For Days, For Hours. Levi Boon

Het is momenteel flink dringen in het land van de vrouwelijke singer-songwriters, maar de Utrechtse muzikante Levi Boon heeft met haar debuutalbum For Days, For Hours een in kwalitatief opzicht zeer onderscheidend album gemaakt.

Het is een beetje toeval dat ik het debuutalbum van de Nederlandse singer-songwriter Levi Boon opmerkte tussen de nieuwe albums van deze week, maar wat ben ik blij met het album. Het is een album met vooral ingetogen songs die goed passen in de hokjes singer-songwriter en folk(pop). Ondanks het beperkte budget voor het album klinkt For Days, For Hours prachtig en de muziek op het album is bovendien verrassend veelzijdig. De meeste betovering komt echter van de stem van Levi Boon. De Utrechtse muzikante zingt zacht en vaak wat loom, maar wat is de zang op het album ook mooi. Dat geldt ook voor de songs, die steeds weer de juiste snaar weten te raken en het indrukwekkende For Days, For Hours keer op keer nog wat mooier maken.

De Utrechtse singer-songwriter Levi Boon begon in de zomer van 2024 een crowdfunding campagne voor het kunnen maken van haar debuutalbum. De campagne leverde uiteindelijk net iets meer dan 4.000 euro op en dat was genoeg voor het kunnen realiseren van het deze week verschenen For Days, For Hours. Ik vind het eerlijk gezegd een redelijk bescheiden bedrag, maar meer is er kennelijk niet nodig voor het maken van een echt prachtig klinkend album. 

Levi Boon ken ik van haar in 2023 uitgebrachte EP the grand theme of things, waarop ze wat mij betreft indruk maakte met intieme en prachtig gezongen folksongs. Op de bijna twee jaar oude EP hoorde ik vooral de belofte, maar die maakt Levi Boon wat mij betreft meer dan waar op haar deze week uitgebrachte debuutalbum. 

For Days, For Hours opent met de akoestische gitaar en de stem van Levi Boon, maar naarmate de openingstrack vordert worden extra instrumenten toegevoegd aan het geluid van de Utrechtse muzikante. Levi Boon maakte haar debuutalbum samen met haar band, die haar songs voorziet van een warm en sfeervol geluid. Het is een geluid dat prachtig is vastgelegd door producer Viktor van Woudenberg, die tekent voor een mooi verzorgd en zeer sfeervol geluid, dat iets toevoegt aan de in de basis uiterst sobere en intieme songs van Levi Boon. 

Bij beluistering van For Days, For Hours moest ik in eerste instantie denken aan een aantal singer-songwriter albums uit de jaren 70, maar Levi Boon sluit ook aan bij een aantal jonge vrouwelijke singer-songwriters van het moment. Laat ik het er maar op houden dat For Days. For Hours een tijdloos klinkend album is. 

De muziek op en de productie van het album heb ik al geprezen, maar als ik naar het debuutalbum van Levi Boon luister, word ik vooral gegrepen door haar stem. De muzikante uit Utrecht zingt vooral zacht, maar vergeleken met de meeste zacht zingende zangeressen van het moment, hoor ik veel warmte en diepte in de stem van Levi Boon. Haar stem klinkt direct bij eerste kennismaking aangenaam, maar wanneer je met wat meer aandacht luistert naar de songs op For Days, For Hours hoor je ook hoeveel gevoel er in de zang zit. 

For Days, For Hours is een album dat het uitstekend doet op de achtergrond, zeker op herfstavonden, maar de ware kracht van For Days, For Hours ervaar je pas wanneer je met volledige aandacht naar het album luistert. Bij eerste beluistering van het album was ik vooral onder de indruk van de spaarzaam ingekleurde songs op het album, die wel wat doen denken aan Laura Marling, maar ook de wat voller klinkende songs op het album met wat meer popinvloeden winnen snel aan kracht. 

For Days, For Hours is een persoonlijk album waarop de zoektocht naar de eigen identiteit centraal staat en het persoonlijke karakter van de songs voorziet het album van Levi Boon van extra kracht en urgentie. Er verschijnen op het moment wel meer intieme maar ook verrassend veelkleurige singer-songwriter albums, maar het debuutalbum van Levi Boon springt er wat mij betreft makkelijk uit. 

De muzikante uit Utrecht moet concurreren met albums die een veelvoud hebben gekost (een zoektocht op Google leert dat het maken van het laatste album van Taylor Swift zo’n 2 miljoen dollar heeft gekost), maar ik hoor echt niets op dit prachtalbum dat beter had gekund. Buitengewoon knap gedaan.

Erwin Zijleman

Het Verhaal van HET en de Hit Ik Heb Geen Zin Om Op Te Staan. Henk van der Sluis

Om de single 'Ik Heb Geen Zin Om Op Te Staan' bewust meegemaakt te hebben, moet iemand ten minste omstreeks 1955 geboren zijn. Om HET in 1965-66 live gezien te hebben minimaal in 1950 of 51. Daar val ik niet onder. Het nummer bereikte in de winter van 1966 de negende plaats in de Top 40 van Radio Veronica. In 1974 bereikte het zelfs de Top 1000 ter ere van de 500e Top 40. Ik heb me een ochtend verslapen, dus het nummer niet gehoord. Volgens mij kende ik het ook niet en was juist benieuwd wat het was, een nummer met zo'n rare titel.

Dat is beslist goed gekomen in latere jaren en inmiddels is het een van mijn favoriete Nederlandstalige nummers. Het heeft een nihilistische, licht absurdistische tekst en deels nihilistische muzikale begeleiding. Er vallen nogal wat stiltes in de coupletten, om beschaafd te gaan rocken in de refreinen, maar totaal loos te gaan in de solo, waarna weer de stilte valt voor het derde couplet. Het nummer is uitzonderlijk aanstekelijk en zo makkelijk mee te zingen. Toch is het enigszins wonderlijk dat het zo'n grote hit is geworden. Daarvoor breekt het met teveel popwetten, lijkt het. Tegelijkertijd ramt het zichzelf o zo gemakkelijk in je brein. Wanneer ik het wel voor het eerst hoorde? Ik heb echt geen idee meer.

Daarna volgde in 1966 nog een klein hitje. 'Kejje Nagaan', zo mogelijk nog absurdistischer, reikte tot plaats 31 en daarna was het over voor HET. Qua hitnoteringen dan. Ook hier, ik heb echt geen idee wanneer ik het voor 'Kejje Nagaan' eerst hoorde. Inmiddels heb ik beide nummers op een van de cds van de Nederbiet box van rond 2000.

Journalist Henk van der Sluis was een fan van het eerste uur en besloot een boek over de band en de single te schrijven. Het is een boek geworden met een kleine 300 bladzijden. Prachtig vormgegeven als een mini-koffietafel boek met harde kaft, veel kleurige bladzijden en heel veel foto's, die een mooi tijdsbeeld laten zien.

Het nummer begint met zanger Bob Bouber (Boris Blom), nadat deze uit ZZ & de Maskers is gestapt. Hij wordt (stage) manager en zoekt een groep om het door hen geschreven nummer 'Ik Heb Geen Zin Om Op Te Staan' in te spelen. Nu heb ik altijd gedacht dat Bouber de zanger was, maar dat blijkt Jacques Zwart te zijn. Samen met Adri de Hont, Pim van der Linden en Dennis Witbaard vormde hij HET. Ze namen de single en b-kant 'Alleen Op Het Kerkhof' op. Via een promotiecampagne met een bed op de Dam werd de nodige aandacht gegenereerd en de rest is geschiedenis.

