Langspeeltijd * Longplaytime: Manfred Mann 1964, The Sorrows 1965, The Seeds 1966 * Monday 31 Dec., Wednesday 02 Jan. [Ed’s Show, 2018-50]

NEW SHOW: Manfred Mann (first LP, 1964), The Sorrows  (LP, 1965), The Seeds  (LP 1966, A-side)   *** REPEATED: Poetry in Pop with The Liverpool Scene; The Scaffold, McGough & McGear *** Monday 31 December 12:00-24:00 hrs CET Brussels + repeated Wednesday 02 January, 12:00 till 24:00 hrs CET Brussels *** [2018-48] *** 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  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  Manfeed 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

REPEATED SHOW Sundays 14:00, 18:00 & 22:00 hrs ; Wednesdays 14:00 & 1800 hrs (Brussels CET)
SPECIAL Poetry In Pop: The Liverpool Scene, The Scaffold, McGough & McGear.
HOMAGE TO CATALUNYA: Guillem d’Efak: Dissabte (EP, 1965) + Pau Riba (Noia de Porcelana).
THE LIVERPOOL SCENE feat. Adrian Henri and Andy Roberts: Bread On The Night, LP, 1969, choice tracks.
THE SCAFFOLD, feat. Roger McGough, ‘LP’, album, 1969, choice tracks.
THE LIVERPOOL SCENE, feat. Adrian Henri and Andy Roberts: The Amazing Adventures Of, LP, 1968, choice tracks.
McGOUGH & McGEAR, ‘McGough & McGear’, LP, 1968, choice tracks.
THE SCAFFOLD: Lily The Pink, LP, 1969, choice tracks.
AND ALSO Roger McGough, Leon Rosselson, Scott Walker.


 Monday,  Wednesday CET Brussels Mon.    Wed.
 Longplaytime new show: Manfred Mann, Sorrows 12, 16, 20 hrs 12, 16 hrs
Longplaytime repeated show:  Poetry in Pop 14, 18, 22 hrs 14, 18 hrs
End of show 24:00 Midnight 20:00 hrs



“ (…) 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:


“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:


“Andy (Roberts)  accepted an offer to study law at Liverpool University, almost immediately bumping into Roger McGough at a bookshop as soon as he got there. The ‘jazz and poetry’ movement was at its peak, and Roger invited Andy to dive in: ‘February 1966 was the first time I did a thing with him and Adrian Henri, at the Bluecoat Theatre in Liverpool. It just took off from there. Within a couple of months I was doing poetry events at The Cavern and playing with a band at the University. There was loads going on.’
Soon, on the back of a 1967 poetry anthology entitled The Liverpool Scene, Adrian Henri, Roger McGough and Andy, along with jazz saxophonist Mike Evans and songwriter/guitarist Mike Hart, were taking bookings as ‘The Liverpool Scene Poets’. Roger had to drop out of the poetry gigs (The Scaffold), leaving Andy to suggest to the charismatic Adrian Henri that all they needed was a bassist and drummer to become a bona fide band. Percy Jones and Bryan Dodson (later replaced by Pete Clarke) filled those roles respectively and The Liverpool Scene was born.
1969 saw the Liverpool Scene at their peak – delivering their second album Bread On The Night, touring the UK on a three act bill with Led Zeppelin and Blodwyn Pig, playing to 150,000 at the Isle of Wight Festival and touring America for a gruelling, and revelatory three months” (…).
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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