My Generation of Sun. 17 April: Wentus Blues Band, Shadows of Knight [Ed’s show, 2016-16]
Specials: The Shadows of Knight ** The Wentus Blues Band ** Repeated: Aftermath (The Rolling Stonees) ** SHOWTIME Sundays at 12:00 noon CET (UK: 11 a.m.), repeated 16:00, 20:00 and 24:000 hrs midnight CET (UK: 3 p.m., 7 p.m. and 11 p.m.). Ends 04:00 CET / 3 a.m. UK (Monday morning)
MY GENERATION & BLUESIDE: THE PLAYLISTS
MY GENERATION (new show)
SPECIAL: THE SHADOWS OF KNIGHT ** AND ALSO: THE BLUES MAGOOS * * ** THE MONKEES , 1966 ** WARM SOUNDS ** MURRAY HEAD ** JACKIE DE SHANNON ** BOUDEWIJN DE GROOT, 1966 ** ORANGE SEAWEED ** VELVETT FOGG ** THE FLOCK ** + Voice: sluiting mijnen Zwartberg
MY GENERATION BLUESIDE (new show)
SPECIAL: WENTUS BLUES BAND: LUCKY STRIKE MAMA, 2015 ** SPECIAL: THE SHADOWS OF KNIGHT: BACK DOOR MEN, 1966. ** AND ALSO: RONNIE BIRD ** IRMA THOMAS ** ODETTA ** LED ZEPPELIN ** ALAN GLEN & STEVE MORRISON ** THE ARTWOODS, BBC 1966 **
MY GENERATION (last week’s show repeated)
SPECIAL: AFTERMATH (The Rolling Stones) ** AND ALSO: FERRE GRIGNARD: I Warned You (rereleased on Starman Records) ** THE DOVELLS ** RONNIE HAWKINS ** VINCE TAYLOR ** THE DEEP: PSYCHEDELIC MOODS, 1966** uncensored songs from JEFFERSON AIRPLANE’s first abum, Taking Off, 1966 ** GANDALF ** COUNTRY JOE & FISH: ELECTRIC MUSIC, 1967 **
Voice: Voice: The Freedom Riders
MY GENERATION BL UESIDE ((last week’s show repeated)
SPECIAL: AFTERMATH (The Rolling Stones) ** AND ALSO: ROCKY ATHAS (Compilation album 2, see www.rockyathas.com ) ** THE PAUL BUTTERFIELD BLUES BAND (EAST WEST, 1966) ** Voice: Birmingham 1963
MY GENERATION, incl. BLUESIDE: THE SHOW
MY GENERATION / BLUESIDE is a four-hour show. Each week, a new 60 minute episode followed by the previous show, totalling two hours of all the sounds and the voices that shaped the 60s. Each show includes a special highlighting one artist, release, topic or trend. BLUESIDE: a new 60 minute episode every week, followed by the previous show, totalling two hours of the blues that influenced and inspired the sounds of the sixties – from the originators till the present day. Each show includes a special highlighting one artist, release, topic or trend.
THE SHADOWS OF KNIGHT: BACK DOOR MEN
“The original LP version of this album, the second by the legendary white Chicago garage punk/blues outfit, was one of the most sought-after artifacts of mid-’60s punk rock. BACK DOOR MEN was a loud, feedback-laden, sneering piece of rock & roll defiance, mixing raunchy anthems to teenage lust (“Gospel Zone,” “Bad Little Woman”), covers of Chicago blues classics ( Willie Dixon’s “Spoonful”, Jimmy Reed’s “Peepin’ and Hidin'”), raga rock (“The Behemoth”), folk-rock (“Hey Joe,” “Three for Love,” “I’ll Make You Sorry”), and a blues-punk grab off of commercial Top 40 (“Tomorrow’s Gonna Be Another Day”) all on one 12″ platter. What makes the record even more startling is that every one of these tracks, however far afield they go from one another, works. The band strides across the music spectrum with a reach and boldness that most listeners usually only associate with the likes of The Beatles or The Rolling Stones,a grasp that, for a moment here, may have exceeded either of those groups, as they slide from electric guitar into extended Chess-style blues instrumentals (“New York Bullseye”)”. Source: Bruce Eder, www.allmusic.com
SPECIAL: WENTUS BLUES BAND: LUCKY STRIKE MAMA
“While most people associate the blues with the steamy bayous of Louisiana and the cotton fields of Mississippi, lovers of the devil´s music may be surprised to hear that there is also a thriving scene in Scandinavia. At the heart of this Nordic blues explosion are the WENTUS BLUES BAND, who hail from Kokkola in central Finland.