Als alles verteld is, is de beroemde single eigenlijk een voetnoot. De band wilde heel andere dingen spelen en was voornamelijk een coverband die "ruige" nummers van The Who, The Rolling Stones en The Small Faces coverde. In een latere incarnatie als Pocomania begeleidden ze de Canadese soulzanger Davy Jones, ook allemaal covers. Intrigerend is, dat deze Jones van de aardbodem verdwenen is rond 1970 in Frankrijk.

In het boek volgen we de band, de leden, de manager, hun vrouwen, een fan en de fanmail, alle bands na HET, de scene en wat niet meer. Soms is het wel wat veel, maar het tijdsbeeld is prachtig. Misschien dat een paar verhalen met een korreltje zout genomen/genoten moeten worden, maar vooruit, ze zijn zeker vermakelijk. (Beatlesleden die hotellades vol poepten in Hamburg?) Als het boek uit is, heb je echt niet het idee dat er meer over HET te weten is.

Tragisch is wel dat bijna alle mensen die aan het woord komen, zijn overleden voor de verschijning van het boek in 2025. Ze hebben het resultaat dus nooit kunnen zien. Een enkeling was reeds overleden voor dat Van der Sluis aan zijn monnikenwerk begon. Dan komen de weduwe en/of familieleden aan het woord. Het resultaat mag er zijn en nogmaals, de vormgeving is echt groots. Een monument voor één parel uit de vaderlandse popmuziek, 'Ik Heb Geen Zin Om Op Te Staan'!

Wout de Natris - van der Borght

 

Je kunt Het Verhaal van HET hier bestellen:

https://concerto.nl/product/henk-van-der-sluis-het-verhaal-van-het-en-de-hit-ik-heb-geen-zin-om-op-te-staan/ 

2026, week 6. 10 singles

Wasn't it Christmas and New Years Eve only recently? Yes and no. We are already on the last day of week 6. Time flies and there is never a dull day it seems. New music is being released as if there isn't a worry in the world. There is and where only something like two weeks ago someone commented, where are the protest songs and are artists afraid to lose/split their fanbase?, things are starting to change. We heard the Grammy Awards and here is a true protest song with which we kick off the weekly overview. And so much more, enjoy!

Foxtrot Delta Tango. Garret Vandermolen

Foxtrot Delta Tango, that is military language to spell the F, the D and the T. The lyrics do not leave a single spat of doubt who this song is about and who to say Foxtrot to. In fact, with a Dutch/Flemish name like Van der Molen, Garret Vandermolen better carry his India Delta around just to be certain should India Charlie Echo come to call. You never know with a petty, vindictive person who is the topic of this song. Musically, Foxtrot Delta Tango is a gem. The kind of song every pop radio station should play the whole day and make it go to number 1 in no time. You can sing along to it, enjoy the melody, warm yourself to the Hammond organ and dance to the rest of the tune. And finally, when you've finished dancing, you will find yourself on the right side of history. Like the Chinese say that they wish their adversaries no dull days. If you don't mind, I could do with a few of those by now, just for a change. Foxtrot Delta Tango will even work on such a day.

Where's My Phone? Mitski

Search and you will find that Mitski found her way to this blog with one album, reviewed by Erwin Zijleman in 2023 and by me when she collaborated with Katie Gavin for As Good As It Gets in 2024 and with  Tamino for his single, 'Sanctuary' in February last year. Here she is solo by me for the first time. Where's My Phone? is, besides being a very existential question AD 2026, a quite dark affair. The single has an upbeat rhythm. Slow it down just a little and the drums can be placed in a Dutch carnaval song from the 1970s. Designed to make loads of people move to the rhythm. It is Mitski who takes care of that darker side and yet she isn't, at least not for the whole of Where Is My Phone?. Is it the layers and layers of music that simply do not let any light through? The further the song progresses, the more layers seem to appear. All together, I like what I'm hearing. Album 'Nothing's About To Happen To Me' will be released on 27 February.

The Boatman. Lucy Kitchen

With Lucy Kitchen we have a new name on the blog. Ms Kitchen is an English singer-songwriter who steps onto a well-worn path of singer-songwriters who mix folk with a little country and roots music, while the chorus of The Boatman contains that sprinkling of pop that makes singing along to it so easy and pleasant. In the first seconds of The Boatman I noticed I was caught. The song is still small. An acoustic guitar and a Hammond organ. Over it Lucy Kitchen sings. She has an extremely pleasant voice. It is a mix of youth with a little edge that makes sure that she doesn't sound like a nice young innocent woman singing. While the song is slowly fleshed out, with that Hammond becoming ever more present, I am more and more impressed. Lucy Kitchen has caught me in a way that Karen Jonas often has in the past 15 years. With only one song, it is hard to tell whether there is more to my liking. Be sure I'm interested in the album, also to be released on 27 February. It's called 'In The Low Light'.

Once Upon A Time. In Loom

In Showdog Sander van Munster plays guitar and Gijs Kerkhoven bass. In their new duo incarnation In Loom they changed roles. The music is completely different. This is a very slow song with gloomy elements. It sort of drags its feet for the whole of the song. The guitar is the obvious lead instrument. Behind it there are all sorts of atmospheric sounds, that could have been captured from somewhere deep in the universe. At some point a violin is added, that Kerkhoven also plays, e.g. in a live setting of No Ninja Am I. The two sing together for the whole song. Once Upon A Time is the kind of song that helps you unwind totally, so you can really start listening to it, the moment it starts sharing its deeper layers. In Loom plays a short live set at De Nieuwe Anita in Amsterdam on Tuesday 17 February. 

It Comes Creeping. Deadletter

Deadletter clearly stood out in the post-postpunk revival bands of the mid 2020s. Its use of a saxophone gives the band a totally different vibe than guitar driven bands. On It Comes Creeping Deadletter takes things a little further once again. The rhythm may be recognisable, the way the saxophone contributes takes the song into uncharted territory, for postpunk that is and makes all the difference. It is closer to free jazz the way the sax honks in the intro. Together it makes It Comes Creeping an exciting song. The pulse of the song is strong and just keeps moving forward making me want to dance, while the mood changes with the use of the sax. Album 'Existence Is Bliss' will be out on 27 Februari. One month later Deadletter plays two shows over here. The 27th is going to be a very busy day for a reviewer.

Seabird. deary

deary is a new name on the blog. With Seabird the British trio announces its debut album, 'Birding' (11 April). If Seabird is anything to go by, expect a dreamy album with layers of guitar in a shoegaze fashion. This gives the single an 80s vibe, where The Cure is not far away. With 'A Forest' I heard a song like this for the first time, I would say. deary is not a The Cure clone though (based on this single). For that the music is too compact and dreamlike. Singer Dottie Cockram's voice matches the atmosphere completely. Her soft voice meanders with the stream the band creates. Not conquering the stream but moving with it and not afraid to move with it from under the surface, becoming a whole with it. Seabird is an interesting introduction. There apparently are several EPs out already. They have all passed me by.

