My Generation and Blueside of Sun. 29 November: Blossom Toes, John Kay, Bill Wyman, Norman Beaker [Ed’s Show, 2015-47]
Blossom Toes, John Kay, Bill Wyman, Norman Beaker * Radio 68: Happy To Be Different
MY GENERATION & BLUESIDE
Showtime on Sundays:
12:00 My Generation ** 14:00 Blueside ** 16:00 My Generation ** 18:00 Blueside ** 20:00 My Generation ** 22:00 Blueside ** 24:00 My Generation ** 02:00 Blueside ** 04:00 End of Show (Monday morning)
RADIO 68 TIME = Central European Time (CET, Paris, Brussels, Rome) is 1 hour ahead of GMT / UTC Time (London). For example: 14:00 hrs CET = 1 p.m. in London
MY GENERATION : THE PLAYLISTS
1 NEW SHOW
BLOSSOM TOES SPECIAL with FAMILY, TRAFFIC, BLOSSOM TOES, LES INGOES, JULIAN COVAY & THE MACHINES, CHUCK BERRY, THE HELIONS / DEEP FEELING feat. Poli Palmer, Dave Mason / Luther Grosvenor, Jim Capaldi , THE CHEYNES + Jim Cregan Interview *
2 LAST WEEK’s
PETER SELLERS ** DAVE & PHIL ALVIN: Papa’s On the Roof Top (LOST TIME, new album 2015) ** THE EASYBEATS ** THE SWINGING BLUE JEANS ** SPECIAL BILL WYMAN: AMEN CORNER , BILL WYMAN, BILL WYMAN’s RHYTHM KINGS ** WILLIE & THE POOR BOYS feat. Gary Brooker, Andy Fairweather-Low, Georgie Fame, Terry Taylor ** KALEIDOSCOPE ** ELMER GANTRY’s VELVET OPERA ** LAURA NYRO *
BLUESIDE: THE PLAYLISTS
1 NEW SHOW
MIKE ZITO & THE WHEEL: cd Keep Coming Back, 2015, tanks to V2 Records Belgium and Ruf Records ** SOUL EMBRACE: Die A Happy Man (from “Good Mornng to Myself”, 2015, thanks to Starman Records) ** JOHN KAY SPECIAL with JOHN KAY, STEPPENWOLF, HANK SNOW, CREAM, DON COVAY, WILLIE DIXON, JUNIOR WELLS, HOYT AXTON **
Soul Embrace: thanks to Starman Records ** Mike Zito & The Wheel: thanks to V2 Records Belgium and Ruf Records
2 LAST WEEK’s
SOUL EMBRACE: new band, new album on Starman Reords, thanks to Felix ** MIKE ZITO & THE WHEEL: KEEP COMING BACK (NEW ALBUM: thanks to V2 Records Belgium) **
NORMAN BEAKER SPECIAL: BUDDY HOLLY, THE NORMAN BEAKER TRIO (LIVE IN BELGRADE, new album, 2015) , BEAKER & PRICE (BETWEEN THE LINES), NORMAN BEAKER & LARRY GARNER (GOOD NIGHT IN VIENNA), LARRY GARNER, CHRIS FARLOWE **
MY GENERATION New Format
A new 60 minute episode of My Generation 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.
First airing Sundays at 12 noon * Repeated: Sundays at 16:00 hrs, 20:00 hrs and 24:00 hrs (twelve midnight) * RADIO 68 TIME = Central European Time (CET), for example: 14:00 hrs CET = 1 p.m. in the UK.
SPECIAL NEW SHOW: BLOSSOM TOES Are Ever So Clean
Inspired by the Chuck Berry blues instrumental “Ingo”, UK band The Gravediggers changed their name to The Ingoes, were managed by Giorgio Gomelsky of Rolling Stones and Yardbirds fame and sent to Paris in 1965 as “Les Ingoes from the world-famous Marquee Club” – where they duly recorded an EP of dance music with a French title “Viens danser le Monkiss”. Chances are the musicians formerly known as Les Ingoes would rather not be reminded of this, but in fact it’s not a bad record at all. At any rate, it was a far cry from what co-founder Brian Godding (voc, gtr, keys) and new drummer Kevin Westlake had in mind as songwriters. Renamed Blossom Toes in 1966, Godding, Westlake, Brian Belshaw and Jim Cregan (replacement for Eddie Lynch) issued their first long-player called “We Are Ever So Clean” (1967) . The sound wasn’t exactly to the band’s liking, so you will find uncouth versions on the cd release. Godding provides the light psychedelic, dreamy, softer tunes; Westlake is a bit louder and more edgy.
