins to play the opening chords of that psychedelic Stones classic, “We Love You!” What must this have sounded like in the back-to-the-roots era of late 1969?”.
Quoted from / All Rights Reserved https://www.headheritage.co.uk/unsung/review/1730/ Review by  Joe Kenney

 

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