And while the pine-studded wilderness of their homeland is about as far as you can get from the juke-joints of the Deep South, there´s no doubting their musical credentials. Established in 1986, the band have acquired a reputation as the hardest working in Scandinavia and play around 150 gigs a year. The Wentus Blues Band has toured in 17 different countries, released 10 albums, done several TV-shows, headlined festivals and toured with many great bluesmen. Expect explosive blues and frantic rhythm and blues, played with laid back stylishness”. (Source: http://wentusbluesband.com).
‘Lucky Strike Mama’ contains 12 songs, 12 originals written by band members Niko, Robert, Pekka and Juno. It coincides with their 30th anniversary and it sounds like they treated themselves to a real blues party. The disc starts with a blast: ‘Baa Baa’ is based on a Muddy Waters riff, obly thrice as loud and distorted to support the lyrics: this song is not about Muddy Waters’ back door man, but about the men that go invade someone else’s country or rather the decision makers that send their soldiers and tanks to conquer someone else’s land. There’s a lot of straight blues here custom-made for Chicago ears, but there’s also a fair portion of country here, which gives the disc a gentler and rolling along feel here and there. (Eddy Bonte)
THE ROLLING STONES: AFTERMATH (LP, April 1966)
‘Aftermath’ (April 1966) is the first Rolling Stones album written entirely by Jagger and Richards and that seems to be the main reason for declaring it a super album. It is not, because it is caught between two styles. One that they would soon abandon, though it had barely come to fruition. And one they still had to develop.
The style that had barely come to fruition and was soon to be abandoned altogether, is a kind of lightweight pop Jagger and Rchards produced when they first tried to write songs together. Not surprisingly, they turned to the obvious, not to say to the cliché: Take It Or Leave It, Lady Jane and even Mother’s Little Helper – which is saved by its lyrics. These song aren’t bad and several artists covered them straight away, thinking the Jagger-Richards stamp would ensure success. But they weren’t good songs either, the proof simply being that the Stones themselves didn’t bother to record many of them. Twice As Much didn’t do too bad with ‘Sittin’ On A Fence’, but Cliff Richard’s take on ‘Blue Turns to Grey’ stalled at no. 15 In the charts (1965), his worst position ever. The Searchers turned ‘Take It Or Leave It’ into, well, a Searchers tune, but had to be content with a no. 31 position in the UK (1965). The exception to the rule is the Aftermath original ‘Lady Jane’. It was covered straight away by one David Garrick – it started his career on the Continent, but failed to enter the UK top 20 again. In the US, The Rolling Stones put out ‘Lady Jane’ as the B-side of ‘Mother’s Little Helper’, but the song hit the top on its very own. By then, Jagger and Rihards had written a string of cliché songs they prefer not to talk about. To their dismay, some ended up on the ‘Metamorphosis’ album, making it a metamorphosis in reverse… Examples of these (best) forgotten songs are ‘ I’d Much Rather Be with the Boys (Toggery Five) and ‘So Much In Love With You’ (The Herd).
The style they yet had to develop is a sort of bluesy song with a touch of country, like ‘Goin’ Home’, and ‘Flight ‘505’ or country as such, like ‘High and Dry’. One is never sure in which direction these songs are going and it takes a first class interpreter like Chris Farlowe to realize the potential of the tune, as he de did with ‘Think’. ‘What to Do’ and ‘I Am Waiting’ seem to be in a category of their own, but not on the side of genius.
Radio 68 plays the entire album because ‘Aftermath’ does mean that from now on Jagger and Richards are in charge of the song-writing, which will greatly enhance their influence in the band. For the first time, there is no cover or imitation of Jimmy Reed, Bo Diddley, Chuck Berry or one of their other R&B heroes. In hindsight, this is the musical point where the blues of Brian Jones is abandoned.