My Generation of Sun. 22 & Tue. 24 October: Pearls Before Swine, Keepers Of The Blues Flame [Ed’s Show, 2017-43]

NEW SHOW:  Pearls Before Swine, Keepers Of The Blues Flame  ** REPEATED:  Karen Dalton, Harumi, El Che ** [2017-43, Sun. 220ct2017 + repeated  Tue. 24Oct. 1] **

**** RADIO 68: ALL THE SOUNDS AND ALL THE VOICES THAT  SHAPED THE SIXTIES *** 

THE PLAYLISTS

1 MY GENERATION (NEW)
SPECIAL: PEARLS BEFORE SWINE / TOM RAPP: SPECIAL: PEARLS BEFORE SWINE & TOM RAPP:  Pearls Before Swine feat. Tom Rapp: ONE NATION UNDERGROUND, 1967  feat. Tom Rapp / TOM RAPP: STARDANCER (1972) + SUNFOREST (1973) ** FORGOTTEN & OVERLOOKED: MATTHEWS SOUTHERN COMFORT,  EIRE APPARENT feat. Henri McCullough, GRAPEFRUIT ** LONGPLAYTIME: JEFFERSON AIRPLANE: AFTER BATHING AT BAXTER’s, 1967 + BONNIE DOBSON: BONNIE DOBSON 1969 + BIG BROTHER & THE HOLDING CO.: CHEAP THRILLS * we highlight these (and more) albums in LONGPLAYING ** AND ALSO:  THE MAR-KEYS, THE MOVE ** WORD & POETRY: LINTON KWESI JOHNSON, MARIO SAVIO, JAN VAN VEEN leest HERMAN J. CLAEYS **

2 BLUESIDE (NEW) SHOW 
SPECIAL:   KEEPERS OF THE BLUES FLAME ** THE ORIGINATORS  & INSPIRATORS:   BIG MAMA THORNTON, THE CONTOURS, Dave ‘Baby’ Cortez ** SPECIAL: KEEPERS OF THE BLUES FLAME: LUCINDA WILLIAMS: This Sweet Old World, 2017, 25th Anniversary Re-recording + BIG & RICH + ALBERTO CASTIGLIA: Up All NIght, Alligator, 2017+ DAVE ARCARI,  Live At Memorial Hall + BIG & RICH: We Did It For The Party + RICKY KOOLE with OCOBAR  + STEVE MORRISON: You Gotta Move, + TOMMY CASTRO & THE PAINKILLERS: Stompin’ Ground ** THANKS TO V2 Records Belgium for Lucinda Williams, Alberto Castiglia,  Big & Rich https://bigandrich.com/, Tommy Castro,  Ricky Koole  http://rickykoole.nl/wordpress/**  Thanks to  Thirty Tigers Records for Lucinda Williams; thanks to Alligator for Alberto Castiglia, Tommy Castro ; Thanks to Steve Morrison http://www.stevemorrison.eu **  WORD & POETRY:  BONNIE DOBSON: Let’s Get Together ** CHARLES BUKOWSKI * MALCOLM X.

3 MY GENERATION (repeated): HARUMI (1968) ** FORGOTTEN & OVERLOOKED: THEM, LITTLE JIMMY & SHARKS, UNIT 4+2 ** LONGPLAYING: THE BEAU BRUMMELS: TRANGLE, 1967; PEARLS BEFORE SWINE: ONE NATION UNDERGROUND:  check out our new show LONGPLAYING with more Beau Brummels and more Pearls Before Swine** WORD:   CHE GUEVARA  died 9 Oct 1967: VICTOR JARA + TON STEINE SCHERBEN: Keine Macht Für Niemand **

4 BLUESIDE (repeated) SPECIAL: KAREN DALTON:  KAREN DALTON from IT’s SO HARD TO TELL WHO’s GOING TO LOVE YOU BEST + OTIS REDDING + JELLY ROLL MORTON +  DEXTER SHAW & THE WOLFTONES + FRED NEIL   ** THE ORIGINATORS  & INSPIRATORS:  GUITAR SLIM, JIMMY ROGERS ALL STARS with Eric Clapton, SON HOUSE **  KEEPERS OF THE BLUES FLAME: THE SEEKERS + ALBERT CASTIGLIA (from “Up All Night’, thanks to Ruf records and V2 Records Belgium) ** AND ALSO TOMMY CASTRO & THE PAINKILLERS (STOMPIN’ GROUND: Soul Shake. Thanks to Alligator Records and V2 Records Belgium) ** WORD: JOAN BAEZ sings about El Che, LIGHTNIN’ HOPKINS.