I Can't Pretend. Gene Champagne

EP 'Let's Jet' is about 14 months old today. Things haven't changed very much since November 2024. Gene Champagne released a new single and is still rocking like it's 1973 and Sweet is topping the charts. All Gene Champagne does is leave the face paint and glam suits and boots where they belong today, in the dustbin of history. The song is originally from 80s band The Barracudas, covered in 1986 by Teenage Head and here we are in 2026 with a third version. Champagne has recorded all the instruments and sings as well. In daily life he's a drummer in Teenage Head (yes), The Killjoys, and Black Halos. Here he's everything and how. The likes of Brad Marino and Geoff Palmer will listen a little jealous of what Gene Champagne brings here to the (turn)table. This is garagepunk par excellence.

Dead End. Snail Mail

Type in Snail Mail into the search space on top of this blog and you will encounter two albums and several references to Lyndsey Jordan, as Snail Mail is known to her family and friends, written by Erwin Zijleman. Today it's my turn. I am listening to an indie rock track like there have been made hundreds if not thousands before. Dean End falls into a nice line here. It is hard to tell you why this track stands out, as it does not, really. It is easy to write why I like the song. Dead End has that bittersweet balance between gladness and sad. It has the right guitar sound. I could even lay it somewhere down my 'Eight Arms To Hold You' score line and would certainly score a 7 out of 10 there. If you like this kind of indie rock, Dead End is an easy song to like. There's an album along the way. 'Ricochet' will be released on 27 March.

The Message. The Legal Matters

In mid-December The Legal Matters found itself on this blog for the first time with its single 'Everybody Knows'. Now in early February a little under three weeks before the release of album 'Lost At Sea', here the band is again with its latest single The Message. This single is pure nostalgic pop with a rock edge to it. Chris Richards, Keith Klingensmith and Andy Reed from the U.S.state of Michigan, know their classics and are able to create their own pearls with what came before, in combination with their own skills. The result is a song that shines. The pure pop of the vocal melody is ensconced in the far more solid background of the song. The Legal Matters know how to rock in a very decent way. The reins are never let go of but rock the band does. Guitars are everywhere and bass and drums give The Message its oomph. On top of that all is the singing. I already lauded it in my review of 'Everybody Knows' but I just have to point to it again. The Legal Matters is really, really good in its vocal harmonies.

Votive. The New Pornographers 

What happened to me and The New Pornographers? I don't know but somewhere I lost track. I loved the band in the second half of the 00s. Saw them play a great show in Amsterdam or Utrecht? And then somewhere I lost them from my sight. Here it is 2026, we are all older and greyer and I'm listening to A.C. Newman's voice as if it's yesterday. Votive is a great song, that has that typical The New Pornographers' drive and joy of listening to great music. The song is built up so subtly. With its keyboard intro and A.C. Newman answered by Kathryn Calder for the first verse. From there the song slowly but surely expands. Where the singing is concerned e.g. by two Calder's. Later the band comes in and sounds simply so good that I simply can't wait for more new music by the band and to pull my old albums out of their hiding place. It is always such a pleasure when an old favourite delivers once again. 'The Former Side Of' will be out on 27 March. This is going to be another very busy day where new albums are concerned.

Wout de Natris - van der Borght 

Unpopular Music. Tristen

Bij het doorspitten van stapels jaarlijstjes kwam ik precies één keer Unpopular Music van Tristen tegen en wat is het een mooi en lekker album met hier en daar bijzonder aangename Kacey Musgraves vibes.

Direct bij de eerste keer horen wist ik dat ik Unpopular Music van Tristen ga koesteren de komende tijd en sindsdien is het album alleen maar beter geworden. Jaarlijstjeswaardig wat mij betreft, maar mijn lijstje stond helaas al online toen ik het album ontdekte. Tristen maakt warme en tijdloze popmuziek waarin uiteenlopende invloeden zijn verwerkt. Door de muziek, de sfeer en de stem van Tristen doet Unpopular Music af en toe denken aan Kacey Musgraves, maar Tristen heeft absoluut een eigen geluid en het is een geluid waarvan ik nog heel vaak ga genieten de komende tijd. De Amerikaanse muzikante draait al lang mee, maar verdient met haar nieuwe album alle aandacht en lof.

Het overkomt me echt ieder jaar dat ik een paar dagen na het publiceren van mijn jaarlijstje nog een album tegenkom dat absoluut in dit jaarlijstje thuis had gehoord. Het was dit jaar niet anders, want slechts één dag na de publicatie van mijn lijstje over 2025 kwam ik Unpopular Music van Tristen tegen in een lijstje met vergeten popalbums van het afgelopen jaar. 

Het was mijn eerste kennismaking met de muziek van Tristen, die tot mijn verbazing al een ruime handvol albums op haar naam heeft staan en inmiddels al zo’n 20 jaar muziek uitbrengt. Ik ken vooralsnog alleen het vorige maand verschenen Unpopular Music en vind het echt een bijzonder lekker, maar ook erg mooi album dat naar veel meer smaakt. 

Bij eerste beluistering van het album kwam er direct één naam opzetten en dat is de naam van Kacey Musgraves. Vooral in muzikaal opzicht heeft het nieuwe album van Tristen wel iets van de muziek van Kacey Musgraves, maar ook de stemmen van de twee hebben iets met elkaar gemeen, zonder dat het me in de weg zit. 

Tristen is overigens de artiestennaam van de Amerikaanse muzikante Tristen Gaspadarek, die inmiddels al flink wat jaren Nashville, Tennessee, als thuisbasis heeft. Op haar nieuwe album Unpopular Music maakt ze muziek die deels aansluit bij de countrypop zoals die momenteel in Nashville wordt gemaakt, maar op hetzelfde moment zijn de invloeden uit de countrymuziek behoorlijk subtiel in de muziek van Tristen en hoor je muziek die misschien nog wel het best is te omschrijven als tijdloze popmuziek met meestal een vleugje en soms een flinke vleug Amerikaanse rootsmuziek. 

Het is muziek die zoals gezegd wel wat doet denken aan de muziek van Kacey Musgraves en dan met name de muziek die ze maakte op haar crossover albums Golden Hour en Deeper Well. Ook Tristen maakt muziek die even lichtvoetig als warm klinkt en het is muziek die zich, in ieder geval bij mij, direct genadeloos opdrong. 

Vergeleken met Kacey Musgraves kiest Tristen voor een nog wat breder palet, waarin ook ruimte is voor janglepop, Beatlesque songs en invloeden uit de new wave. De Amerikaanse muzikante is naar eigen zeggen zeer bedreven in het maken van ‘unpopular music’, maar de songs op haar nieuwe album hebben alles dat nodig is om bij een veel breder publiek in de smaak te vallen. 

De songs van Tristen liggen niet alleen lekker in het gehoor, maar zitten ook vernuftig in elkaar en zijn zeer gevarieerd ingekleurd. Het maakt van Unpopular Music een heerlijk album, dat nog wat aan kracht wint door de stem van Tristen. Ze beschikt misschien niet over een engelenstem met de allure van die van Kacey Musgraves, maar de zang op Unpopular Music is mooi en heeft wel het bijzondere effect dat ook de stem van Kacey Musgraves op me heeft. 

Ik noemde de songs van Tristen eerder tijdloos en dat is wat mij betreft een van de sterke punten van Unpopular Music. Het nieuwe album van de muzikante uit Nashville sluit zoals gezegd soms aan op de countrypop van het moment, maar ik hoor ook veel invloeden uit de jaren 70 in de muziek van Tristen. 

