My Generation of Sunday 10 & Tuesday 12 Dec.: Granny Takes A Trip, Johnny (R.I.P.), William Bell, Peter & Gordon [Ed’s Show, 2017-50]


Granny Takes A Trip, Johnny (R.I.P.), William Bell, Peter & Gordon ** REPEATED: The London Look, Adam Faith & The Roulettes [2017-50, Sun. 10 Dec. 12:00 > 24:00 hrs + repeated Tue. 12 Dec., 1200 > 20:00 hrs. ] ** Time Zone: CET, Brussels ** **** RADIO 68: ALL THE SOUNDS AND ALL THE VOICES THAT  SHAPED THE SIXTIES *** HOMAGE TO CATALONIA
As a homage to Catalonia, I will play Catalan songs of freedom, love, peace and resistance in every show: ELS DRACS: Colors  + GUILLEM d’EFAK: Blues, EP, 1965 + Cant dels Ocells i els Segadors per la llibertat de Jordi Sánchez i Jordi Cuixart **

SPECIALGRANNY TAKES A TRIP: THE PURPLE GANG: Granny Takes A Trip  / Bootleg Whiskey (single, 1967, banned by the BBC) + SYD BARETT/ Here I go (< The Madcap Laughs)  + JOE BEARD, SHELLY RAINEY & MIKE BILLINGTON: We Almost Got It Together Once + THE PINK FLOYD: Arnold Layne / Candy And A Currant Bun + CAT STEVENS: Portobello Road (b-side of 1st single, 1966)   **  NIGEL WAYMOUTH, founder of boutique Granny Takes A Trip + VIDEO ** ** FORGOTTEN & OVERLOOKED:  PETER & GORDON: I don’t want to see you again  (Lennon & McCartney, no. 16 USA, 1964) + SONNY & CHER: A Cowboy’s Work Is Never Done (last top 10 Hit, 1972) + WALLY TAX: I Sat And Thought And Wondered Why (1967) ** AND ALSO:  JOHNNY HALLIDAY RIP 06DEC2017: Ce n’est pas méchant; Excsue-moi partenaire + ANTOINE:  Les élucubrations d’Antoine  + JOHNNY: Cheveux longs, idées courtes  ** CHRIS ANDREWS  ** HOMAGE TO CATALONIA:  Cant dels Ocells i els Segadors per la llibertat de Jordi Sánchez i Jordi Cuixart  VIDEO:

SPECIAL: WILLIAM BELL NORMAN BEAKER BAND: Born Under A Bad Sign  (cd Live in Belgrade)+ WILLIAM BELL: THE SOUL OF A BELL , Stax, 1967: Everybody Loves A Winner,  You Don’t Miss Your Water, Never Like This Before  + WILLIAM BELL: Born Under A Bad Sign (single, 1969) + RUFUS THOMAS: Can’t Ever Let You Go (Stax) +  DEL RIOS: There A Love (Stax) ** KEEPERS OF THE BLUES FLAME:  PETER & GORDON; Mess Of Blues, My Babe, Love Me Baby   (LP ‘In Touch’, 1964) + JOHNNY HALLYDAY: Etre un homme, I Am the Blues (cd Le cœur d’un homme’) FULL ALBUM In ‘Longplaytime’ on Monday and Wednesday ** HOMAGE TO CATALONIA:  GUILLEM d’EFAK (EP ‘Blues’, 1965) ** AND ALSO: STARTER JOEY DEE & STARLITERS: Fanny Mae (1961)

3 MY GENERATION (repeated): THE LONDON LOOK 1 Herman’s Hermits: London Look  * 2 The Kinks: Dedicated Follower Of Fashion * 3 The Small Faces:

Itchycoo Park *  4 P.P. Arnold: (If You Think You’re) Groovy (written by Lane & Marriott) * 5 Chris Farlowe: Handbags & Gladrags (written by Mike D’Abo)  * 6 Anita Harris: London Life * 7 David Bowie: I’m Not Losing Sleep * 8 Jackie Trent: 7.10 From Suburbia  * 9 Nicky Scott: Big City  * 10 Billy Nicholls: London Social Degree  * 11 The Carnaby: Jump And Dance  * 12 Vandyke & The Bambis: Doin’ The Mod  * 13 The Marquis Of Kensington: The Changing Of The Guard * 14 David Garrick: Dandy (written By R. Davies)  * 15 The Knack: Dolly Catcher Man * 16 Orange Bicycle: Hyacinth Threads  * 17 The Purple Gang: Granny Takes A Trip 18 * The Kinks: Waterloo Sunset (written By R. Davies). From: The London Look, Castle Music, 2004, the sound-track to the exhibition ‘London Look: Fashion From Street to Catwalk’,  held at the Museum of London, October 2004 – May 2005. ** HOMAGE TO CATALONIA: ELS DRACS: Colors (‘Colours’ by Donovan)


