My Generation of Sunday 09 & Tuesday 11 June: 1968 Soul singles, Luther Allison, Patrick Verbeke [Ed’s Show, 2019-21]

NEW SHOW: Soul singles 1968, Luther Allison, Patrick Verbeke ***  Repeated: Jim McCarty, Muddy Waters *** Ed’s Show, [2019-21 = 2018-09], Sunday 09 June, 12 noon till 12 midnight CET Brussels & repeated  Tuesday 11 June, 12:00 till 20:00 hrs CET Brussels  *** RADIO 68: all the sounds and all the voices that shaped the sixties ***


JOE TEX: Men Are Scarce + DR. JOHN: Mama Roux (promo) + CLARENCE CARTER: Too Weak To Fight  + TYRONE DAVIS b-side Can I Change My Mind  + SHORTY LONG: Say What You Wanna (B of ‘Here Comes The Judge) + PERCY SLEDGE Between These Arms  b of ‘Sudden Stop’ + JAMES BROWN: Lickin’ Stick pt. 2 + MARVIN GAYE & TAMI TERELL: You’re All I Need  + THE INTRUDERS: Cowboys To Girls + JUNIOR WALKER & THE ALL STARS: Mutiny, B-side of Home Cookin’ + ARCHIE BELL & THE DRELLS: Tighten Up, parts 1 and 2  *** AND ALSO: P.P. ARNOLD, cd “Turning The Tide”, 2017 + THE TREMELOES, 1968  *** WORD: “Suicide In the Trenches” by Siegfried Sassoon, Peter Doherty + Keith Christmas: When the New Man Comes to Power (cd “Crazy Dancing Days”, 2016).


STARTER: BILL WYMAN’s RHYTHM KINGS and GEORGIE FAME*** THE ORIGINATORS  & INSPIRATORS : JERRY ROLL MORTON *** SPECIAL LUTHER ALLISON: LUTHER ALLISON: Little Red Rooster, 4:00 In The Morning, Every Night About This Time (Bartholomew / Domino) debut LP Love Me Mama, 1969) + LUTHER ALISON with PATRICK VERBEKE: Nobody But You  (cd My Blues, Ruf Records, 2001) + PATRICK VERBEKE: De quoi j’vais me plaindre, Sado-Maso Blues + PATRICK VERBEKE, Alain Briaux & VINCE TAYLOR: Money Honey *** KEEPERS OF THE BLUES FLAME: BERNARD ALLISON: You’re Gonna Need Me (by L. Allison, cd “Let It Go”, Ruf, 2017, Thanks to Ruf Records and V2 Records Belgium)  + STEVIE WONDER: Fingertips, pt. 2  *** WORD:  JOHN DENVER: Peace + The Strangest Dream; CLAUDE McKAY: If We Must Die

 3 MY GENERATION (repeated)

JIM McCARTY: Walking in the Wild Land,  Stop Living in the Past, Charmed  (Walking In the Wild Land, 2018, Angel Air- + SHOOT: The Boogie (feat. Jim Mccarty, On the Frontier) + KEITH RELF: Try Believing, 1968 (bonus track on Renaissance: ‘ Live At The Fillmore West’) + THE NASHVILLE TEENS feat. John Hawken: The Devil-in-Law  *** (the albums by McCARTY, SHOOT and RENAISSANCE are on Angel Air, thanks to *** FORGOTTEN & OVERLOOKED : BERND SPIER sings Chuck Berry in German: Ohne Bestimmtes Ziel +  THE TURTLES: Outside Chance, Summer 1966 + SAM THE SHAM: Oh, That’s Good, No That’s Bad *** LONGPLAYTIME :  QUINTESSENCE: Notting Hill Gate, LP In Blissful Company 1969 + GROWING CONCERN: You’re A Better Man Than (LP, 1968) + THE DEEP: Trip no. 76, LP Psychedelic Moods *** WORD: JAYBEE: Allende +  Herdenking Februaristaking Amsterdam + 784 Theatre Company: Lay Off  *** AND ALSO: JACK HAMMER ***

4 BLUESIDE (repeated)

SPECIALMUDDY WATETRS:  ELECTRIC MUD, 1968: I Just Wanna Make Love, Hoochie Coochie Man, Herbert Harper’s Free Press News (Electric Mud, 1968)  backed by The Rotary Connection (later feat. Minnie Ripperton) + THE ROTARY CONNECTION: Aladdin (single, 1968) &  THE ROTARY CONNECTION feat. Minnie Ripperton: Stormy Monday live, 1969; Burning Of The Midnight Lamp  (< 1969 LP) *** AND ALSO: JAMES COTTON, THE METERS KEEPERS OF THE BLUES FLAME: TINY LEGS TIM + THE SPIKEDRIVERS: High Time  Detroit ,single, 1966  *** WORD:  Country Joe McDonald: Agent Orange + Christy Moore: Viva La Quinta Brigada