Ik begrijp inmiddels waarom Unpopular Music van Tristen in ieder geval één jaarlijstje wordt genoemd, maar ik begrijp niet waarom het album zo weinig aandacht heeft gekregen vorige maand. Alles op het nieuwe album van Tristen ademt wat mij betreft kwaliteit en wat is het een heerlijke album om je mee op te sluiten op een koude en donkere avond. Kacey Musgraves bracht het afgelopen jaar geen album uit, maar Unpopular Music van Tristen komt het dichtst bij haar zo karakteristieke sound.

Erwin Zijleman

 

Je kunt Unpopular Music hier luisteren en bestellen:

https://tristen.bandcamp.com/album/unpopular-music 

Kill Your Darlings. GUNMOLL

In April it is two years ago Amsterdam's GUNMOLL could be found on WoNoBlog for the first time. A year ago the EP 'Welcome To The GUNMOLL Family' was and here is the debut album. And what an album it is. GUNMOLL goes full out and does not fail to show to the world what it is good at, playing extremely exciting music, including music allowing for major party time.

GUNMOLL is Jolien Grünberg (voice, guitar) and Bram Bol (guitar, producer) with Koen van Bemmelen (bass) and Bas Janssen (drums). The former two started the band and found the latter to complete their energetic sound as they are an important part of the sound.

The album opens with a statement. 'Chasin'' has surfrock written all over it. Of course, this is far removed from what Dick Dale and such could create in the late 1950s. The reverb on the guitars and the rhythm jabs leave no doubt what the inspiration is. 'Pulp Fiction' could be the intermediate link of course. In the song the signature voice of Jolien Grünberg is another clear anchor. It is not your everyday voice, somewhat girlish with some helium assistance, just like the singer from the Danish band The Astroid Galaxy Tour, Mette Lindberg. The higher Grünberg sings, the more distinct her voice becomes.

Photo: Roan de Vries

It matches the firm background though. She surfs on the riffs of the guitars as if there is no danger underneath them at all. And there isn't for her, as the band carries her. Just listen to how "a dozen" Grünbergs sing out in the chorus of 'Wanna Be A Star' or in the über track 'Tata's Lie'. Rock meets surf in abundance here with Grünberg cresting the highest waves the band is able to create. As far as I'm concerned this is THE GUNMOLL track and the first single in 2024. This ought to be a huge hit, but unfortunately the song does have seven writers, six producers and three featurings. I hear a lot of international bands playing rock songs like 'Tata's Lie', there are not a lot matching this prowess and energy.

The second influence that shines through is an eastern element in the music. GUNMOLL shows it for the first time in the prosaic 'Fuck Everything Up'. While Jolien Grünberg runs amok with full anarchic intentions, the guitars fire off one eastern sounding riff after another to my ears. For certain from further east than her Romanian roots. It is just a starting point for what is to come.

No matter what sort of genre the band explores, you can hear a few different bands as influence as well, the rock element is always up front. The guitar(s) will play a loud riff or lead line, that always excites. They set off Jolien Grünberg as well. The two match their intentions no little on Kill Your Darlings. Slowly but surely it becomes clear that the album is one big party the band leads you to and through.

Recently, I read on the website Musicmeter the comment that Dutch bands seldom excited the writer. I answered that I tend to disagree. GUNMOLL delivered the latest point of proof. Kill Your Darlings is an extremely exciting record and GUNMOLL is ready for more. This ought to be a breakthrough album.

Wout de Natris - van der Borght

 

You can listen to and order Kill Your Darlings here:

https://gunmoll.bandcamp.com/album/kill-your-darlings 

For The First Time, Again. Tyler Ballgame

Listening to For The First Time, Again for the second or third time, things started to fall in place. My introduction to Tyler Ballgame was via one of the singles for this album and that did no go down well. This does not keep me from listening to the album. In that second time I decided to start paying attention for real, as the first time did strike a cord.

The reason is quite easy to explain. From faint traces of Jeff Buckley to City + Colour, Ballgame's voice brought instant memories. Enough to start listening in earnest. Just hear his voice jump up in e.g. 'I Believe In Love', the second song on the album and you know enough.

With a name like Tyler Ballgame, you know to look beyond it. His true name is Tyler Perry, from Rhode Island, the smallest U.S. state. He started work on the album during the pandemic and early in 2026 is ready to share the whole with us. My God, with 'You're Not My Baby Tonight' he becomes a cross between Elvis and Jeff Buckley. If you think this is lunacy, just listen to the track to be convinced. It is a song that Elvis could have recorded effortlessly in his 1970s years. It is Ballgame's voice that brings the Buckley part in there. This man is not afraid to use an Elvis vibrato or to shoot up his voice like Jeff.

It is only an announcement of how diverse For The First Time, Again is. You will even encounter a The Rolling Stones style rocker in the form of 'Matter Of Taste'. No, Tyler Ballgame is no Mick Jagger, his voice even becomes rather ugly at some point, but his band rocks full out and that is exactly what the song needs. Later on in the album you'll find him explore a jazzy track and a Latin vibe.

After moving to L.A., Ballgame started participating in open mics, created a fanbase around himself and attracted the attention of Jonathan Rado and Ryan Pollie who wanted to make a record with him. From one came more new songs and here they are. If anything the album showcases the voice of Tyler Ballgame. The songs are built around his voice and allows him to explore all his ranges and tones. No, Tyler Ballgame is no Jeff Buckley, but then I have never heard anyone else song like that and I am one of the lucky ones to have heard him sing live. A struck by lighting, caught in my tracks kind of experience it was. That Ballgame is not, but he is special and very much worth while to explore. I would give him a chance and then another if necessary, just like I did.

Wout de Natris - van der Borght

 

You can listen to and order For The First Time, Again here:

https://tylerballgame.bandcamp.com/album/for-the-first-time-again 

FLARE. Plantoid

FLARE kicks off with a bunch of noise. At the same time I'm under the impression to have put on an old U.K. record where rock meets jazz. What was it? 1978? When Allan Holdsworth and Bill Bruford were still in the band. Plantoid has obviously listened to this record in someone's dad's record collection.'Parasite' is the name of the song. It is quite the opener for FLARE. Many people will have started running to protect their ears, those with ears screwed on right for a song like 'Parasite' are alert and ready for more.

Just listen to those drum fills in between all that noise. Louis Bradshaw is making quite an impression here. After this energetic intro the song brakes down totally and reveals the soft, almost whispering voice of singer Chloe Spence. Her voice is regularly multitracked, stacked Chloes reaching me in all sorts of highs and lows and different levels of intensity. And all at the same time.

Musically, Dutch prog band The Gathering from circa 30 years comes to mind, like on 'Mandylion'. Plantoid is able to bring the same level of mysteriousness to 'Parasite', until the U.K. version of the band returns, with a just as intense outro as the song started with. Guitarist Tom Coyne really takes his spot here, going full out.

From here on things do not get that intense any more. Plantoid is off to show all sorts of different sides to itself and its musicianship. The band is not afraid to experiment and explore where a song can take itself. That leads to some surprising changes in songs. I leave you to explore here for yourself. What stands out is the soft voice, even girl like voice of Spence. She may enter jazz territory every once in while, but always soft and gentle.

