Langspeeltijd * Longplaytime: Mon. 16 & Wed. 18 April * Richie Havens, Don Partridge, Fifth Dimension [Ed’s Show, 2018-16]

*** NEW SHOW: Richie Havens, Don Partridge **REPEATED: HAVE A DREAM with Martin Luther King, Sly & Family Stone, Watts Prophets, Mavis Staples  *** [2018-16 (31), Monday 16 April, 12:00-24:00 hrs  CET Brussels + Wednesday 18 April, 12:00-20:00 hrs CET Brussels] **** RADIO 68: ALL THE SOUNDS AND ALL THE VOICES THAT SHAPED THE SIXTIES ****

PLAYLISTS 

NEW SHOW:
SPECIAL
 RICHIE HAVENS, DON PARTRIDGE
INTRO:  FAIRPORT CONVENTION: Time Will Show the Wiser (1st LP, 1968, produced by Joe Boyd) + ROD STEWART : A Man Of Constant Sorrow (LP, 1969, An Old Raincoat) *** RICHIE HAVENS: MIXED BAG, 1968,  entire LP +  Freedom (live at Woodstock) *** DON PARTRIDGE (feat. Joe Moretti and Big Jim Sullivan): DON PARTRIDGE, 1968, selected tracks ***  THE FIFTH DIMENSION *** FREE SPEECH: THE KINGSTON TRIO: + ROY HARPER: + ARLO GUTHRIE

REPEATED SHOW:
SPECIAL: MARTIN LUTHER KING, murdered 4 April 1968
INTRO: CHAMPION JACK DUPREE + OTIS SPANN  + MARTIN LUTHER KING: I HAVE A  DREAM *** SLY & THE FAMILY STONE: DANCE TO THE MUSIC, LP, 1968, side 1 *** THE WATTS PROPHETS: BLACK VOICES: IN THE STREET IN WATTS, LP, 1967, side 1 *** SLY & THE FAMILY STONE: DANCE TO THE MUSIC, LP, 1968, side 2 *** THE WATTS PROPHETS: BLACK VOICES: IN THE STREET IN WATTS, LP, 1969, side 2 *** THE LAST POETS: THE LAST POETS, LP, 1970, choice track *** MAVIS STAPLES: WE’LL NEVER TURN BACK, cd, 2007choice tracks ***

SHOWTIME

 Monday,  Wednesday CET Brussels Mon.    Wed.
Longplaytime new show: Richie Havens 12, 16, 20 hrs 12, 16 hrs
Longplaytime repeated: Have a Dream 14, 18, 22 hrs 14, 18 hrs.
End of show 24:00 Midnight 20:00 hrs

HIGHLIGHT ** IN DE KIJKER

RICHIE HAVENS
“Richie Havens’ finest recording, Mixed Bag, captures the essence of his music and presents it in an attractive package that has held up well. A close listen to lyrics like “I Can’t Make It Anymore” and “Morning, Morning” reveals sadness and loneliness, yet the music is so appealingly positive that a listener actually comes away feeling uplifted. In fact, on most of the songs on this album, it’s the sound of Havens’ distinctive voice coupled with his unusual open-E guitar tuning, rather than the specific lyrical content of the songs, that pulls the listener in. The six-and-a-half minute “Follow” is structured like a Dylan composition in the “Hard Rain” mode, with its memorable verse-ending refrain, “Don’t mind me ’cause I ain’t nothin’ but a dream.” Both “Sandy” and “San Francisco Bay Blues” have a jazzy feel, while the aforementioned “I Can’t Make It Anymore” would not have been out of place in a movie soundtrack or pop radio playlist of the time. “Handsome Johnny,” one of Havens ‘best known songs as a result of the Woodstock film, is a classic anti-war ballad, stoked by the singer’s unmistakable thumb-chorded guitar strumming. Mixed Bag winds up with a soulful cover of  Dylan  “Just Like a Woman” and an electric piano-propelled take on the Lennon-McCartney classic, “Eleanor Rigby.”
AllMusic Review by Jim Newsom  / All Rights Reserved

WATTS PROPHETS
“ The West Coast’s answer to The Last Poets (NY), Prophets didn’t get quite the same recognition for their contributions to raising black consciousness and laying the foundations for rap. The group was formed at the Watts Writer’s Workshop, an organization started by screenwriter Budd Schulberg designed to provide a creative outlet in the wake of the 1965 Watts riots. Father Amde Hamilton (an Ethiopian Orthodox priest, born Anthony Hamilton), Otis O’Solomon, and Richard Dedeaux met in the workshop circa 1967, and soon began performing together as Watts Prophets, setting their socially and politically conscious poetry to spare, often jazzy musical backing. They won second place in an inner-city talent show, which led to a residency at John Daniels’ Maverick’s Flat club in South Central L.A.; they also performed at fundraisers, in prisons, and around their community whenever possible. In 1969, Watts Prophets debuted with The Black Voices: On the Streets in Watts. Two years later, the group released Rappin’ Black in a White World on ALA, with lyrics and vocals provided by former Motown songwriter Dee Dee McNeil. The radical, incendiary tone of their work fit right in with the emerging black power movement, and attracted unfavorable notice from the government; the home of the Watts Writers Project was destroyed by fire in 1975 after having been infiltrated by an FBI informant”.   See disclaimer below http://www.hiphopscriptures.com/the-watts-prophets/  

 

ABOUT LONGPLAYTIME Radio 68 is happy to present  a new show: MY GENERATION LONGPLAYTIME. The concept of LONGPLAYTIME is simple: we will play full albums, album sides or selected album tracks.  We stress overlooked, forgotten, ignored, misjudged, rare, non-commercial and media-banned music and artists, throwing in a hit album for good measure. All from or related to the sixties –  of course! Thanks, Ed   **
OVER LANGPSPEELTIJD We presenteren we met plezier een nieuwe show: LANGSPEELTIJD. De idee achter LANGSPEELTIJD is eenvoudig: we draaien volledige albums, LP-kanten of een keuze uit een langspeelplaat. We hebben vooral  oog voor muziek en artiesten die vallen onder de categorieën “vergeten,  vreemd, geweerd, over het hoofd gezien, verkeerd begrepen, gecensureerd, zeldzaam “.  Met nu een dan een dikke hit ertussen. Geniet van de langSPEELTIJD. Bedankt, Ed

DISCLAIMER: Illustrations are All Rights Reserved. Radio 68 may not own the rights to the illustrations on www.radio68.be which are used for information and educational purposes only. Quotations are All Rights Reserved and equally used for information and educational purposes only. Where known, sources are clearly mentioned. No use is made of sources which are labelled as copyrighted, unless prior permission was granted. Radio 68 is a free and non-commercial project ; there is no income from ads, sponsoring,  subsidies or other external sources.

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