Long-playtime : Albums-Only Radio Show *** Pre and Post ‘The Action’: Ace, Savoy Brown [Shakedown, entire LP), Mighty Baby [1969, entire album] *** Monday 17 Jan 2022 *** [Ed’s Show 2022-02, no. 204]

NEW SHOW: Pre and Post ‘The Action’: Ace, Savoy Brown [Shakedown, entire LP), Mighty Baby [1969, entire album]  *** REPEATED SHOW The Spencer Davis Group Mk II feat. Ray Fenwick, Eddie Hardin [With Their New Face On],  Spencer Davis [So Far], After Tea [National Disaster], Eddie Hardin’s Wizard’s Convention, Ron Wood & Ronnie Lane [Mahoney’s Last Stand] *** Monday 17 January 2022, 12:00 noon till  04:00 in the morning *** Time Zone CET Brussels, Paris, Berlin *** [2022-02 = 2018-01, no. 204] ***

RADIO 68: ALL THE REVOLUTIONARY SOUNDS AND VOICES THAT SHAPED THE SIXTIES 

LIKE & JOIN RADIO 68

Like our Page https://www.facebook.com/radio68Belgium
Join our Group https://www.facebook.com/groups/613281298696645

Showtime CETime Brussels 

• 12:00 Ace, Savoy Brown, Mighty Baby
• 14:00 Spencer Davis MkII, After Tea, Ron Wood & Ronnie Lane
• 16:00 Ace, Savoy Brown, Mighty Baby
• 18.00 Spencer Davis MkII, After Tea, Ron Wood & Ronnie Lane
• 20:00 Ace, Savoy Brown, Mighty Baby
• 22:00 Spencer Davis MkII, After Tea, Ron Wood & Ronnie Lane
• 24:00 Ace, Savoy Brown, Mighty Baby
• 02:00 Spencer Davis MkII, After Tea, Ron Wood & Ronnie Lane
• 04:00 Show Ends Here   

01 NEW SHOW: Pre and Post THE ACTION with
ACE, feat. Bam King: How Long, Ain’t Gonna Stand This No  More ***
SAVOY BROWN feat. Martin Stone: SHAKE DOWN, first LP, 1967 (entire album) ++
MIGHTY BABY:  first LP, 1969 (entire album) +++
AND ALSO: THE BLUES MAGOOS: PSYCHEDELIC LOLLIPOP *** POEZIE: Menno Wigman, Huub Beurskens i.s.m. Poëziecentrum Gent

02 REPEATED SHOW: SPENCER DAVIS MkII, AFTER TEA, RON WOOD & RONNIE LANE
THE SPENCER DAVIS GROUP with Ray Fenwick and Eddie Hardin: WITH THEIR NEW FACE ON, LP, 1968, the entire album ***
EDDIE HARDIN’s WIZARD’s CONVENTION 2, 1995, (www.angelair.co.uk) , feat. Chris Farlowe, Paul Jones and Mike d’Abo, Debbie Bonham, John Lawton, Phil Manzanera, John Entwisthle, nd Denny Laine, Tony Ashton ***
AFTER TEA, feat. Ray Fenwick: NATIONAL DISASTER, 1968,  A-sid ***
SPENCER DAVIS: SO FAR (cd, 2008): choice tracks: ***
RONNIE LANE & RONNIE WOOD: Mahoney’s Last Stand, 1976, A-side and more ***
AND ALSO: HOMAGE TO  CATALONIA:  Himno de Riego: anthem of the Second Spanish Republic, proclaimed  14 April 1933 – destroyed by Franco’s  dictatorship 1 April 1939 ** Quico Pi de la Serra , Companiya Elèctrica Dharma: Brutalitat

HIGHLIGHT ** IN DE KIJKER

MIGHTY BABY

When Mod, singer and soul fanatic Reggie King left to pursue a solo career, THE ACTION turned prog, changing their name into AZOTH (late 1968) before settling for MIGHTY BABY. On board where Mike Evans (bs), Roger Powell (dr), Bam King (gtr) , Ian Whiteman (keys) and Martin Stone, a guitarist who had played on SAVOY BROWN’s first LP “Shake Down” (1967). Mighty Baby released two albums (1969 and 1971). Later, Bam King can be found in ACE with Paul Carrack on vocals; They scored two hits, ‘How Long’ (UK no. 20, 1974) and ‘Ain’t Gonna Stand For this No More’.

RADIO 68 PLAYS: the first LP by SAVOY BROWN (Shake Down, 1967) with future Action-member MARTIN STONE. The first LP by IGHTY BABY (1969), which is basically THE ACTION without Reggie King turned prog. PLUS a few tracks by ACE, with Action-guitarist Bam King.

“(…) and the opening strains of “Egyptian Tomb” with off-beat sax honks, an Eastern vibe, and lyrics about people not knowing “what it is to have lived in a different place” indicated that Mighty Baby was no ordinary acid/jam/tripped-out band. With Reg King gone, the band opened their minds further, and pleasant acid-rock vibe, as if the happier Pink Floyd songs fused with the American West Coast and the prevailing country flair. In practice this meant mesmerizing guitar lines from Stone and King, the kinetic rhythm section holding over from their soul days, and the gentle invitation of rootsier sounds. The songs move from section to section with the guitars spinning the route. Sure, the band uses an expansion of the loved blues scales, but everything merges nicely: the discreetly religious lyrics (“A Friend You Know But Never See”), Whiteman’s occasional sax work, the lead guitars and a warm and friendly vibe. This duality means the band is sometimes reverential (“At a Point Between Fate and Destiny”), other times down-home rollicking (“Trials of a City”, the Dead-like “I’m From the Country”) but always enveloping”. (http://jhendrix110.tripod.com/Action.html)

SPENCER DAVIS GROUP.: WITH THEIR NEW FACE ON
“The album is a fairly schizophrenic mix of British jazz-blues and psych-pop, with the album fairly evenly divided between the two approaches. The opener is nearly a title track (“With His New Face On”), a string-laden midtempo slice of psych-pop that has some great chord changes that are reminiscent of Mike D’Abo’s work from around the same period. It’s one of the best tracks on the album. “Mr. Second Class” begins with a feel that presages prog, but quickly shifts to a 4/4 march not unlike the Box Tops’ swansong, “Sweet Cream Ladies.” “Alec in Transit Land” is a pretty straight jazz instrumental, recalling the work of early Manfred Mann (with the exception of a lengthy, even tiresome, drum solo). “Sanity Inspector,” on the other hand, is a delicate piece of psychedelic whimsy, with the usual contrived lyrics that mix a character narrative with vague social commentary. It’s a charming curiosity. “Feel Your Way” is a solid guitar-driven blues-shuffle with a great vocal and organ solo by Hardin. “Morning Sun” mixes the blues influences with a soaring, soulful chorus, recalling Jackie Lomax’s first solo album on Apple. “Moonshine” walks the line between jazz-blues and freakbeat, with another terrific vocal (mostly) treated with deep slapback echo. “Time Seller” returns to psych-pop, this time with manic drums and sawing cellos throughout. Though a bit dated, it also features some clever, unexpected chord changes and strong stacked backing vocals. The closer, “Stop Me, I’m Falling,” approaches vaudeville at times, but is definitely the most creative track on the album, shifting arrangements, time signatures and tonalities at will, ending with a lengthy, pretentious recitation. I love it!”
http://www.popgeekheaven.com/music-discovery/lost-treasures-spencer-davis-group

 DISCLAIMER:  https://www.radio68.be/disclaimer/