BLUESIDE (repeated) SPECIAL: ADAM FAITH & THE ROULETTES: Hi Heel Sneakers, Talk ABout Love, Look Out Baby [FAITH ALIVE, 1965]   + CHRIS ANDREWS: I’ll do the best I can (b-side, 1966), Michigan River + ARGENT feat. Former Roulettes Russ Ballard and Bob Henrit: Sweet Mary  (‘Ring Of Hands, 1971) + DAVE SAMPSON & THE HUNTERS, feeat. future Roulettes Brian Parker, John Rogers and Norman Stracey: If You Need Me (EP, 1961) + ADAM FAITH & THE ROULETTES: It’s Alright [b-side and LP ON THE MOVE, 1964] ** THE ORIGINATORS  & INSPIRATORS:  SAM & DAVE: Wrap It Up + THE VALENTINOS: It’s ALL Over Now + COUNTRY JOE McDONALD: Pastures Of Plenty [Thinking Of Woody Guthrie, 1969] ** KEEPERS OF THE BLUES FLAME:  THE CHOCOLATE WATCHBAND: Don’t Need No Doctor, Devil’s Motorcycle  (One Step Beyond, 1969) + GREG ZLAP, JULLIVER & IAN SIEGAL: Save My Soul (same, 2017) + SAMANTHA FISH: American Dream, Poor Black Mattie (R.L. Burnside)  (Belle Of The West, 2017, thanks to V2 Records Belgium and RUF Records).


 SCHEDULE ** ROOSTER  ** CET Brussels Sun. 1200 > 2400      Wed. 1200 > 2000 
My Generation: new show: Granny Takes A Trip 12:00 * 16:00 * 20:00 hrs 12:00 * 16:00 hrs
Blueside: new show: William Bell 13:00  * 17:00  * 21:00 hrs 13:00  * 17:00 hrs
My Generation repeated:  London Look 14:00 * 18:00  * 22:00 hrs 14:00 * 18:00 hrs
Blueside repeated:   Adam Faith & Roulettes 15:00 * 19:00 * 23:00 hrs 15:00 * 19:00 hrs
Ends 24:00 hrs Ends 20:00 hrs



“A principal architect of the Stax/Volt sound, singer/composer William Bell remains best known for his classic “You Don’t Miss Your Water,” one of the quintessential soul records to emerge from the Memphis scene. He cut his teeth backing Rufus Thomas, and in 1957 recorded his first sides as a member of the Del Rios. After joining the Stax staff as a writer,  he made his solo debut in 1961 with the self-penned “You Don’t Miss Your Water,” an archetypal slice of country-soul and one of the label’s first big hits. A two-year Armed Forces stint effectively derailed his career, however, and he did not release his first full-length album,  The Sound Of A Bell, until 1967, generating a Top 20 hit with the single “Everybody Loves a Winner.” That same year,  Albert King scored with another classic Bell  composition, the oft-covered “Born Under a Bad Sign”.” (Source; Jason Ankeny on


Peter and Gordon’s British album furthers their vague credentials as folk-rock precursors, with a few traditional folk tunes like “Freight Train” and “Barbara Allen” and some slightly folky British Invasion harmony ballads (“I Still Love You”). There are also some ill-advised bluesy covers (“A Mess of Blues,” “My Babe”) [ I don’t agree here, I LIKE these covers and that’s why they are in my show – ED] , this was 1964 and tons of groups covered R&B, and some inoffensively competent originals that go for both the folky approach (“I Don’t Care What They Say,” “Leave Me in the Rain”) and a mildly bluesy one (“Love Me Baby”). For all that, the most memorable track by a longshot is the poppiest item, their hit cover of  Lennon and McCartney’s  “I Don’t Want to See You Again” (which The Beatles never recorded). The material and delivery is pleasant but slight, and just too damned polite to be of much consequence. AllMusic Review by Richie Unterberger.


The Purple Gang was formed in Cheshire, UK, in the late 1965 by a group of students at the Stockport Art College, including Chris “Joe” Beard (guitar), Peter Walker (vocals), Trevor ‘Ank’ Langley (Jug), Geoff Bowyer (piano, washboard, vocals, Kazoo. and Gerry Robinson (harmonica, mandolin). The band was originally formed as the Young Contemporaries Jugband and it was one of the most original folk and blues British acts in the late 60’s. After moving to London, the band started working under the management of producer Joe Boyd, who also managed Pink Floyd and was a co-runner of the legendary underground psychedelic club the UFO.