 SCHEDULE ** ROOSTER  ** CET Brussels Sun. 1200 > 2400      Wed. 1200 > 2000 
My Generation: new show: Soul singles 1968 12:00 * 16:00 * 20:00 hrs 12:00 * 16:00 hrs
Blueside: new show:  Luther Allison 13:00  * 17:00  * 21:00 hrs 13:00  * 17:00 hrs
My Generation repeated: Jim McCarty 14:00 * 18:00  * 22:00 hrs 14:00 * 18:00 hrs
Blueside repeated: Muddy Waters 15:00 * 19:00 * 23:00 hrs 15:00 * 19:00 hrs
Ends 24:00 hrs Ends 20:00 hrs




“By 1957, Allison had dropped out of school and formed a band called The Rolling Stones. Unhappy with the name, they became The Four Jivers, gigging all over the West Side of Chicago. Before long, Luther was jamming with the West Side’s best, including Magic Sam, Otis Rush, and Freddie King, who encouraged Allison to sing. “That,” said Allison, “was my school.” When King began to tour nationally in the early 1960s, Allison took over King’s band as well as his weekly gigs at Walton’s Corner and became one of the hottest acts on the West Side. For five years, Allison honed his craft. He moved to California for a year and cut sides with fellow Chicagoans Shakey Jake Harris and Sunnyland Slim. He cut his first two songs as a leader on the now-classic Delmark anthology, Sweet Home Chicago, before releasing his first solo album (also on Delmark), Love Me Mama , a record of hard-hitting blues that spoke to the growing rock audience. But even before his debut album came out, Luther landed a headlining spot at the influential Ann Arbor Blues Festival in 1969, and went from relative unknown to major blues-rock attraction. “His guitar riffs seemed to defy the possible,” raved John Fishel, the program director of the festival, who brought Allison back to perform at the following two festivals”.  Quoted from / All Rights Reserved:


“Aretha Franklin began the year with her best album to date, Lady Soul, but had trouble coming up to that high point during the rest of the year. In some ways her career is indicative of soul music’s development this year: having already created an extremely high standard for herself, she is now having trouble either living up to it or finding new directions in which to grow. News of her forthcoming jazz-oriented album bodes well for her in this respect, because it shows that she is aware of the problem. Prior to 1968, Atlantic records had distributed Stax records and had contributed to formulating its policies. In 1968, Stax separated from Atlantic and was bought by Gulf and Western. Jim Stewart remains the president of Stax and is now on his own. The initial efforts of Stax as an independent have been superb: the label’s very first release, Booker T. and the MGs “Soul Limbo,” was a big hit. Musically, it was noteworthy primarily because of Al Jackson’s excellent percussion work. Eddie Floyd had several great records this year, particularly “Bring It On Home” and the little known “Get On Up Big Bird.” There was also William Bell’s moving “Tribute To a King” which used the traditional folk ballad form to pay homage to Otis Redding”.
Quoted from / All Rights Reserved: 

“Forget Jim McCarty-The Yardbirds-drummer and  switch to Jim McCarty the guitarist, composer and singer because this is the Jim McCarty who has just released his third solo album. He wrote all twelve melodic, quiet, almost fragile songs in which he contemplates about nature, Life and life, Time,  destiny and the questions that must remain unanswered forever. The philosophical mood of this album is further enhanced by instruments such as the flugelhorn and the violin. A lovely antidote”.  (© Eddy Bonte).  Check out  McCarty’s  official website



“ (…)Marshall Chess, son of the president of the label who worked at the company had the idea to try something different by putting Muddy’s music into a psychedelic setting to appeal to a younger audience. After discussing the project with Muddy, he went for it. He wasn’t forced into it as some have been led to believe. Marshall Chess assembled in his words “the hottest, most avant garde rock guys in Chicago” for the album sessions consisting of Pete Cosey (lead guitar, later with Miles Davis) Phil Upchurch and Roland Faulkner (rhythm guitar), Louis Satterfield (bass) Gene Barge (tenor sax), Charles Stepney (organs) and Morris Jennings (drums). Since Muddy wasn’t as accustomed to this style, he only contributed vocals, but he still played an essential part in this recording. Electric Mud (1968) was mostly recorded in live takes with few overdubs and that off-the-cuff live feel that’s captured on it makes it stronger (…) .  Quoted from / All Rights Reserved:

Radio 68 Plays tracks from “Electric Mud”  + tracks by the group who backed him, The Rotary Connection (later with Minnie Ripperton).


DISCLAIMER: Illustrations are All Rights Reserved. Radio 68 may not own the rights to the illustrations on, which are used for information and educational purposes only. Quotations are All Rights Reserved and equally used for information and educational purposes only. Where known, sources are clearly mentioned. No use is made of sources which explicitly prohibit use by third parties, unless prior permission has been granted. Radio 68 is a free and non-commercial project ; there is no income from ads, sponsoring,  subsidies or other external sources.

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