Blossom Toes provided background music for Eric Rohmer’s movie “La collectionneuse” (1967) and release a second album, “If Only For A Moment”. By that time, Westlake had been replaced by Poli Palmer, who would soon thereafter join Family.
Some Family Tree information for you:
The Gravediggers / The Ingoes have Eddie Lynch on guitar, formerly of The Cheynes feat. one Mick Fleetwood. He is replaced by Jim Cregan, who used to play with The Dissatisfied Blues Band and Julian Covay & The Machine.
Multi-instrumentalist Poli Palmer (flute, piano, vibes, drums) was in a band called Deep Feeling with Dave Mason, Jim Capaldi (future founders of Traffic), and Luther Grosvenor of Spoky Tooth fame). Palmer also played in a band called The Helions.
RADIO 68 plays: Traffic, Family, The Helions, Deep Feeling, Julian Covay & The Machine, The Cheynnes, The Ingoes (EP-tracks) and selected tracks from “We Are Ever So Clean” (cd rerelease)
SPECIAL REPEATED SHOW : BILL WYMAN
Bill Wyman’s latest solo cd “Back to Basics” met with mixed reviews. Most reviewers were very kind, pointing out that the Quiet One was the most successful solo Stone, but also that this success was mainly due to lightweight pop, such as “Si Si Je Suis un Rock Star”. Maybe one should say: disco pop. Most reviewers left out Wyman’s bands, Willie and the Poor Boys and The Rhythm Kings. For some reason, because in these great blues and rock’n’roll bands, Bill Wyman is just the bass-player, sharing the stage with icons like Albert Lee, Andy Fairweather-Low, Georgie Fame, Gary Brooker and the excellent, loyal, but low-profiled guitarist Terry Taylor.
Only writer and front-man of the Argonauts Alan Clayson, wrote a raving piece. Verdict? As most reviewers pointed out, Wyman doesn’t really sing on this disc, but the truth is he never was much of a singer, never pretended to be one and used a type of ‘parlando’ instead. And it worked, see “Si Si”. On “Back to Basics” his parlando has lost some strength and conviction. Contrary to the old days, Wyman’s lyrics are insufficiently tongue-in-cheek. The melodies and the arrangements aren’t new either, but so be it. Several tracks just walk on by, several others stand out on condition you listen attentively.
RADIO 68 PLAYS: selected tracks from “Back to Basics”, his first solo album, the Japan-only cd “Stuff” (1992), the live album by Willie and The Poor Boys (“Tear It Up”) and The Rhythm Kings (“Double Bill”). Plus: sixties Andy Fairweather-Low when he sang lead with Aman Corner.
A new 60 minute episode of My Generation Blueside 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.
First airing Sundays at 14:00 hrs * Repeated: Sundays at 18:00 hrs, 22:00 hrs and 2 in the morning + Mondays 14:00 hrs ** RADIO 68 TIME = Central European Time (CET), for example: 14:00 hrs CET = 1 p.m.
SPECIAL NEW SHOW: JOHN KAY
For sure, John Kay was the leader and inspirator of one of the first heavier bands – Steppenwolf – but at the same time he was influenced by the blues and C&W masters. Just check out the Steppenwolf releases and you will find covers by then popular blues and C&W artists such as Don Covay (“Sookie Sookie”), Hoyt Axton (“The Pusher”) or Hank Snow (“I’m Movin’ On”), but also heavier interpretations of standards like “Hoochie Coochie Man” and “Hey Lawdy Mama” (a song that actually can be traced back to the thirties ). And those songs weren’t fillers, but hits or key tunes of their shows.
It comes as no surprise then that John Kay later went back to these roots for his solo albums, e.g. “The Lost Heritage Tapes” (1997) and “Heretics and Privateers” (2001).
Radio 68 plays the blues by John Kay (from the albums mentioned) and Steppenwolf, plus the originals and originators that inspired him: Hoyt Axton, Willie Dixon, Don Covay, Junior Wells, Hank Snow.
SPECIAL REPEATED SHOW: NORMAN BEAKER
Norman Beaker and his band have opened shows for the greatest blues artists on earth. They have also built a reputation as a formidable backing-band on stage and in the studio. These last years, however, have seen Norman Beaker carve out a niche of his own, both in the UK and on the Continent where he has headlined shows and festivals from Brussels to Belgrade. He’s had the ingredients ready for decades: showmanship, that blues voice, meticulous guitar-playing and a fine ear for harmony and balance. Singing and playing lead, he has added two more characteristics to his shows and records: first, a way of turning classic tunes upside down while keeping their authenticity intact, like he did with Buddy Holly’s “It Does’t Matter Anny More”; two, a small, but idiosyncratic collection of songs that do not necessarily restrict themselves to the blues idiom and show Beaker’s sense of humour.