Long-playtime *** 60s Albums Only *** Aphrodite’s Child [End of the World, entire album], Boudewijn de Groot [Picknick], The Strawbs feat. Sandy Denny, Apple Pie Motherhood Band [Apple Pie] *** Monday 21 March 2022 *** [Ed’s Show 2022-10]

NEW SHOW: Aphrodite’s Child [End of the World, entire album], Boudewijn de Groot [Picknick], The Strawbs feat. Sandy Denny, Apple Pie Motherhood Band [Apple Pie] *** REPEATED SHOW The Kinks [Are The Village Green Preservation Society – full album], The Herd [Paradise And Underworld – full album] , Index [The Black Album] *** Monday 21 March 2022, 12:00 noon till  04:00 in the morning *** Time Zone CET Brussels, Paris, Berlin *** [2022-10 = 2018-13] *** no. 212

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

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Showtime CETime Brussels 

• 12:00 Aphrodite’s Child, Strawbs, Apple Pie Motherhood
• 14:00 Kinks, Herd, Index
• 16:00 Aphrodite’s Child, Strawbs, Apple Pie Motherhood
• 18.00 Kinks, Herd, Index
• 20.00 Aphrodite’s Child, Strawbs, Apple Pie Motherhood
• 22:00 Kinks, Herd, Index
• 24:00 Aphrodite’s Child, Strawbs, Apple Pie Motherhood
• 02:00 Kinks, Herd, Index
• 04:00 Show Ends Here    

01 NEW SHOW: APHRODITE’S CHILD, STRAWBS feat. Sandy Denny
THE APPLE PIE MOTHERHOOD BAND: APPLE PIE: SIDE A  (2nd LP, 1969, US)
BOUDEWIJN DE GROOT: PICKNICK (NL, 1968, B-kant ‘Tuin der Lusten’) ***
APHRODITE’S CHILD: END OF THE WORLD: SIDE A (debut album, 1968)  ***
THE STRAWS feat. Sandy Denny: SANDY DENNY & THE STRAWBS (1967 Sessions, choice tracks, released 1991) ***
APHRODITE’S CHILD: END OF THE WORLD: SIDE B (debut album, 1968) ***
AND ALSO JOE COCKER + TYRANNOSAURUS REX + FREE SPEECH: BAND OF HOPE + ROY BAILEY + MIEK & ROEL: De rattenkoning (< Mijn jeugd rijdt uit op jacht)

02 REPEATED SHOW:  THE KINKS, THE HERD, INDEX
THE KINKS: THE KINKS ARE THE VILLAGE GREEN PRESERVATION SOCIETY, 1968: side 1 ***
THE HERD: PARADISE AND UNDERWORLD, 1968, side 1 ***
INDEX: THE BLACK ALBUM (Michigan, USA, 1967) ***
THE KINKS: THE KINKS ARE THE VILLAGE GREEN PRESERVATION SOCIETY, 1968: side 2 ***
THE HERD: PARADISE AND UNDERWORLD, 1968, side 2 ***
AND ALSO: CHICKEN SHACK: Tutti Frutti (live LP on Deram) + AGUATURBIA: Erotica (LP ‘Psychedelic Drugstore’, 1969, Spain) + APHOPRODITE’s CHILD: End Of The Worldn Raind And Tears (LP ‘End Of The World’, 1968) ***  WORD: Bezetting Maagdenhuis 1969 + Black activist Robert Frank Williams + Rocky Athas: Dictator (2018) + Maya Angelou recites ‘Phenomenal Woman’ ***

ACHTERGROND ** BACKGROUND 

APHRODITE’S CHILD: END OF THE WORLD

“ (…) Let me explain: much of the stuff that the album delves into, such as the prominent use of keyboards (The Moody Blues and Procol Harum did the shit out of that), the exploration of Middle Eastern styles as seen in songs like “The Grass Is No Green” or “The Shepherd And The Moon” (The Beatles), and sappy ballads (maybe fucking everyone in the UK at that time), has been done before, but the defining factor that makes all those elements fresh is the group’s Greek origins. I wouldn’t be able to tell you how it changes anything aside from the vocals (as a side note, Demis Roussos sings a very good English) and perhaps the overall sound, but I’m pretty sure many of the more emotional numbers wouldn’t have worked at all if they were done by Brits.(…) .
Another thing I love about the album is how chaotic it sounds. Many of the songs are packed sonically, and even when there isn’t that much going on, it always seems like they’re playing in the middle of a huge mob, which, in a way, reflects well upon the situation they were in, with the protests in France and all that. That chaotic production also immediately makes itself known on the opening title track: “End Of The World” is one of the most moving psychedelic ballads of the 60’s, with Roussos’ vocals being carried over by the reverberating production, and the song climaxing in two huge emotional explosions only foreshadowed by a huge vocal “EYYIAEYYYYYYEEEEEEEEEEE” before you’re thrown into a symbolic “end of the world”. It gets me every time”
Quoted from / All Rights Reserved: . http://www.escapistmagazine.com/forums/read/326.869646-Discipline-Reviews-Aphrodites-Child-End-Of-The-World-1968

THE KINKS ARE THE VILLAGE GREEN PRESERVATION SOCIETY
“All at once promoting and poking fun at the bourgeois obsession with respectability and uniformity first broached on “A Well Respected Man”, singer-songwriter Ray Davies presents a sedate alternative to the tumultuous urban landscape of London. Reaching back to a time when life wasn’t quite so caustic and frustrating, The Kinks journey  “far from all the soot and noise of the city”. Behind the English countryside’s façade of stale traditions and kitschy fixations, there’s a path to quiet serenity that leads straight through the Village Green. The Kinks’ sixth LP in just four years, KAVGPS has the band embracing personal and societal vestiges – leafy sanctuaries, frayed childhood bonds, and mouldy snapshots of idyllic family vacations”.
Quoted from / All Rights Reserved: https://consequenceofsound.net/2013/11/dusting-em-off-the-kinks-the-kinks-are-the-village-green-preservation-society/

INDEX
“In the mid 1960’s, Detroit Michigan was a thriving industrial city. It was at the edge of a cliff, however. The great ethnic diversity in the inner city was a brewing powder keg of civil unrest. This, coupled with a disillusioned population struggling to make some sense of a questionable war in the rice paddies of Viet Nam, set an uneasy and troubling tempo for the future. Still, there were pockets of communities in the Detroit area where things were good and economic life was vibrant. The Grosse Pointes were such communities. It was on the outskirts of this political and racially tense era, in the affluent suburbs just outside of the city of Detroit, that Index was formed. The music of Index has been lauded by music heads for decades, and with good reason: it is bizarre, atmospheric, and “home-made” (in the best of all possible ways); the band has a druggie sound, with songs full of feedback and fuzzy guitars, hazy guitar riffs and loud rhythms. Hidden amongst the echoing canyons of sound there’s some snotty post-punk attitude wrapped up in that trippy velvet fuzz; a wonderful bleak sound, both droning and murky — the atonal side of late 1960’s rock that would leave the most lasting impression on those who would eventually become punk, post-punk and indie rock artists like Joy Division or the Fall (…) ”.
Quoted from / All Rights Reserved: http://www.lionproductions.org/pages/INDEX.html

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