Also from the Hague, the Golden Earrings, who later gained international fame in the 1970s and 1980s as Golden Earring, had a top ten hit in the Netherlands in 1965 with "Please Go", followed by "That Day", which went to number two on the Dutch charts.
(meta data) TITLE: Frans Krassenburg of the Golden Earrings: Something Else! Interview (meta data) PUBLISHER: https://www.facebook.com/SomethngElseReviews 16 captures 25 Apr 2013 - 20 Feb 2022 About this capture COLLECTED BY Organization: Alexa Crawls Starting in 1996, Alexa Internet has been donating their crawl data to the Internet Archive. Flowing in every day, these data are added to the Wayback Machine after an embargo period. Collection: Alexa Crawls Starting in 1996, Alexa Internet has been donating their crawl data to the Internet Archive. Flowing in every day, these data are added to the Wayback Machine after an embargo period. The Wayback Machine - https://web.archive.org/web/20170802105648/http://somethingelsereviews.com:80/2013/03/03/something-else-interview-frans-krassenburg-of-the-golden-earrings/ March 3, 2013 by Steve Elliott # Frans Krassenburg of the Golden Earrings: Something Else! Interview Best known to radio fans today for later hits "Radar Love" and "Twilight Zone," the Golden Earrings had their earliest success in the 1960s as a pop band with Frans Krassenburg out front, only dropping the "s" in 1969 before turning to hard rock. Krassenburg, who was later replaced by Barry Hay, helped the Dutch group to a Top 10 showing in their native country with 1965's "Please Go." The follow up, "That Day," was only kept from the top spot by the Beatles' "Michelle." By the turn of the decade, Golden Earrings co-founders George Kooymans and Rinus Gerritsen had retooled without Krassenburg, eventually hitting with "Radar Love" in 1973 and then "Twilight Zone" in 1983. They've had the same lineup, completed by drummer Cesar Zuiderwijk, since 1970. Krassenburg, meanwhile, began his solo career with an appropriate song, "Golden Earrings," before becoming an entrepreneur. He joined us to talk about the earliest days of this legendary group from the Netherlands … STEVE ELLIOTT: Frans, for our readers who may not be familiar with the Golden Earrings' early beginnings can you tell us how you joined the band in 1964? FRANS KRASSENBURG: I already had my own band called the Sharks at that time and played a lot in local clubs in the neighborhood of the Hague. I was singing the songs of Cliff Richard and Elvis Presley. At the same time, the Golden Earrings were looking for a singer, because they listened much to Radio Luxemburg to hear the English pop bands sing. And, by the start of the first single of the Beatles they asked me to join the group and so, I started to sing songs by the Beatles, Rolling Stones, the Kinks, the Zombies, and many others. STEVE ELLIOTT: Not too long after you joined the band, you all recorded your first single "Please Go" and debut album Just Earrings, both released in 1965. What do you remember about each of them? FRANS KRASSENBURG: Because we had the right people around us, we were invited to come to the studio to record a lot of our own songs written by George (Kooymans, lead guitar and vocals) and Rinus (Gerritsen, bass and vocals). We played "Please Go" already live for a couple of months, so we started to record "Please Go." After the release, the single became a hit and ended on the 10th place in the Dutch Top 40. After that, we were invited again to record an LP with songs of George and Rinus. So Just Earrings was born. All great songs influenced by Beatles, Kinks etc. STEVE ELLIOTT: After your first single, you all began a string of many Top 10 and Top 20 hit singles. What singles stand out for you? I understand the very catchy single "That Day" was recorded in England. It definitely was a big jump as an achievement from the previous songs. I also saw the video for it, and my personal favorite single "Daddy Buy Me A Girl," on YouTube. FRANS KRASSENBURG: I think "That Day," because it was recorded in England in the Pye Studio at the same time as the Stones were recording. After 10 weeks as No. 2 in the charts, we recorded again in the Pye Studio the single, "If You Leave Me" No. 9 in the charts. After that, we recorded again in the Hague and made "Daddy Buy Me A Girl," which ended up I think on No. 11 in the charts, and we made a very good video clip sitting on elephants at a circus with beautiful girls around us. STEVE ELLIOTT: It seemed like to me that George Kooymans and Rinus Gerritsen were a powerhouse songwriting team for the band. Is it fair to say you guys' sound was influenced by the Kinks, Beatles