Promo photo

The two gentlemen behind her, assisted by producer and sometimes live member Nathan Ridley, take care of the wall of sound. The play subtlety when needed, but in a song like 'The Weaver' guitar overdubs enter my ears by brute force. In the lead single 'Dozer' it is more of a wall of sound, followed by a very jazzy outing. There are several sides to Plantoid. In most songs however brevity is not one of them. Songs are there to explore, turn inside out and see what comes out. In the Welsh studio, where the band was preparing for its second album, there was improvisation and jamming for hours on end, which led to FLARE. Debut album 'Terrapath' was released nearly two years ago.

Flair is an album that is not all for me. It moves towards my fringe regularly and even beyond my taste, but no matter what, the songs on FLARE impress without exception. It comes highly recommended to take your own chances.

Wout de Natris - van der Borght

 

You can listen to and order FLAIR here:

https://plantoidworld.bandcamp.com/album/flare 

 

Kim Janssen live. Livingroom concert Haarlem, Saturday 31 January 2026

Photo: WdN-vdB

It was a grey Saturday afternoon, a cold, damp winter day. Inside it is warm. Kim Janssen walked into the house with a guitar case and two tote bags with albums in them. The soundcheck consisted of tuning his guitar. The room had slowly filled up with new and familiar faces all in anticipation of what they would get to hear. Most people had come over for the experience and not so much because of the artist. Nearly almost everyone went home an experience richer and as new fans of the artist.

It was not so different for Kim Janssen. Before the show he had indicated to look forward to play some songs that he does not play in a band setting, an indication that the variation of playing songs in such a small setting is a pleasant change for an artist as well. A few years ago Janssen played two support slots for Kensington's residency in the Ziggo Dome, to illustrate two extremes in his career.

With albums like 'Video Days', 'Cousins; and 'The Lonely Mountain' to his name, he has a lot of interesting songs to choose from. It translated into a very intimate show with an either intimately strummed or delicately picked guitar, to accompanied his voice. That could range from moderately dark to high, "I have to sing multiple voices from the record all by myself", as he said.

In the introduction to one song, we were told to imagine all the strings that the song consists of on record. I remember thinking 'what would I make of it' ? and now writing I realise that I forgot all about the thought because of the beauty of this acoustic version. By then Kim Janssen had caught me completely with the strength of his songs. The intimacy of having an artist play in a living room is can't be replicated in any other setting. I wish all artists to play Paradiso level and better, but seeing them so up close is a treasure. It gives insight into the nucleus of the songs, just like they were conceived.

In the stories in between Kim Janssen explained the inspirations for songs, making the show even more intimate. Living in Thailand and Nepal as a child. Going to school there, living with the fear of a major earthquake there. It makes listening to the song and its lyrics even more special.

We were treated to one or two new songs as well that are in the process of being recorded. To hear them on record will take at least one year. Patience is the word, but this live experience is not going to be taken away from audience and artist.

Wout de Natris - van der Borght

 

You can listen to and order Kim Janssen's albums here:

https://snowstar.bandcamp.com/album/cousins 

 

All Good Things. Bertolf & Nomden

Bertolf Lentink and Diederik Nomden have made a name for themselves in the past decades in The Netherlands. As musicians in bands like Ilse de Lange (Bertolf) respectively Johan and The Analogues (Nomden). To a lesser extent as solo artists. As both have a love for perfect pop songs and The Beatles, their teaming up as a duo is something that could not be labelled as totally unexpected, which is different from predictable.

The result is the album All Good Things. It is filled with songs that strive for perfection, to receive the qualification earworm. Songs that bring to mind the 1960s most of the time. It is clear that a lot of attention went into the details of the songs, as the arrangement can easily be called lush. They make the album sound like a warm bath. Like some of the earlier albums of Moody Blues do, before the band went on hiatus for five years. With one major difference, the pop feel of All Good Things is far higher. In that the influences from the decades following the 60s are evident, including pop-rock and Britpop and even Johan.

The centrepiece of the album are the voices of Bertolf and Nomden. The joy they get from singing together shines through on the album for the whole of the time. Every possible harmony has been explored, I'm convinced it has. The result is an album that sounds instantly recognisable because of it. The songs on All Good Things sound like they have been here for most of my life, yet clearly are not. This makes the album a warm bath that covers you instantly.

I am not going to pick out a few songs like I usually do, as this does not make sense for this album. The qualifications of the album have just been summed up. Examples do not make it a better review. If you love pop perfection, this is the album to go for this month. They are none better in January 2026.

Wout de Natris - van der Borght

 

You can order All Good Things here:

https://excelsior-recordings.com/products/bertolf-nomden-all-good-things 

2025, week 5. 10 singles

Cold, snow, rain, eastern wind, grey, fog, sunshine. No day is the same these days. One thing stands out though. For the first time in years the weather comes from the (north)east in winter for a longer period of time, but the extreme temperatures coming with that when I was young, fail to arrive. Climate change? Who can say, fact is not that long ago it would have been really cold. Tell Canada and the U.S. that!

In the meantime, I forgot to mention that my previous band, Flopsband, is around for 50 years this week, with one original and one near original member in the line up. They celebrated with a great party, where several ex-members, including yours truly, played a set. From 'Sultans of Swing, to Bird Dog and 'Tell Me', it was great fun for, I assume, I final time. Let's return to the catch of this week. Enjoy!

Breakfast. Special Friend

Special Friend is a band from Paris, but the erratic song called Breakfast could have fooled me into thinking this is the effort of a post punk band from the U.K. that loves the nervous sound of the likes of Lene Lovich circa 1979. Breakfast is the kind of track where the notes and instruments seem to bounce over each other all in the desire to make an impression on the listener. The verses are drums and especially the hi-hat that comes forward, a soft and rather modest bass and a hectic rhythm guitar. In the chorus, an instrumental one, everything is let go of. Without any restraints a distorted, heavy sounding guitar comes in and a Farfisa (like) organ with its high sound. Over it all singer (and drummer) Erica keeps her cool. Guitarist, Special Friend is a French/American duo, Guillaume answers her vocals with his own vocals. The result is a top single, that is over before you know it and quite unexpected at that. An album is underway. 'Clicking' is released on 20 March.

Honey. Ora Cogan

Last Friday I reviewed the album 'To Be Continued' by ER Jurken. Listening to Honey, the single to Ora Corgan's upcoming album 'Hard Hearted Woman' (13 March), the song could have fitted right in. It has that same combination of pop, ballad, light rock and those floating, multitracked vocals. It gives Honey something mysterious, as if the music comes to you through the fog. Just listen to the strings in the intro. It is as if they come from an unknown and unseen place. All of a sudden Ora Corgan is in the middle of your ears and head. The drums are softly played but very solid, giving the song the foundation it needs. Finally, the same Midlake connotation comes to me as with ER Jurken. Honey, providing the title to the album in its lyrics, is a song that makes me curious to hear more and that more will be there in just two months.

Hurts Like Hell. Charlotte Cornfield

A new name on the blog? No, not exactly, as Erwin Zijleman reported on Charlotte Cornfield's previous album 'Could Have Done Anything' in 2023. Since then, she became a mother and this is her first outing in music since then. Buck Meek sings the harmony vocal on Hurts Like Hell and that points in the direction where I would place Charlotte Cornfield. The song is an alternative, modern country style song that bands like Big Thief/Adrianne Lenker and Wednesday also play. The relaxed vibe  of the music contradicts the lyrics, where it "hurts like hell when you're in it". The music more represents a lazy Sunday afternoon in the shade on the porch with cool, long, iced drink beside you and a book in your hand. The long helded notes of the pedal steel guitar underscoring that feeling. Give me one of these days anytime, especially now it is winter. The same titled album is there on 27 March.