 SCHEDULE ** ROOSTER  ** CET Brussels Sun. 1200 > 2400      Wed. 1200 > 2000 
 My Generation new show: Pearls Before Swine 12:00 * 16:00 * 20:00 hrs 12:00 * 16:00 hrs
Blueside new show: Keepers Of the Blues Flame 13:00  * 17:00  * 21:00 hrs 13:00  * 17:00 hrs
My Generation repeated: Harumi 14:00 * 18:00  * 22:00 hrs 14:00 * 18:00 hrs
Blueside repeated: Karen Dalton 15:00 * 19:00 * 23:00 hrs 15:00 * 19:00 hrs
Ends 24:00 hrs Ends 20:00 hrs

 BACKGROUND * ACHTERGRONDINFORMATIE **

PEARLS BEFORE SWINE feat. Tom Rapp: ONE NATION UNDERGROUND (1967) & TOM RAPP:  STARDANCER (1972)

“The word underscore comes to mind when I hear Pearls Before Swine. Here lies a wooden expression lightly fused with jazz tempo, but solidified exoterically with remarkable poetry, the ultimate impression of Tom Rapp. (…) strongly influenced by a group of beat poets called The Fugs which gave rise to Pearl Before Swine’s EP styled 1967 debut One Nation Underground that reflected mysticism, solitary love and protest. The controversial “Miss Morse”, spelled out an obscenity in code while the opening “Another Time” was sheer angelic tears. Largely an experimental album with varied sounds, the real strength of the album was its hippy sincerity (“Drop Out”) and un- pretentious avante -garde message. With tears in my eyes I have rarely heard anything this beautiful (“Morning Song”), it pierces heart and cleanses the soul.
Rapp stated that Stardancer was the first album since the first Pearls album One Nation Underground over which he had full control. The fierce anti-war song “Fourth Day of July”, with its references to “the broken children of Vietnam”, was widely played in “underground” circles of the time. The lighthearted “Summer of ’55” contains some of Rapp’s cleverest aphorisms, such as “When the day breaks / the pieces fall on you”.
Source: Rockasteria http://rockasteria.blogspot.be/2012/06/tom-rapp-stardancer-1972-us-excellent.htm

DROP OUT ( < One Nation Underground)

Drop out with me
And just live your life
Behind your eyes
Your own skies
Your own tomorrows

Just be yourself
And no one can step
Inside your mind
From behind
If you just walk out

They made the rules
And they laid it
On us all
Don’t you fall
‘Cause then they own you

They’re using you
To kill all the echoes still
Around
From the sound
Of calendars crumbling

They made the bomb
Would they drop it
On us all?
Great and small
But must we follow
Drop out with me l

© Tom Rapp, All Rights Reserved

HARUMI, 1968

“’…) When Tom Wilson, noted producer of Bob Dylan, The Velvet Underground, and Simon and Garfunkel, pitched Harumi to Verve in 1967, he envisioned the album as an artistic, not a commercial, venture. His idea was to take the tunes of Harumi, a mysterious Japanese songwriter, and douse them in Gary Usher-like orchestration, David Axelrod-inspired grooves, and phaser-heavy psychedelic flourishes. Wilson and Harumi’s project ended up stretching out over two LPs, and its songs ranged from hopelessly frazzled to indulgently saccharine. Given the major label money involved and the degree of artistic freedom granted, this record could have blown minds and paradigms. Instead, it went quickly out of print and faded into obscurity, failing to gather even a significant cult following (…).
“ (…) It grooves throughout, especially when the electric guitars and strings play counterpoint to one another. Simply put, there is nothing at all like this record in the known universe. It has been compared to the adventurousness of the Mothers of Invention, but only insofar as its wide range. The music here, while a huge compendium of sources, is unlike anything you have ever heard when it is put together. Harumi’s self-titled album is simply a classic from the underground brought back into the light”.  By Thom Jurek
http://rockasteria.blogspot.be/2011/03/harumi-harumi-1968-japan-masterpiece.html

KAREN DALTON

“ ‘Karen’s voice is a voice for the jaded ear; a combination of Billie Holiday, Ella Fitzgerald and Jeannie Ritchie, the Appalachian singer.” The country singer Lacy J Dalton is on the line from Nevada, trying to put into words the voice of Karen Dalton, whose surname she adopted in tribute. “There’s a horn quality to it and her phrasing is exquisite,” she says. “I once heard it described as cornmeal mush, but it’s more than that. When she sang about something, you believed her.”
Dalton is the great lost voice of the New York’s Greenwich Village folk scene in the 1960s. Hers was a voice to make the listener feel sad and lost. At times it was warm and supple, rippling over Something on Your Mind, for example; at others it was twisted and other-worldly, as when wrapped around Katie Cruel. It was a voice that earned her the tag “folk music’s answer to Billie Holiday” – a comparison she loathed, but which was inevitable, Dalton’s voice possessing that same welling, bluesy sadness. “She sure can sing the shit out of the blues,” is how another singer on the Greenwich Village scene, Fred Neil, put it”. (From: The Guardian:  https://www.theguardian.com/music/2007/mar/23/folk

 

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