In 1967 the band released the single “Granny Takes a Trip” on the British folk label Transatlantic records. The song became a popular anthem of the psychedelic scene and was wrongly banned by the BBC from its airwaves for making reference to LSD in its lyrics. In early 1967, the Purple Gang performed the first of three gigs at the Marquee club, supporting Long John Baldry. None of these gigs were officially billed and Trasnsatlantic records contracted the band’s shows to the Marquee club for no money. Their last performance supported young songwriter Steve Adams -widely known as Cat Stevens-, as Joe Beard can remember: “I met a young dark-haired guy in there in the dressing room called Steve Adams and he let me have a go on his beautiful “Black Box” Gibson..he let me tune-it in for him as his hands were shaking (after all he was going on solo as compere). He did OK and was signed up after that gig. His song “I Love My Dog” was haunting that night and we all congratulated the young “Cat Stevens” to be.”

At the time, the band became a popular underground act in London’s scene and used to perform dressed in gangster suits, an image that was also used by other underground bands at the time such as the Move and Syn. They played at the top clubs of the London psychedelic underground scene, such as the UFO, Wizard and the Roundhouse. During these days they had a close friendship with Pink Floyd and Syd Barrett wrote the song “Here I Go” for the band. In 1968, the Purple Gang released their debut album “Strikes”, featuring bassist Tony Moss, where they were forced by the record company to refrain from producing psychedelic and experimental oriented stuff.


“An impressively researched endeavour to give London’s fashion its due, this book–which accompanies an exhibit at the Museum of London–demonstrates the city’s “”distinctive character”” through clothes and asserts that London stands apart from other fashion epicentres like Paris, Milan and New York City. The authors work in tandem to illuminate London’s rich sartorial history, each taking on a section of the book (Breward the 1800s, Ehrman the first half of the 19th century and Evans the latter half). Each examines the iconic trends that prevailed during these periods, from the tailored finery of Saville Row to the subversive theatricality of Carnaby Street, and through personas as diverse as Oscar Wilde, Twiggy and David Bowie. The authors also offer expansive, erudite commentary on London’s social, political and cultural currents, providing a lens through which to view the city’s protean identity. London’s marked ethnic and class diversity both find expression in the clothes; take, for instance, a lavishly beaded and embroidered silk evening dress made by Louise Winter in 1893 or a hand-woven cotton creation with a clear Thai influence, fashioned by Wendy Dagworthy in 1982. Style-setters over the centuries have seized upon London’s lively culture as a dramatic backdrop for avant-garde costumes, as it were–exaggerated, idiosyncratic and even satirical threads that amplify the city’s current cultural mood. This volume’s sumptuous photographs and sketches showcase the pageantry and playfulness of various styles, as well as the assertions of elegance and the streaks of subversion woven through the texture, color, fabric and silhouette of each garment”  SOURCE:  ** THE BOOK Christopher Breward, Author, Edwina Ehrman, Author, Caroline Evans, Author Yale University Press  (180p) ISBN 978-0-300-10399-1 ** THE CD: Castle Music.


“Muziek Parade. Op onderstaande reportage uit de Muziek Parade van febr 1966 over het bekende TV progamma “Moef Ga! Ga!” geregisseerd en geproduceerd door Bob Rooyens ziet men op de foto’s een foto van een zeer jonge Armand nog maar net 20 jaar oud met tegen zijn rug aangeleund een Beatmeisje en daarnaast de bekende Engelse zanger Adam Faith met ook een beatmeisje aan zijn zijde. Adam Faith had in die tijd een zeer goede begeleidingsgroep THE ROULETTES waar ook Chris Andrews wel eens meezong en het bekendste lid van die band was “Russ Ballard”. Een meesterlijke Beat LP uit 1965 is de live LP van ADAM FAITH & THE ROULETTES “FAITH ALIVE!” (COLUMBIA PMC 1249 MONO) opgenomen met een paar honderd gillende tieners in E.M.I Studio’s, St. John Woods , London N.W. 8 op zondag 25 april 1965. Op diezelfde locatie nam in febr. 1959 Cliff Richard met zijn Drifters zijn 1e LP op ook met honderden gillende meiden n.l. “CLIFF First and live”. Cliff Richard was een goede vriend van Adam Faith en trad met hem ook live op in verschillende Engelse TV progamma’s. Adam Faith trouwde later met Cliff zijn ex-vriendin, de danseres Jackie Irving. De begeleidingsgroep van Adam Faith The Roulettes hadden ook een hitje op Radio London met het nummer “The Long Cigarette” en maakten ook een zeer mooie en zeldzame solo LP.  Bob Rooyens heeft dus werkelijk heel wat uniek talent gefilmd in “Moef Ga Ga” en dit progammaliep zeker door tot 1968. Veel gedraaid op Veronica in die tijd was het nummer van Adam Faith “It’s allright”, ook gecoverd door de Ned groep The Torero’s met Karin Kent”. BRON: http://www.bluesharmonica


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