Goldstar. The Sophs

Los Angeles band The Sophs returns to the blog with a fourth single from its upcoming debut album 'Goldstar' (13 March). The song's rhythm is not your every day's. The contrast between the more acoustic verse and the more electric chorus, if they are that, are clear and gives the song two distinct faces. That rhythm is Spanish, flamenco influenced. The intro is fully acoustic, almost classical. It sets Goldstar apart from many other songs in the alternative rock section. The hard guitar parts do sound familiar in the way they are played but that Spanish rhythm beneath it remains in place, making the song different. I'll be honest, after 'I'm Your Fiend' and now Goldstar, I still do not know really what to make of The Sophs, but the beginning is there. I'm writing, again, ain't I?

Ally Or Alibi. Melonball

With drums sounding as a dry and high strung as Therapy? at the time of 'Screamager', Melonball immediately attracted my ears. The German punk band sounds as tough as a punk band should, knows how to channel anger and/or over excitement and create a melody that makes Ally Or Alibi so good to listen to. In the first 30 seconds I thought, okay been their done that. It was the drum sound that pulled me in and then I started to notice the melodies Melonball throws into the single, the enthusiastic vocal of singer Oli and the harmony vocals of Basti and Vik. Their guitars do a lot of things that lift the songs as well and then there are that drums of Tommy again. Second album 'Take Care' will be released on 27 February.

Opening Night. Arctic Monkeys 

Is Opening Night a left over from a recording session from the 'AM' or older era or an indication that in the near future we can expect a more guitar oriented album from Arctic Monkeys? I do not have the answer but when I heard the song on the radio recently, my ears pricked themselves up immediately. "Ten years later, it's been a decade" Alex Turner sings and that will be about correct. The band took a totally different turn from its origins. Not that Opening Night is a 'Dance Floor' but it has a more rock vibe worked into the latter Arctic Monkeys. The 70s West Coast influences are still there, don't worry fans of the more modern version of the band. I find I like this combination. Opening Night is on an album called 'Help' with many other contemporary artists for the benefit of War Child.

Space. Celeste Corsano

Celeste Corsano returns to the blog with her sixth consecutive single, the fifth on the blog. Again, she shows that she not here for the quick win. Do not expect a hip pop song. Ms Corsano presents serious pop that demands serious listening. Again, I can't help to refer to Kate Bush's earlier albums, where pop met a unique entity, turning all I once knew  about music upside down. That effect is unobtainable for Celeste Corsano. Kate Bush already did that before her. A song like Space falls unto fertile ground though. Again, I am forced to truly listen. A lot is going on. In the song and in the chord changes. Celeste Corsano plays with the structure of the song with her vocal melody. The music is rich and lavish. It may well be that she is able to fill the void, now that Kate Bush seems have gone into full retirement.

bar. a.gris

With bar, a.gris returns to the blog. bar is not an easy song to digest. The rhythm is not your every day's. It is almost stop-start and its vocal melody not one to sing-along to straight away. The way it starts, just Alex Delamard, who is a.gris, with his acoustic guitar, does not really give away what is to follow. When the whole band kicks in, there is a lot of sound to digest and the first time that rhythm becomes really apparent. The two things that stand out are the beautiful riff on the acoustic guitar and the synth melody later on. Both have that stop-start effect through a short silence moment before it is repeated. Together with the previous single, 'Oblivion 2025' it does make me curious to hear the whole EP slated for March.

Calm & Delivered. Cape Crush

Cape Crush's singer Ali Lipman may not be able "to stop bleeding" as she sings in Calm & Delivered, the song bounces as if the members are at home just before they are allowed to go to the local country fair with all its attractions waiting for them. The song has an emo feel to it, but also one of the sheer joy of playing this song. Cape Crush is from Massachusetts and on route to release its album 'Place Memory' (1 May). With Calm & Delivered it released a song that ought to prick up some ears. I am faintly remembered of The Beths and its singer Elizabeth Stokes. The music is far tougher though. The rhythm guitar is far louder and the lead guitar far more present. All together it makes this single a very nice introduction to Cape Crush.

Not Enough. Daughter

If I'm correct it is ten years ago that I reviewed Daughter for the first and last time on WoNoBlog. Album 'Not to Disappear' fell on approving ears. I have no idea if the trio, Elena Tonra, Igor Haefeli and Remi Aguilella, made music since that album. Having listened to Not Enough, I knew that this is a song I wanted to write on. To my surprise I find it is released to underscore the 10 year celebration on 'Not To Disappear'. Not Enough was originally recorded in that session, but remained a demo. In November of 2025 it was finally turned into a full-fledged song and the world is a little better because of it. Reading my 2016 review, Not Enough would have fitted in nicely. The song has this sheen of a melancholy darkness over a pop feel that is quite apparent. The light and the shade, it seldom fails to work.

Wout de Natris - van der Borght 

Finer Things. Clover County

De Amerikaanse band Clover County had de pech dat haar debuutalbum verscheen in een week met heel veel grote releases, waardoor het werkelijk uitstekende Finer Things helaas wat is ondergesneeuwd.

Er is niet heel veel geschreven over Finer Things van Clover County. Dat is niet alleen jammer, maar het is ook best bijzonder. De band rond zangeres A.G. Schiano heeft immers een album gemaakt dat een breed publiek moet kunnen aanspreken. De mix van vooral folk en pop met hier en daar een beetje country klinkt bijzonder aangenaam en dringt zich makkelijk op. Het is de verdienste van de warme klanken en de prima productie, waarna de mooie stem van de frontvrouw van de band het debuutalbum van Clover County nog wat verder optilt. Het heeft hier en daar wel wat van Kacey Musgraves en dat zou genoeg moeten zeggen over de kwaliteit van dit album.

Finer Things van Clover County verscheen eind september in een week met krankzinnig veel interessante nieuwe albums, waaronder albums van een aantal persoonlijke favorieten. Ik heb destijds daarom maar half geluisterd naar het debuutalbum van Clover County, maar recentelijk kwam ik het album bij toeval weer tegen. Bij de hernieuwde kennismaking was ik eigenlijk best onder de indruk van het album van de band uit Athens, Georgia, en dat ben ik nog steeds. 

Clover County is de band rond zangeres en muzikante A.G. (Amanda Grace) Schiano, die voor de productie van het debuutalbum van haar band een beroep deed op Carrie K, die ik eigenlijk alleen ken van het uitstekende debuutalbum van Maggie Antone. Het album van Maggie Antone is een album dat zo lijkt weggelopen uit de jaren 70, maar het debuutalbum van Clover County is een album dat met beide benen in het heden staat. 

Bij beluistering van Finer Things had ik vrijwel onmiddellijk associaties met de muziek van Kacey Musgraves en ik ben zeker niet de enige. Dat ligt niet direct aan de zang op het album, want de stem van A.G. Schiano lijkt niet echt op die van Kacey Musgraves. De stem van de frontvrouw van Clover County betovert misschien net wat minder dan de engelenstem van Kacey Musgraves, maar ook A.G. Schiano beschikt over een hele mooie en licht bedwelmende stem, die op zijn mooist is wanneer ze fluisterzacht zingt. Het is een stem die Finer Things voorziet van een aangenaam laidback en behoorlijk verslavend karakter, dat steeds lastiger te weerstaan is. 

