Langspeeltijd * Longplaytime: Mon. 30 July & Wed. 01 August: Back to Basics in 1968 with Dylan, Joni Mitchell, Twice As Much, Chad & Jeremy, The Byrds [Ed’s Show, 2018-31]

*** NEW SHOW:  Back to Basics  in 1968 with Bob Dylan, Joni Mitchell, Twice As Much, Chad & Jeremy, The Byrds *** REPEATED: 60s Chicago with Shakey Jake Harris & John Littlejohn ***  Monday 30 July, 12:00-24:00 hrs  CET Brussels + Wednesday 01 August, 12:00-20:00 hrs CET Brussels *** [2018-31 (46)] *** RADIO 68: ALL THE SOUNDS AND ALL THE VOICES OF THE SIXTIES ****

PLAYLISTS

NEW SHOW:
SPECIAL 
BACK TO BASICS in 1968 with Bob Dylan, Joni Mitchell, Chad & Jeremy, The Byrds, Twice As Much
LOVE, PEACE & UNDERSTANDING: JOHNNY RIVERS:  Going Back to Big Sur (LP Realization, 1968) + CHAD & JEREMY: Sidewalk Requiem Los Angeles June 5th and 6th (on the assassination of Robert J. Kennedy) *** SPECIAL: BACK TO BASICS IN 1968: JONI MITCHELL: SONG TO A SEAGULL, 1968, choice tracks + THE BYRDS: SWEETHEART OF THE RODEO: entire A-side + BOB DYLAN: JOHN WESLEY HARDING: entire B-side + CHAD & JEREMY: THE ARK, choice tracks + TWICE AS MUCH: OWN UP, choice tracks + BOB DYLAN: JOHN WESLEY HARDING: A-side, tracks 1to4 *** FREE SPEECH: THE INVASION OF PRAGUE, August 1968

REPEATED SHOW:

SPECIAL: 60s CHICAGO BLUES with Shakey Jake Harris and John Littlejohn
LOVE, PEACE & UNDERSTANDING
: Mike Zito and The Wheel: Cross the Border (Keep Coming Back) *** SPECIAL: SHAKEY JAKE HARRIS: Good Times, pt. 1 (Prestige Bluesville, 1960) + JOHN LITTLEJOHN: Chicago Blues Stars, pt. 1 (Arhoolie, 1969) *** SHAKEY JAKE HARRIS: Good Times, pt. 2 (Prestige Bluesville, 1960) + JOHN LITTLEJOHN: Chicago Blues Stars, pt. 2 (Arhoolie, 1969) *** AND ALSO:  FATS DOMINO: There Goes My Heart Again + TONY MARLOW: Get Your Motor Runnin’ pt. 2 (<  Rockabilly Troubadour ) + PATA NEGRA: Blues de los Niños (<Pata Negra) + BLUES DE PICOLAT: Singlantana (< Carrer de l’Angel) *** FREE SPEECH  BILLY BRAGG: Milkman of Human Kindness (< The Essential) + GRACE PETRIE: They Shall Not Pass (< Mark My Words) + GIL SCOTT-HERON: Get Out of the Ghetto-Blues (< Free Will). 

SHOWTIME

 Monday,  Wednesday CET Brussels Mon.    Wed.
 Longplaytime new show: Back to Basics 12, 16, 20 hrs 12, 16 hrs
Longplaytime repeated show:  Littlejohn, Shakey Jake 14, 18, 22 hrs 14, 18 hrs.
End of show 24:00 Midnight 20:00 hrs

HIGHLIGHT ** IN DE KIJKER

BACK TO BASICS in 1968: JOHN WESLEY HARDING by  BOB DYLAN

“Surely, there was still a lot of psychedelic music around in 1968. Some groups had gone a little heavy, some mixed pysch and heavy. Other artists, however, pulled out the plug and went to basics: The Byrds or Bob Dylan for instance. Some remained true to the softer sounds they had always produced, like Twice As Much or Chad & Jeremy in the UK. New kids on the block started their career with a soft, stripped sound, think Joni Mitchell. All preferred a traditional, folk background (usually ‘white’) to the electrified R&B / rock’n’roll  idiom (usually ‘black’), which had revolutionised pop music.
The most striking example of this ‘back to basics’ move in the middle of the turmoil that typifies 1968, must be Bob Dylan – the unpredictable singer-songwriter who just years before had swapped his acoustic guitar for a wired sound. The album: John Wesley Harding”. (©Eddy Bonte)

“Bob Dylan’s eighth album, John Wesley Harding, still comes as a bit of a surprise nearly 40 years after its release. Its oddity begins with its cover: a black and white photograph in which Bob barely stands out, placed on a beige background. If you look a little closer, you see that Dylan is actually smiling; shocking, as the last few Dylan albums had featured a prominent sneer. And then you listen to the music, and things become stranger still. After Blonde and Blonde, his most varied (some would say chaotic) album, comes this simple, subdued country-folk record. The electric organ is gone; the acoustic guitar and harmonica is once again at the forefront. And even Dylan’s voice has changed, smoothed out a bit, and become fuller. It all seems to have come from nowhere. The Basement Tapes, which were recorded a few months before John Wesley Harding, provide something of a missing link… but they weren’t released until eight years later. If it’s nowhere near as eclectic as Blonde on Blonde or The Basement Tapes, it is one of the most consistent of Dylan’s albums”. Quoted from / All Rights Reserved: https://www.sputnikmusic.com/review/5486/Bob-Dylan-John-Wesley-Harding/

SHAKEY JAKE (Good Times)
“ (…) and a set that’s got a surprising jazz element as well – given that the singer/harmonicist works here with Jack McDuff on Hammond and Bill Jennings on guitar! (…) they recast their mighty powers to create spare grooves for Shakey Jake! Jake sings throughout – often with a raw, unbridled style that’s a lot more powerful than you’d guess from his name – and he also alternates with some harmonica solos too, but still leaves room for Jack and Bill to solo a bit as well”.  Quoted from / All Rights Reserved © 1996-2018, Dusty Groove, Inc.

JOHN LITTLEJOHN (Chicago Blues Stars)
It’s hard to figure why John Littlejohn (Funchess) never became as popular as other Chicago bluesmen of his generation, artists such as Magic Sam, James Cotton and Buddy Guy. Regardless, Littlejohn has the kind of instantly accessible yet authentically blues sound that propelled his better-known contemporaries to fame. On this 1968 set, Littlejohn covers both his own material as well as more familiar covers with equal aplomb. He’s a strong singer and an even better guitarist, with a clean sound that draws attention where it belongs – on his imaginative playing (…)é. Quoted from / All Rights Reserved: Jim Trageser http://trageser.com/music/album-littlejohn.php
This review first appeared in the April 24, 1992 edition of the North County Blade-Citizen (now North County Times).

 

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