My Generation of Sunday 19 March: Soft Side Of 1967, Super Super Blues Band [Ed’s Show, 2017-12]

NEW SHOW: The Soft Side Of 1967 (Scott Walker, Moby Grape, Serpent Power) , Super Super Blues Band** REPEATED: The Small Faces 1967, Nina Simone High Priestess Of Soul ** [Ed’s Show, 2017-12, 19 March]

THE PLAYLISTS
1 MY GENERATION (NEW)
SPECIAL: THE SOFT SIDE OF 1967 SCOTT WALKER: SCOTT + MOBY GRAPE: MOBY GRAPE  + THE HOLLES: EVOLUTION  + THE SERPENT POWER ** FAMOUS but FORGOTTEN:  THE ATTACK,  THE ACTION,  GENO WASHINGTON & THE RAM JAM BAND ** AND ALSO: Forty years since EDDIE & THE HOT RODS + The Shoes, Danny et Les Pénitents, Bobby Fuller Four **

2 BLUESIDE (NEW)
SPECIAL: THE SUPER SUPER BLUES BAND: full album, Checker, 1967, Muddy Watrs, Howlin’ Wolf &  Bo Diddley with Buddy Guy, Hubert Sumlin, Otis Spann ** KEEPERS OF THE BLUES FLAME: GARY FLETCHER with  Micky Moody on bass: Fell in love before I asked (“Human Spirit” outtake, 2007,  http://www.garyfletchermusic.net + JORMA KAUKONEN (CD Quah) ** AND ALSO: JERRY BUTLER & THE IMPRESSIONS, SAM & DAVE **

3 MY GENERATION (repeated)
SPECIAL: SMALL FACES 1967 LP UK version: selected tracks ** FAMOUS but FORGOTTEN:  SAM THE SHAM & THE PHARAOHS, TEE SET, THE ACE KEFFORD STAND ** LONGPLAYING: CHICAGO TRANSIT AUTHORITY II, TIM HARDIN 2 ** AND ALSO: DESMOND DEKKER & THE ACES , THE EQUALS, DAVE EDMUNDS, THE ROCK-A-TEENS ** WORD :  Mai 68, “Ce n’est qu’un début”.

4 BLUESIDE (REPEATED)
SPECIAL:  NINA SIMONE, “HIGH PRIESTESS OF SOUL”, LP, 1967  selected tracks from the album + interview snippets on Blackness and Racism  ** THE ORGINATORS  & INSPIRATORS:  CLIFTON CHENIER, OTIS RUSH, FRANKIE LEE SIMS ** STRUTTIN’ THEIR NEW STUFF: ELVIN BISHOP FUN TRIO  + LIL’ ED & THE BLUES IMPERIALS: THE BIG SOUND OF: Elvin Bishop and Lil’ Ed are on ALLIGATOR RECORDS. Thanks to Alligator, V2 Records Belgium and Airplay Direct ** KEEPERS OF THE BLUES FLAME: GRAHAM BOND:  THE SOUND OF 65, feat. Dick Heckstall-Smith, Ginger Baker, Jack Bruce + PAUL BRIDGEWATER  ** WORD:  MUHAMMED ALI on refusing to go to Vietnam

ACHTERGRONDINFORMATIE ** BACKGROUND

THE SOFT SIDE OF 1967: SCOTT WALKER: SCOTT (1st solo album)

“Scott was released only six months after Walker’s third album with The Walker Brothers, Images. Its mixture of Walker’s original compositions and selection of cover versions established Walker as a more serious and sombre artist; gone were the Beat group and Blue-eyed soul material of his former group. The choice of material generally fell into four main categories: his own work (“Montague Terrace (In Blue)”, “Such a Small Love”, “Always Coming Back to You”), contemporary covers (“The Lady Came from Baltimore”, “Angelica”), movie songs (“You’re Gonna Hear From Me”, “Through a Long and Sleepless Night”) and significantly, English-translated versions of the songs of the Belgian musician and songwriter Jacques Brel (“Mathilde”, “My Death”, “Amsterdam”). Brel was a major influence on Walker’s own compositions, and Walker included Brel material on his first three solo albums. Walker described Brel without qualification as ‘the most significant singer-songwriter in the world’.  The real coup for Walker was his luck in acquiring and recording the new Mort Shuman-translated versions of Brel’s material before anyone else”.  (Source Wiki)

SUPER UPER BLUES BAND

“Super Super Blues Band started out merely as Super Blues, a conglomerate of blues pillars Bo Diddley, Muddy Waters and Little Walter. When Little Walter bowed out and was replaced by Howlin’ Wolf, they rightfully threw another Super on the name, and went on to release this burning, irreverent and even sometimes hilarious set of drunken, wild-eyed electric blues. Long form jams roll on in a trance as the trio of blues legends flex egos, talking shit to each other, trading off leads and ducking blasts of unexpected wah-wah guitar lines. Songs are peppered with an incredible level of banter between the trio of bandleaders that predicts the call and response singtalking of early hip hop, laced with random screams in the background that teeter between celebration and danger. That these three ever got into the same room together is a miracle, and that they produced something so intense, energetic and weird is another almost unbelievable feat. The record is special enough as a stand-alone document of this meeting/melting of the minds before you fnd out the backing band consists of Hubert Sumlin, Otis Spann and freaking Buddy Guy. Lordy. Might have needed one more ”super” in there”. (Source: fatbeats.com)

THE SMALL FACES 1967 LP on Immediate

In the USA released as “There Are But 4 Small Faces, with a largely different track-listing.

“Acoustic guitars were now as much a part of the colors used as electric and greater use of harmonies took a key spot in the prodeedings. Other studio effects, such as the phasing used on ‘Itchycoo Park,’ only added to the brew already stewing. Tracks like ‘Green Circles,’ ‘Become Like You,’ and ‘Get Yourself Together’ rank among the band’s finest efforts. They were able to retain the R&B/soul influences of their early sound, but mix it up with the more cerebral (pronounced, “stoned”) vibe that the new direction was drenched in”. Source:
http://ultimateclassicrock.com/small-faces-1967-self-titled-lp-turns-45-years-old/?trackback=tsmclip

NINA SIMONE HIGH PRIESTESS OF SOUL

Nina Simone “(…)  But the Alabama church bombing and the murder of Medgar Evers stopped that argument and with ‘Mississippi Goddam,’ I realized there was no turning back.”
Nina was deeply affected by these two events. In 1962, she had befriended noted playwright Lorraine Hansberry and spoke often with her about the Civil Rights Movement. While she was moved by her conversations with Hansberry, it took the killing of Medgar Evers and the four girls in Birmingham to act as catalysts for a transformation of Nina’s career. Source: www.ninasimone.com/bio

“Classic work from Nina Simone – and an album that definitely lives up to its title! Nina Simone certainly emerged as the high priestess of soul during her monumental stretch for Philips Records in the 60s – as she moved way past jazz, way past some of the folk she’d begun tapping into, and into this new righteous territory that paved the way for countless other hip singers to come! Simone does a great job of mixing gutbuckety roots with hipper, 60s soul inflections – and the set’s a treasure trove of great tunes – including her awesome reading of “Work Song”, plus “Brown Eyed Handsome Man”, “Come Ye”, “I Hold No Grudge”, “I’m Going Back Home”, “I’m Gonna Leave You”, “Take Me To The Water”, and “The Gal From Joe’s”.  SOURCE: © 1996-2017, Dusty Groove, Inc.  Disclaimer: Citation used for informative purposes only. Radio 68 is a non-commercial and not for profit internet radio station.