Langspeeltijd * Longplaytime: Monday 05, Wednesday 07 Nov.: Steppenwolf, Blues Magoos, Steve Miller Band, Barry Goldberg, Mexico 1968 [Ed’s Show, 2018-43]

NEW SHOW: Steppenwolf, Blues Magoos, Steve Miller Band, Barry Goldberg, Mexico 1968 (the Massacre and Black Power) *** REPEATED:  Spencer Davis Mk. II, Eddie Hardin, After Tea *** Monday 29 October, 12:00-24:00 hrs  CET Brussels + repeated Wednesday 31 October, 12:00 till 20:00 hrs *** [2018-42 (57)= 2017/15repeat] *** 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)
STEPPENWOLF: Monster, 1969: the entire album.
THE STEVE MILLER BAND: Children Of The Future, 1968, entire A-side.
THE BLUES MAGOOS: Electric Comic Book, 1967, entire A-side.
BARRY GOLDBERG with MIKE BLOOMFIELD and  HARVEY MANDEL HARVEY MAN: Two Jews Blues, 1969 : choice tracks.
THE STEVE MILLER BAND: Children Of The Future, 1968, entire B-side.
A Passing Fancy: People in Me, LP, 1968.
HOMAGE TO CATALUNYA Maria del Mar Bonet: Qué volen aquesta gent? Live “Llibertat Jordis” 21 d’Octubre 2017.
WORD & FREE SPEECH: Mexico 2 October 1968: The Massacre + Mexico 1968: Black Power At the Olympics.

 REPEATED SHOW Sundays 14:00, 18:00 & 22:00 hrs ; Wednesdays 14:00 & 1800  (Brussels CET)

SPECIAL  THE SPENCER DAVIS GROUP with Ray Fenwick and Eddie Hardin: WITH THEIR NEW FACE ON, LP, 1968, the entire album + EDDIE HARDIN’s WIZARD’s CONVENTION 2, 1995, ( Hot Head Of Steam  & I Think It’s Gonna Rain Today, feat. Chris Farlowe; Here I Go Again with Paul Jones and Mike d’Abo; Talking Ain’t  Cheap with Debbie Bonham, John Lawton, Phil Manzanera;  Brickmaker’s Blues, feat. John Entwistle feat. Denny Laine; Can’t Let You Go, feat. Tony Ashton + AFTER TEA, feat. Ray Fenwick: NATIONAL DISASTER, 1968, A-side (tracks 1-6) + SPENCER DAVIS: SO FAR (cd, 2008): choice tracks: So Far, Swansea Shuffle, Uncle Herman’s Mandoline  ***
BONUS: RONNIE LANE & RONNIE WOOD: Mahoney’s Last Stand, 1976, A-side and more (tracks 2-8) ***
HOMAGE TO CATALONIA: Himno de Riego: anthem of the Second Spanish Republic, proclaimed  14 April 1933 – destroyed by Franco’s  dictatorship 1 April 1939 ** Quico Pi de la Serra: –   Si els fills de puta volessin no veuríem mai el sol (If all the sons of bitches could fly, we’d never see the sky) ** Companiya Elèctrica Dharma: Brutalitat


 Monday,  Wednesday CET Brussels Mon.    Wed.
 Longplaytime new show: Stepppenwolf 12, 16, 20 hrs 12, 16, 20 hrs
Longplaytime repeated show: Spencer Davis 14, 18, 22 hrs 14, 18 hrs
End of show 24:00 Midnight 20:00 hrs



Great Protest Rock
“Steppenwolf may be best remembered for its pair of ubiquitous hits, but the band had far more to say than that. John Kay and his bandmates too often gave in to their polemics, trapping some of their lyrics in the late ’60s and early ’70s; while nuance was never their strong point, they still knew how to make an artful point. On 1970’s Monster, an overlooked masterpiece, they managed to create a thematically cohesive album that managed to remain concise even while containing the group’s most epic moment. That epic piece, “Monster/Suicide/America” opens the album with a nine-minute history of the American debacle. Steppenwolf eviscerates the US, criticizing easy targets like slavery, invasive policing, and unjust war, but the group complicates the matter. Kay reifies America and the ideals of the country, establishing her (yes, it’s a “she”) as an entity pre-existing and continuing outside of the thoughts and actions of the populous, capable of rescuing her “sons and daughters.” At the same time, they create a monster that’s risen up from the actions of the citizenry, but not only from government atrocities, but also from ordinary people who “got fat and grew lazy.” Alternating between second and third person point-of-view, Kay targets everyone, in the process discovering that between the evils of the monster and the good of the mythic America lies the suicide—the very drive for freedom is a death drive based on narcissism and corruption”.
Quoted From : All RIghts Reserved:

“Recorded in 1995, this project features a “who’s who” of British rock with contributions from Ray Fenwick, Tony Ashton, Debbie Bonham, Mike D’Abo, John Entwistle, Chris Farlowe, Mo Foster, Eddie Hardin, Paul Jones, Denny Laine, Phil Manzanera, Chris Thompson, Zak Starkey and Snowy White. History was created with Paul Jones and Mike D’Abo dueting together on the song “Here I Go Again” – both Manfred Mann vocalists singing together for the first time!”. Quoted from / All Rights Reserved:


“The album is a fairly schizophrenic mix of British jazz-blues and psych-pop, with the album fairly evenly divided between the two approaches. The opener is nearly a title track (“With His New Face On”), a string-laden midtempo slice of psych-pop that has some great chord changes that are reminiscent of Mike D’Abo’s work from around the same period. It’s one of the best tracks on the album. “Mr. Second Class” begins with a feel that presages prog, but quickly shifts to a 4/4 march not unlike the Box Tops’ swansong, “Sweet Cream Ladies.” “Alec in Transit Land” is a pretty straight jazz instrumental, recalling the work of early Manfred Mann (with the exception of a lengthy, even tiresome, drum solo). “Sanity Inspector,” on the other hand, is a delicate piece of psychedelic whimsy, with the usual contrived lyrics that mix a character narrative with vague social commentary. It’s a charming curiosity. “Feel Your Way” is a solid guitar-driven blues-shuffle with a great vocal and organ solo by Hardin. “Morning Sun” mixes the blues influences with a soaring, soulful chorus, recalling Jackie Lomax’s first solo album on Apple. “Moonshine” walks the line between jazz-blues and freakbeat, with another terrific vocal (mostly) treated with deep slapback echo. “Time Seller” returns to psych-pop, this time with manic drums and sawing cellos throughout. Though a bit dated, it also features some clever, unexpected chord changes and strong stacked backing vocals. The closer, “Stop Me, I’m Falling,” approaches vaudeville at times, but is definitely the most creative track on the album, shifting arrangements, time signatures and tonalities at will, ending with a lengthy, pretentious recitation. I love it!” Quoted From / All Rights Reserved

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