In muzikaal opzicht zit het debuutalbum van Clover County wat dichter tegen de albums van Kacey Musgraves aan. Finer Things bevat flink wat invloeden uit de country en met name de folk, maar deze invloeden zijn overgoten met een subtiel laagje pop. Daar moet je gevoelig voor zijn, maar ik omarmde de warme en sfeervolle klanken op het album echt onmiddellijk. 

Zeker als het laagje pop wat subtieler is maakt Clover County redelijk pure Amerikaanse rootsmuziek, maar ook in dat geval vind ik het meer popsongs dan rootssongs. Ik beschouw dat overigens als een compliment. Het luistert allemaal bijzonder lekker weg, maar A.G. Schiano staat ook voor kwaliteit. De Amerikaanse muzikante heeft het debuutalbum van haar band niet alleen voorzien van sfeervolle klanken en mooie zang, maar ook van zeer aansprekende songs. 

Het zijn songs die me inmiddels bijna allemaal dierbaar zijn en steeds dierbaarder worden. Zeker als A.G. Schiano wat extra gevoel toevoegt aan haar zang en op de achtergrond ook nog een pedal steel opduikt, zoals in het fraaie Blue Suede Eyes, dat meerdere verwijzingen naar Elvis bevat, pakt Clover County me echt volledig in en heb ik in dit jaar zonder nieuwe muziek van Kacey Musgraves een perfect alternatief gevonden. 

Het is jammer dat het debuutalbum van Clover County is verschenen in een week waarin de concurrentie moordend was, want Finer Things lijkt wat ondergesneeuwd door al het muzikale geweld eind september. Het is doodzonde, want A.G. Schiano laat op het debuutalbum van haar band horen dat ze een groot talent is. Liefhebbers van Amerikaanse rootsmuziek die niet vies zijn van een randje pop of hier zelfs een zwak voor hebben, moeten absoluut eens luisteren naar dit uitstekende album.

Erwin Zijleman

To Be Continued. ER Jurken

What a strange band name, ER Jurken. Now jurken is in Dutch the plural of jurk, meaning dress. Musically, the band reminds me of a lot acts, but I still have not really gotten my head around what. On top of all this, I've played the album multiple times in just a few days, so enough reasons to delve in a bit deeper.

E.R. (Ed) Jurken is the name of the artist. So, it is not a band but a solo artist. To Be Continued is his second album, after the release in 2021 of 'I Stand Corrected'. I'm not familiar with this album, but this one is going down really well. Jurken goes back to a time when bands wanted to write pure pop songs. Here and there I hear The Kinks in abundance, but combined with a U.S. country feel not unlike Midlake presents or Wilco with a 100% pop intent.

It is even more in the singing that I am triggered the whole time but my brain just doesn't find the answer so far, except that the harmony vocals bring me back to Midlake circa 20 years ago. The outcome is very varied songs, somewhere in between pop/rock and ballads. Enough of that, let's focus on To Be Continued.

ER Jurken plays songs that go to my brain immediately. Hundreds of songs and albums paved the way for this one to hit straight home. Because that is exactly what To Be Continued did, so I noticed. This album combines the best U.S. and U.K. pop music has to offer. Somehow it is a perfect amalgam. To perfect the music, Jurken brought in three members of Chicago's powertrio Junegrass, Ben Brazil, Grant Engstrom and Jack Schemenauer on bass, guitar, drums and percussion, his friend Jonathan Kult on piano and worked with Paul von Mertens who wrote the arrangements for the horns and violins. On top of this all are the heavenly vocals of Jurken and especially when he starts to harmonies with himself. At least my guess is that by far if not all the the layered vocals are Ed Jurken. The result is an exquisite experience to listen to.

Within a few days To Be Continued has made me an addict to the album. I just have to put on the album again and again. It has been a while since an album has made such a great impression on me. Experience teaches me that quite often an album like this may fizzle out soon after, but there are certainly very positive exceptions to this rule. Time will tell which way To Be Continued will go but in the mean time I'm going to enjoy it for the whole of the ride.

As I already wrote, the album is so varied. It can rock rather hard, like in 'Mighty And Concealed', and still have that flowing almost floating vocals. But also listen to how the lead guitar's solo mixes with the string section. This is something else. There is the light pop of 'I Do', with a country twang added for good measure. The pop ballad 'Morning Paper' is another example of variation. Again that singing is there. Musically, the album is top already but the harmony vocals are the extra layer making the album so much better.

I was totally taken by surprise by To Be Continued, as I started listening without any form of expectation. Within a few songs I knew I was in for a treat, for something special. ER Jurken managed to keep that expectation in place until the very end.

Wout de Natris - van der Borght

 

You can listen to and order To Be Continued here:

https://erjurken.bandcamp.com/album/to-be-continued-2  

 

Farewell, Golden Earring (2)

Today we continue with the list where we left you at number 11. Today I consider the following songs my favourite ten Golden Earring(s) singles.

10. Sleepwalkin' (1976)

!976's album 'To The Hilt' was my first Earring album and the two singles my second and third Earring singles. Sleepwalkin' is one of these songs that make me wonder whether the crediting of songs to Hay/Kooijmans is justified. The bass riff in the background and Zuiderwijk's typical drumming and short solo's are such an integral part of this song, that a credit ought to be justified. This is more than just arranging, to my ears at least. There's more of that coming up below. This song is a driving force but it is more. It has a symphonic rock element as well. My take is that for the interludes the band listened to Genesis e.g. Besides that, there is the great sax solo of Bertus Borgers who played with the band for decades. This is some great musicianship and Robert Jan Stips, who would leave the band and later surface in The Nits, taking his moment. Another number 5 hit for the band.

9. That Day (1966)

That Day is Golden Earrings' second single. As the studio's in The Netherlands and the people operating them were all sub par, the band went to England to record in the Pye studio. The result is history, as Golden Earrings broke big with the song. Reaching number 2 for five weeks, behind 'Michelle', one of my least favourite The Beatles songs, the band became a famous pop band. A piano is the main instrument on That Day, played by Aad den Dulk, a friend of drummer Jaap Eggermont. The vocals are a joint delivery of Krassenburg and Kooijmans. What changed is the "steenkolen Engels". It looked like some people took lessons after 'Please Go'. Does perfect pop exist? I don't know but this sure sounds like it. At 17 George Kooijmans could already write a fantastic pop song. As an aside. Golden Earrings was a five and later a four piece, but so many songs had a prominent keyboard. That is rather strange, isn't it, for a band without a keyboard player. It would take years for the band to become a rock band. The beat/pop band was extremely good though.

8. Bombay (1976)

As I already wrote, Golden Earring experimented a lot. With Robert Jan Stips gone it was joined by former Cuby + Blizzards guitarist Eelco Gelling and that led to the sort of injection The Rolling Stones had with Mick Taylor. The guitar work on this single is truly exquisite. Who plays what, I don't know, but there are so many parts and riffs flying around it's almost impossible to keep up. I've liked this single from the day I heard it first, right up to this day. The eastern influence was brought in by Gelling, Bombay by Hay who lived in India in his earliest youth. Only number 7? Yes, and just I can't understand it.

