Langspeeltijd * Longplaytime: Monday 06 + 13 & Wednesday 08 + 15 August: Revolution (Q65), Beggar’s Banquet (Stones), Undead (Ten Years After) ** [Ed’s Show, 2018-32]

DUE TO LAST WEEK’s PROGRAMMING ERROR, this show is REPEATED on Monday August 13 &  Wednesday 15 :   Revolution (Q65), Beggar’s Banquet (Stones), Undead (Ten Years After) *** REPEATED: Back to Basics  in 1968 with Bob Dylan, Joni Mitchell, Twice As Much, Chad & Jeremy, The Byrds***  Monday 06 August + REPEAT 13th: , 12:00-24:00 hrs  CET Brussels + Wednesday 08 August + REPEAT 15th, 12:00-20:00 hrs CET Brussels *** [2018-321 (47)] *** RADIO 68: ALL THE SOUNDS AND ALL THE VOICES OF THE SIXTIES ****

PLAYLISTS

NEW SHOW:
SPECIAL 
: BEGGAR’s BANQUET
THE ROLLING STONES: BEGGAR’S BANQUET, 1968, entire LP  *** Q65: REVOLUTION, 1966: B-side *** TEN YEARS AFTER: UNDEAD, 1968 entire LP

LOVE, PEACE & UNDERSTANDING: PAUL JONES; Aquarius *** FREE SPEECH : Charles Bukowski: The Genius of the Crowd + ALLEN GINSBERG (Dialectics) + COUNTRY JOE McDONALD: Agent Orange Song + HANS WADER: Einheitsfronttlied

REPEATED 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

SHOWTIME

 Monday,  Wednesday CET Brussels Mon.    Wed.
 Longplaytime new show: Q65, Stones , TYA 12, 16, 20 hrs 12, 16 hrs
Longplaytime repeated show: Back to Basics 14, 18, 22 hrs 14, 18 hrs.
End of show 24:00 Midnight 20:00 hrs

HIGHLIGHT ** IN DE KIJKER

BEGGARS BANQUET

Beggars Banquet is the album that changed everything for the Rolling Stones.

“From the manner it was recorded  at Olympic Studios in Barnes, London, to the track selection, a mixture of rockers (“Street Fighting Man”), blues numbers (“Prodigal Son”, “No Expectations”) and ballads (“Salt Of The Earth”), the band truly came into their own, and the Rolling Stones’ music of today is a reflection of what happened in that studio in 1968, they reached their musical manhood.
The genesis of the epic song “Sympathy For The Devil” is well documented in the Jean Luc Goddard film One Plus One . While 1967’s Their Satanic Majesties was recorded after Mick and Keith’s traumatic and unjust, drugs bust, it was almost too soon to be reflected in their songwriting. Whereas “Sympathy For The Devil”, and much of Beggars Banquet hint at a defiance at what they’d been through, and a strength from the experience. The album also marks a change in musical direction for the band, with the debut of Jimmy Miller as producer, who went on to collaborate with the band on Let It Bleed, Sticky Fingers, Exile On Main St and Goats Head Soup. Miller had also produced Traffic and Spooky Tooth, and co-wrote “I’m A Man” with Steve Winwood. Other musicians who appeared on the album  are Nicky Hopkins on piano, Dave Mason on guitar and mandolin and a gospel choir from Los Angeles.

The only non Jagger/ Richards song on the album, “Prodigal Son” is a cover of Robert Wilkins’ “That Ain’t No Way To Get Along”, which he first recorded in 1929. A year earlier Wilkins recorded the first known song to be entitled, “Rolling Stone”.”
Quoted From / All Rights Reserved: http://www.rollingstones.com/release/beggars-banquet/

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/

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 explicitly prohibit use by third parties, unless prior permission has been 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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