Langspeeltijd * Longplaytime of Monday 15 & Wednesday 17 October: All 3 LPs byThe Roulettes & Adam Faith with The Roulettes [Ed’s Show, 2018-40]

NEW SHOW: All 3 LPs byThe Roulettes & Adam Faith with The Roulettes  *** REPEATED:  Rod Stewart 1969, The Status Quo, Ralph McTell + The Outsiders*** Monday 15 October, 12:00-24:00 hrs  CET Brussels + repeated Wednesday 17 October, 12:00 till 20:00 hrs *** [2018-40 (55)] *** 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)
SPECIAL: THE ROULETTES + ADAM FAITH with THE ROULETTES feat.  Chris Andrews.
Adam Faith with The Roulettes and Chris Andrews: Faith Alive! (1965): the entire album.
The Roulettes: Stakes and Chips, 1965: side A.
Adam Faith with The Roulettes and the John Keating Orchestra: On The Move, 1964: the entire album.
The Five Chesternuts (pre-Shadows) +  The Hunters (feat. future members of The Roulettes).
The Roulettes: Stakes and Chips, 1965: side B

REPEATED SHOW Sundays 14:00, 18:00 & 22:00 hrs ; Wednesdays 14:00 & 1800  (Brussels CET)
SPECIAL  Back in 1969… Rod Stewart, The Status Quo, Ralph McTell + The Outsiders
LOVE, PEACE & UNDERSTANDING THE YOUNGBLOODS: Dreamer’s Dream (Earth Music, 1967).
LONGPLAYERS
ROD STEWART: An Old Raincoat Won’t Ever Let You Down, 1969: entire album.
SMOKEY ROBINSON & THE MIRACLES: Going To A Go-Go, 1964, choice tracks.
RALPH McTELL:  My Side Of Your Window, 1969, choice tracks.
THE STATUS QUO: Picturesque Matchstickable Messages From The Status Quo, 1969, choice tracks.
SANDY POSEY: I Take It Back, 1967, choice tracks.
THE OUTSIDERS (US): Time Won’t Let Me, 1966, A-side
WORD & FREE SPEECH: Ralph McTell (Factory Girl,  Blues in More Than 12 Bars), Derroll Adams, Tanks in Prague, Ho Ho Ho Chi Minh street slogan.

SHOWTIME

 Monday,  Wednesday CET Brussels Mon.    Wed.
 Longplaytime new show: The Roulettes 12, 16, 20 hrs 12, 16, 20 hrs
Longplaytime repeated show: Rod Stewart, Status Quo 14, 18, 22 hrs 14, 18 hrs
End of show 24:00 Midnight 20:00 hrs

HIGHLIGHT ** IN DE KIJKER

Shindig issue 84. Courtesy

THE ROULETTES
“More than fifty years after their break-up, The Roulettes more than deserve their own catalogue number in the Sixties Pop Library, if only for such gems as ‘Bad Time’ and ‘The Long Cigarette’ or self-written funky b-sides like ‘Junk’ and ‘Jackpot’. Providing a back-bone to Adam Faith , they were on par with The Shadows. Last but not least, their impressive musical curriculum encompasses the likes of Chris Andrews, The Shadows, Unit 4+2, The Kinks, Argent and French superstar Richard Anthony, not to mention their Cheshunt Connection comprising Cliff Richard, Cliff’s friend Dave Sampson, The Hunters, The Royal Parker Five and Buster Meikle’s Daybreakers.
All four Roulettes of the definite line-up formed in May 1963 still meet on a regular basis and I  was invited to join guitarist Peter Thorp, drummer Bob Henrit, bassist John ‘Mod’ Rogan and guitarist–keyboardist Russ Ballard to reflect on their story and to set the record straight”. © Eddy Bonte & Shindig
READ THE ROULETTES FEATURE IN Shindig! magzine issue 84 www.shindig-magazine.com

ROD STEWART: An Old Raincoat Won’t Ever Let You Down
Rod Stewart has released a new album, almost fifty years after his debut on Vertigo with “An Old Raincoat Won’t Ever Let You Down”. By that time, Stewart had been in a number of short-lived groups which featured future stars Julie Driscoll, Brian Auger and Long John Baldry. His venture with Jeff Beck would also prove to be short-lived, though it would bring him fame and lead to a creative partnership with The Jeff Beck Group’s bass-player Ron Wood. Stewart kept developing solo projects (mainly in the studio) alongside his engagement in The Faces. The break-up of this band, would also be the real start of Stewart’s international  breakthrough – embracing disco, Christmas songs and evergreens and, regretfully, abandoning his stunning earlier work.  His first LPs reveal a great singer with a unique capacity of interpreting songs.   By Eddy Bonte

“I know what you’re thinking – Rod Stewart? And I agree; a Stewart album would normally be the last thing I’d listen to, much less recommend. But this, his first solo LP, comes highly recommended for all those into the heavy acoustic rock groove of the Stones’s Beggars Banquet; in fact, this album could easily be re-titled “Beggars Banquet II” — even the cover follows the original “RSVP” Beggars Banquet sleeve. (And to make the Stones similarity more obvious…it features Ron Wood on guitar, years before he replaced Mick Taylor.) An ancient issue of Rolling Stone informed me of the LP. Greil Marcus raved about it in his Feb 7, 1970 review, even claiming it was the only album of late ‘69 (other than Let It Bleed) which picked up the mantle laid down by Beggars Banquet. Marcus is one of those reviewers who, analytical as he can be, I’ve always respected, mostly because he was one of the very few critics who praised Skip Spence’s Oar…back when it was originally released. (…).
“Street Fighting Man” opens the record, and it’s a great song, not just a great cover. It starts off all heavy acoustic rock, pounding drums, pedal steel guitar, banging piano, and an acoustic guitar riffing away. Stewart’s vocals lack the vitriol of Jagger; he instead sings with the raspy wail we know so well. A brief bass solo and it’s back into the groove, here a bit fatter than the proto-punk of the Stones original. An electric guitar pops up for an extended jam session in the middle; you think the song’s over much too abruptly, but then it picks back up – from what was the beginning of the Stones original. “Everywhere I hear the sound of marching, charging feet, boy,” wails Rod on multi-tracked vocals, and you can’t deny the power. Another bass solo, then things get real weird…a treated piano begins to play the opening chords of that psychedelic Stones classic, “We Love You!” What must this have sounded like in the back-to-the-roots era of late 1969?”.
Quoted from / All Rights Reserved https://www.headheritage.co.uk/unsung/review/1730/ Review by  Joe Kenney

 

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