 

7. Going To The Run (1991)

The last really big hit of Golden Earring is the ballad Going To The Run about a Hell's Angel. A friend of Barry Hay who crashed his motorbike, turned into a fantastic song. The chorus sung by Hay and Kooijmans is one of the finest in rock history. Despite playing in cover bands for well over 30 years, this was the first Earring song we've played, with my current band Sweetwood. And it got voted out last year. The remaining one is 'Rader Love', that we mastered after a lot of practising. With Going To The Run the Earring showed how good its ballads can be. One of the very best songs of the band ever.

 

6. Back Home (1970)

Enter Cesar Zuiderwijk, exit Sieb Warner. In a matter of months the band had totally reinvented itself and entered the stage with a real rock song. Heavy riffing and Barry Hay getting into his own. Finally he is the rocker that his voice is best equipped for. Of course, there is the flute played by Hay that is a remnant of times soon gone. With Back Home the band was right on top of the times as bands like Deep Purple and Black Sabbath were scoring their first hit in the same year. Just two years previously the band scored its first number 1 single (not in this list) and the two could not be further apart. The transition is in a way incomprehensible. Back Home is so loud and rough. The audience must have loved it as it was number 1 for five weeks with five weeks at number 2 around the 1 position. It makes Back Home Golden Earring's biggest hit by far. Did the old fans follow? I simply can't imagine they did. This then fourth grader did though.

We approach the first five and here it becomes really hard. On any day it could well be that a song could be in a different position but I think this is about accurate where I am concerned. Golden Earring(s) has produced several great songs but these five certainly are on top of all the others. Two of the songs were the band's claim to fame internationally. When I bought a compilation album in 1977 in Australia called 'Immortal Hits', it contained one Golden Earring song (and one Focus, 'Hocus Pocus'). We all know which song that is of course. The songs were all from the Polydor label, but still, Australia! Travel through the U.S. and you will hear the song regularly, just like Shocking Blue's 'Venus' by the way. Golden Earring is a pop/rock icon, globally. That ought to have had far more international hits, but alas.

5. Twilight Zone (1982)

Twilight Zone is the band's fourth number 1 single and built around a great riff. Sort of out of nowhere the band was really big again. Originally meant for a George Kooijmans solo album but added to 'Cut' that was supposed to be the band's final album. Come today we all know how that went. Again, a global hit was scored but again that could not be followed up, unfortunately. With Twilight Zone the band was able to combine two worlds and sort of reinvent itself. Twilight Zone without a doubt is a rock song, but it is also very danceable and has a lot of sounds that will sound familiar to U.K. postpunk/new wave bands. The Dick Maas video clearly catered to the demands of MTV. We are 44 years down the line but this single is still as strong as it was on its release day. Remember my comment on credits. Just listen to that bass riff and tell me your view.

4. Radar Love (1973)

When we had the intro, that was supposed to be a drum intro, we had created our own Beethoven's Fifth, said Cesar Zuiderwijk recently in an interview. The intro was thought up by bassist Rinus Gerritsen. Radar Love is one of the best rock songs ever of course. Iconic. The kind of song millions of people will recognise right at the first note played. A road song ideal for driving into the distance and within seconds you're speeding as well. As I wrote above, how can this be just written by two if the contribution from the rhythm section is so huge, including the iconic opening riff? What Cesar is doing here is composing on drums. Without his drumming in this way, the song would not half have the power it possesses and the same goes for the bass part. Rinus Gerritsen is a killer bass player! Some guitar parts were played by Eelco Gelling, who was not yet a member. Radar Love was the band's third number 1 hit.

3. She Flies On Strange Wings (1971)

This single/song is nothing less than a mini rock opera. For the life of me I can't understand that this was not a worldwide number 1 hitsingle. In fact, it did not go beyond number 4 here. It has everything you want great songs to have, split over an a and b side as the band refused to make a single edit. As I once wrote a whole post on this song, I'm going to refer you to it. Before I do, that bass player!

https://wonomagazine.blogspot.com/2021/11/a-classic-rock-giant-she-flies-on.html

 

2. When The Lady Smiles (1983)

When The Lady Smiles is Golden Earring's fifth and final number 1 single. Released one year after 'Twilight Zone' and meant as the continuation of the international success. But because of the video being pulled out of rotation by MTV, we will never know what it could have achieved. By attacking a nun on a tram in the video the band sealed its fate. That the perpetrator, Barry Hay's version of Van Kooten and De Bie's character 'De Vieze Man' ('The Dirty Man'), is severely punished further on in the video, is a subtlety that went by the puritan Americans. And us, Dutch? We just saw a great video accompanying an even greater song. As that is what When The Lady Smiles is for certain. This song has so much energy, can be danced to, has a host of guitar lines, and a chorus that is beyond superb. The only element I was not a fan of, was the 'Johnny and Mary' style solo at the end. George Kooijmans has played so many far better ones. The verses hold the tension that the song needs, so that the release in the pre chorus and then the chorus makes its point double and then triple. This song has the absolute wow factor.

 

1. Just A Little Bit Of Peace In My Heart (1968)

George was married to Melanie Gerritsen for 56 years. Melanie is bassist Rinus' sister, while their brother Rob for decades took care of finances for the band. A family band in a certain way Golden Earring was. But, in 1968 she broke up the relationship. George was heartbroken and must have decided to write one of the ultimate love songs ever to win her back and succeeded. They married soon after. Still called Golden Earrings, he went into the studio and came out with this masterpiece that reached number 2 behind The Cats' 'Lea'. In a way this is the least Golden Earring(s) song of all in this list, as the song has drums and bass but is carried by the orchestra arranged by Frans Mijts. Full blasting horns and loud violins! Listen to the end and you will find that bass sound already that would become a signature of Golden Earring a few years later. Kooijmans plays an acoustic guitar on the song and is pouring his heart out, to quote a later single. For me this was an earth shaking song. Together with 'Hey Jude', 'MacArthur's Park' and 'Eloise' it showed a third grader the power of music. There would be more songs at that level through the decades but very, very seldom better. For a short time, George Kooijmans was the lead singer of the Earring(s) on the singles before the band finally found the modus that would make Barry Hay the star he remained for well over five decades. Here George is shining like never before and never after. It goes to show that heartbreak leads to the best songs.

 

Summing up. The Earring will be there for my whole life as the songs will be there forever. Longer than I will live. Cover bands will keep the songs alive for some time to come. It's impossible to say what my truly favourite Earring(s) period is. I love the singles from the Earrings period. The rock period in the first half of the 70s is great, just like several singles from the early 80s. In the past days I played the 'Devil Made Us Do It' box repeatedly and found music at such a consistent level, even from the periods I thought I liked less. The box set is an altar for the music of Golden Earring(s). Should a song like 'Where Will I Be' be in this top 25? Yes, probably. Tomorrow this list may look different, for now this is it. What I can conclude, is that I like George sung songs the best in general, but without Barry's voice it would never have worked for so long. They were a golden tandem, just like Cesar and Rinus were. Together they were and are the best Dutch rock band ever.

Golden Earring is no more. At the end of this week the farewell shows are over. The music is there and I am sure going to enjoy it for some time to come.

Barry Hay seems prone to retire on Curacao, but Cesar is active in music, e.g. with Sloper and Rinus has become the bass player in the revived Supersister, with my neighbour from down the street Leon Klaassen on drums.

Wout de Natris - van der Borght