Langspeeltijd * Longplaytime: A Happy 1969 with CCR, Cream, Ten Years After, The Seeds & Aretha Franklin * Monday 07, Wednesday 09 January [Ed’s Show, 2019-11)
NEW SHOW: A Happy 1969 with CCR, Cream, Ten Years After, The Seeds & Aretha Franklin *** REPEATED: Manfred Mann (first LP, 1964), The Sorrows (LP, 1965), The Seeds (LP 1966, A-side) *** Monday 31 December 12:00-24:00 hrs CET Brussels + repeated Wednesday 02 January, 12:00 till 24:00 hrs CET Brussels *** [2019-01 / no. 66)] *** RADIO 68: ALL THE SOUNDS AND ALL THE VOICES OF THE SIXTIES ****
NEW SHOW Sundays 12:00, 16:00 & 20:00 hrs ; Wednesdays 12:00 & 1600 hrs (Brussels CET)
SPECIAL: A Happy 1969 with :
CREEDENCE CLEARWATER REVIVAL Bayou Country, part one (LP, January 1969).
ARETHA FRANKLIN Soul ’69 (LP, January 1969, side A).
CREEDENCE CLEARWATER REVIVAL Bayou Country, part 2 (LP, 1969).
TEN YEARS AFTER Stonedhenged (LP, February 1969, side 1).
CREAM Goodbye (LP, February 1969, pt. 1).
CREAM Goodbye (LP, 1969, pt. 2).
WORD & FREE SPEECH & POETRY: Jenny Lewis & Adnan Al-Sayegh (Anthem For Gilgamesh) + Barry McGuire (Masters Of War) + 7:84 Theatre Co. (Lay-Off).
REPEATED SHOW Sundays 14:00, 18:00 & 22:00 hrs ; Wednesdays 14:00 & 1800 hrs (Brussels CET)
SPECIAL : The Sorrows, Manfred Mann, The Seeds
LOVE, PEACE & UNDERSTANDING The Motions: Wasted Words
MANFRED MANN Five Faces Of Manfred Mann, first LP, UK, 1964, side 1
THE SORROWS Take A Heart, LP, side 1
MANFRED MANN Five Faces Of Manfred Mann, first LP, UK, 1964, side 2
THE SORROWS Take A Heart, LP, side 2
THE SHADOWS Out Of The Shadows, LP, 1962 + Dance With The Shadows, LP, 1964, choice tracks.
THE SEEDS The Seeds, LP, 1966, A-side.
WORD & FREE SPEECH Otis Spann on Martin Luther King + Martin Luther King ‘Mountaintop’ speech excerpt + 7:84 Theatre: Lay-Off
|Monday, Wednesday CET Brussels||Mon.||Wed.|
|Longplaytime new show: 1969 with CCR, Cream||12, 16, 20 hrs||12, 16 hrs|
|Longplaytime repeated show: Manfred Mann, Sorrows||14, 18, 22 hrs||14, 18 hrs|
|End of show||24:00 Midnight||20:00 hrs|
HIGHLIGHT ** IN DE KIJKER
CREEDENCE: BAYOU COUNTRY
“The group’s sound is very reminiscent of that of the early Stones — hard rock, based in blues. John Fogerty carries the group with his good lead guitar, in addition to his good vocal and harp work. He also wrote all of Creedence’s original songs, and arranged and produced the album. He probably swept out the studio when the recording was finished, too. Despite John’s dominance, the group has a solid overall sound. Stu Cook on bass, brother Tom Fogerty on rhythm guitar, and Doug Clifford on drums are all good musicians; they lay down a heavy backing for Fogerty, and the result is a very tight sound. (…) Overall, the material in Bayou Country is not always strong, but Creedence Clearwater Revival plays with enough gusto to overcome this problem. With the stronger material, they are excellent. It seems to me though, that CCR has just about exhausted its supply of blues-rock numbers. They have produced two fine albums; so far, so good. But I think (and hope) that we will see new directions on their forthcoming albums”. Quoted From / All RIghts Reserved: https://www.rollingstone.com/music/music-album-reviews/bayou-country-86757/
THE SORROWS TAKE A HEART (1965)
“ (…) But where the Beatles had adopted a kind of impassive look, like their peers the Stones and Pretty Things, the Sorrows from Coventry in the West Midlands went for a much more sullen, unapproachable look. And their expressions are entirely in keeping with the music on their sole album which appeared on the Piccadilly label, a subsidiary of Pye which had the Kinks, Searchers and the Honeycombs at the time. Many writers consider the Sorrows to be one of the better but most overlooked groups of the mid Sixties and more in line with the early Kinks and The Pretty Things in their aggressive r’n’b influenced pop-rock. Certainly that all comes through on material like the minimalist Baby with its furious but economic guitar solo, the raw No No No (“she don’t love me, she don’t want me”) and Teenage Letter which is pure, harmonica coloured British r’n’b of the Animals’ kind propelled by a Chuck Berry groove and again with an explosion-in-a-guitar-factory by Pip Whitcher (…) . ”. Quoted From / All Rights Reserved: https://www.elsewhere.co.nz/essentialelsewhere/7843/the-sorrows-take-a-heart-1965/
MANFRED MANN: FIVE FACES OF MANN (1964)
“With the various personalities who made up front runners The Beatles and Stones well on their way to being firmly established in the public’s consciousness, the title of Manfred Mann’s 1964 debut album suggests a similar attempt to highlight the players involved. The original sleeve-notes, reprinted on this reissue, offer pocket portraits of each “dynamic, distinctly talented individual”. And yes, there’s a wealth of talent on display here, with Manfred Mann himself being the ace up the sleeve, his dextrous keyboard work giving the group the edge over most of the movers and shakers on the British R&B scene. It’s most evident on the instrumental shimmy of Cannonball Adderley’s Sack Of Woe, while Mike Vickers’ honking sax blows up a storm on Don Raye’s Down The Road Apiece.
Original material suffers in comparison, though. What You Gonna Do? cuts a sly groove but never seems to lead anywhere, while Don’t Ask Me What I Say is too close to Marvin Gaye’s Can I Get A Witness? to convince on its own merits. Still, they were young back then, and their writing skills would develop as the decade progressed, but the musicianship is exemplary throughout, cooking with attitude and aggression”. Quoted From / All Rights Reserved: https://recordcollectormag.com/reviews/the-five-faces-of-manfred-mann
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