Langspeeltijd * Longplaytime: A Peaceful World with The Rascals, Phil Ochs, Miek & Roel + Roland * Mon. 12 & Wed. 14 November [Ed’s Show, 2018-43]

NEW SHOW: A Peaceful World with The Rascals, Phil Ochs, Miek & Roel + Roland *** REPEATEDSteppenwolf, Blues Magoos, Steve Miller Band, Barry Goldberg, Mexico 1968 (the Massacre and Black Power)  *** Monday 12 November, 12:00-24:00 hrs CET Brussels + repeated Wednesday 14 November, 12:00 till 20:00 hrs CET Brussels *** [2018-44] *** 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)
THE RASCALS: Peaceful World, 1971, part 1: tracks 1-6.
PHIL OCHS: All the News That’s Fit To Sing, 1964, choice tracks.
THE RASCALS: Peaceful World, 1971, part 2: tracks 7-12.
MIEK en ROEL + ROLAND: Je kan nooit weten, 1967: keuze.

REPEATED SHOW Sundays 14:00, 18:00 & 22:00 hrs ; Wednesdays 14:00 & 1800  (Brussels CET)

STEPPENWOLF: Monster, 1969: the entire album.
THE STEVE MILLER BAND: Children Of The Future, 1968, entire A-side.
THE BLUES MAGOOS: Electric Comic Book, 1967, entire A-side.
BARRY GOLDBERG with MIKE BLOOMFIELD and  HARVEY MANDEL HARVEY MAN: Two Jews Blues, 1969 : choice tracks.
THE STEVE MILLER BAND: Children Of The Future, 1968, entire B-side.
AND ALSO A Passing Fancy: People in Me, LP, 1968.
HOMAGE TO CATALUNYA Maria del Mar Bonet: Qué volen aquesta gent? Live “Llibertat Jordis” 21 d’Octubre 2017.
WORD & FREE SPEECH: Mexico 2 October 1968: The Massacre + Mexico 1968: Black Power At the Olympics.


 Monday,  Wednesday CET Brussels Mon.    Wed.
 Longplaytime new show: Peaceful World 12, 16, 20 hrs 12, 16 hrs
Longplaytime repeated show: Stepppenwolf  14, 18, 22 hrs 14, 18 hrs
End of show 24:00 Midnight 20:00 hrs



“Eddie Brigati and Gene Cornish both left the Rascals by 1971. The remaining members — chief songwriter, vocalist, and keyboardist Felix Cavaliere and drummer Dino Danelli — kept the name and left Atco for Columbia. Before disbanding permanently in 1972, they released two albums for the label — 1971’s Peaceful World and 1972’s The Island of Real — that have been unjustifiably discounted and forgotten for years.
Cavaliere had become deeply interested in the writings and teachings of the great Sufi master musician Hazrat Inayat Khan, who — through his own tradition — looked at music holistically, as an integral part of earthly and spiritual life. He also came under the sway of the emerging sounds of jazz, gospel, and the emerging uptownfunk and soul of the period. Peaceful World is a sprawling yet very focused collection of songs. With Danelli on drums and Ralph MacDonald on percussion, he filled out the rest of the band with the cream of the New York studio scene: saxophonists Joe Farrell, Pepper Adams, and Ernie Wilkins; bassists Gerald Jemmott and Chuck Rainey; guitarists Link Chamberlain and Buzz Feiten; trumpeters Ernie Royal and Joe Newman; trombonist Garnett Brown; flutist Hubert Laws; and backing vocalists Ann Sutton and Cynthia Webb. In other words, he put together a smoking studio band. 
The remarkable aspect of this gorgeous record is that it sounds vintage but not dated. The production is clean, the funk is in the cut, and the communication between musicians in the charts is tight. The LP’s last side is taken up by the title cut, a 21-minute complete bliss-out of a spiritual jazz jam. But there are some excellent gospel and sophisticated soul tunes as well — check out “Mother Nature Land,””Bit of Heaven,” the funky Rhodes in “Sky Trane,” and the rave-up soul-rocker “Love Letter.” The ballad “Little Dove” includes stunning harp work by Alice Coltrane! 
Commercially, the end may not have been pretty for the Rascals, but this album hold together as well or better than anything in their catalogue and vindicate them with their timeless appeal”. 
Quoted From / All Rights Reserved Thom Jurek at


Great Protest Rock
“Steppenwolf may be best remembered for its pair of ubiquitous hits, but the band had far more to say than that. John Kay and his bandmates too often gave in to their polemics, trapping some of their lyrics in the late ’60s and early ’70s; while nuance was never their strong point, they still knew how to make an artful point. On 1970’s Monster, an overlooked masterpiece, they managed to create a thematically cohesive album that managed to remain concise even while containing the group’s most epic moment. That epic piece, “Monster/Suicide/America” opens the album with a nine-minute history of the American debacle. Steppenwolf eviscerates the US, criticizing easy targets like slavery, invasive policing, and unjust war, but the group complicates the matter. Kay reifies America and the ideals of the country, establishing her (yes, it’s a “she”) as an entity pre-existing and continuing outside of the thoughts and actions of the populous, capable of rescuing her “sons and daughters.” At the same time, they create a monster that’s risen up from the actions of the citizenry, but not only from government atrocities, but also from ordinary people who “got fat and grew lazy.” Alternating between second and third person point-of-view, Kay targets everyone, in the process discovering that between the evils of the monster and the good of the mythic America lies the suicide—the very drive for freedom is a death drive based on narcissism and corruption”.
Quoted From : All RIghts Reserved:

DISCLAIMER:  Radio 68  promotes certain types of music and word, see our Policy in ‘About Us’. Illustrations and Quotations are solely used to enhance this promotion and are thus used for information and educational purposes only. Illustrations and Quotations are All Rights Reserved. Radio 68 may not own the rights to the illustrations on Sources are clearly mentioned. No use is made of sources which explicitly prohibit use by third parties, except when prior permission has been granted. Radio 68 pays artists copyrights to Sabam Belgium. Radio 68 is a free, self-contained, non-commercial and not-for-profit project that receives no income from ads, sponsoring, subsidies or other external sources whatsoever.

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