and Monkees? FRANS KRASSENBURG: Yes, we were very influenced by Beatles, Kinks, Zombies etc. — and they still are my favorites. STEVE ELLIOTT: What do you think about the second Golden Earrings album, Winter Harvest? I like the melodic song "Call Me" a lot. In late-'66, rhythm guitarist Peter de Ronde left the band. Why did he leave? FRANS KRASSENBURG: The second album is my favorite, and was made in the Phonogram Studio at Hilversum. A song like "Don't Wanna Loose that Girl" was born in the studio. They were all great songs by George and Rinus, and we picked out our new single "In My House," which ended up on No. 12 in the charts. At the same time, Peter de Ronde left the band because his influence was too little comparable to the other members of the band. STEVE ELLIOTT: After the excellent hit single "Sound of the Screaming Day" in mid-1967 was released, you left the band — with singer Barry Hay coming on board to replace you. What prompted that? FRANS KRASSENBURG: After that, we recorded again in London the new single "Don't Run Too Far," which ended on No. 14 in the charts. Then in the late of 1967, we recorded 'Sound of the Screaming Day' again in London and during a meeting in the Hague, we decided to split — because, after making so many hits, it's very difficult to go on, on the same level. They wanted to change their style of music, making it more heavy music with a spectacular performance. I wasn't that kind of singer and Barry Hay was the perfect person for it. STEVE ELLIOTT: About two years later, the fantastic drummer Jaap Eggermont left the band as well. I understand he became a record producer. Why did he leave the band at that point? FRANS KRASSENBURG: Jaap Eggermont left the group to become a record producer and he still is. He was the producer of "Stars On 45," a No. 1 in America. STEVE ELLIOTT: You released your first solo single "Golden Earrings" later on in 1967. What was that song about, and what are your thoughts on your debut solo album also released that same year? FRANS KRASSENBURG: The song "Golden Earrings" was first sung by Peggy Lee in the early '50s, I think, and we thought that as we started with this song we could set up a solo project for me. Well, the single ended on No. 20 in the charts, but I was invited to make a solo album with songs chosen by myself and my producer. It wasn't such a big hit, but we were very satisfied by making it. Now, these days, it is only interesting to collectors. STEVE ELLIOTT: What did you do after 1967? What music of yours from that point in time onward stands out for you? Do you still like to perform live and record? FRANS KRASSENBURG: After 1967, I started my own restaurant. These days, I have a new band and I'm still singing and performing. It is a band with two horns, three singers and we make music like soul, funk and, of course, music from the sixties. STEVE ELLIOTT: Do you think a reunion with the original members for either a one-off concert or new recording is still possible? FRANS KRASSENBURG: I don't think it's possible to do a reunion with my old friends, because they're still playing other kinds of songs — and I don't think they're waiting around to do the early songs. But, we always can wait and wonder. About Latest Posts ### Steve Elliott Steve Elliott has written for Shindig, Twist and Shake, Garage & Beat and Ugly Things. A big fan of all things rock and roll - especially the British Invasion, garage rock, psychedelic, new wave, folk rock, surf and power pop - he was a consultant on Sundazed Music's reissue of 'The Best of Butch Engle & The Styx: No Matter What You Say' in 2000, and has also provided liner notes for Italy's Misty Lane Records. 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That way, as the pages that are referenced are changed or taken from the web, a link to the version that was live when the page was written will be preserved. Then the Internet Archive hopes that references to these archived pages will be put in place of a link that would be otherwise be broken, or a companion link to allow people to see what was originally intended by a page's authors. The goal is to fix all broken links on the web. Crawls of supported "No More 404" sites. Collection: Wikipedia Near Real Time (from IRC) This is a collection of web page captures from links added to, or changed on, Wikipedia pages. The idea is to bring a reliability to Wikipedia outlinks so that if the pages referenced by Wikipedia articles are changed, or go away, a reader can permanently find what was originally referred to. This is part of the Internet Archive's attempt to rid the web of broken links. The Wayback Machine - https://web.archive.org/web/20170709203448/https://www.theguardian.com/music/musicblog/2012/dec/13/old-music-golden-earring-twilight-zone Skip to main content The Guardian - Back to home make a contribution find a job art & design tv & radio sign in Comment activity Edit profile Email preferences Change password Sign out become a supporter US edition The Guardian - Back to home art & design tv & radio browse all sections Old music # Old music: Golden Earring – Twilight Zone The best AOR record of the early 80s? Something by Fleetwood Mac, maybe? No, it was made by four Dutch blokes Old music # Old music: Golden Earring – Twilight Zone The best AOR record of the early 80s? Something by Fleetwood Mac, maybe? No, it was made by four Dutch blokes Michael Hann Thursday 13 December 2012 02.00 EST First published on Thursday 13 December 2012 02.00 EST Full marks to Golden Earring for perseverance and adapatibility. They're now 51 years into their career, and still having hits – their most recent album, the unfortunately titled Tits'n'Ass, reached No 1 earlier this year. Admittedly, it was in Holland, but you've got to expect Dutch people to support what must be considered their greatest ever band. Theirs is a fascinating discography. Their first records – made as the Golden Earrings – were in the style history has dubbed Nederbeat, that being the admirably tough Dutch take on the British R&B explosion of the mid-60s. They embraced the psychedelia and then the new mood of progressive exploration – their 1970 album Eight Miles High featured a 19-minute take on the Byrds' song that's surprisingly decent, as 19-minute takes on mid-60s pop classics go – and found themselves briefly famous outside their home nation when Radar Love became an international hit in 1973, the kind of boogie that seemed effortlessly find an audience in those distant days. Then they disappeared back to massive success in Holland and relative obscurity everywhere else for another nine years, until 1982 saw the release of Twilight Zone, which became a US smash. Golden Earring were by now a different band again, producing slick pop-rock that was perfectly placed to capitalise on both the rise of AOR and the birth of MTV. The usual explanation for Twilight Zone's success is that its stylish, cinematic promo clip became a staple of the young music network, and that's true. But it rather ignores the song, which is just about as good as AOR ever got. I'm not sure an American band would or could ever have written Twilight Zone: there's a very European edginess and sense of discomfort to it, both lyrically and muscially, which the faux noir video suits admirably. And you can hear the many and varied lives of Golden Earring folded into its construction – the beat group in its simple opening guitar figure and familiar chord changes and the progressive explorers in the guitar solos of the extended album version brought together into something slick and of its time. Of its time, though, suggests it is mired in the 80s. But it's not. Twilight Zone has a clean and crisp production (probably helped by being just a little too early for the gated snare sound that ruined so many records in the second half of the decade) that's all but timeless – certainly, many of the groups who've been dabbling with 80s MOR in the past couple of years might learn something from its combination of rock's propulsion and pop's tunefulness: this is indisputably a rock band – that crashing chord, just off the beat, at "when the bullet hits the bone" is proof enough of that. Twilight Zone would work without the production bells and whistles, but they're restrained enough to complement the song, and I think a straight rock version wouldn't generate the same excitement (a part of me wonders what Trevor Horn might have made of it, given what he did to Yes's Owner of a Lonely Heart). And still they plug away. In fact, after finding the Eight Miles High clip above, I tweeted the link. A couple of minutes later, Golden Earring – who must assiduously self-search – tweeted back: "thats a long time ago Michael...:-)" Old music Reuse this content
train30802
Garage rock
1964–1968: Peak years.:Variants in regions outside of the US and Canada.:Continental Europe.
The beat boom swept through continental Europe, resulting in the emergence of national movements sometimes cited as European variants of garage rock.  The Netherlands had one of the largest scenes, sometimes retroactively described as Nederbeat.   From Amsterdam, the Outsiders, who Richie Unterberger singled out as one of the most important 1960s rock acts from a non-English Speaking country, featured Wally Tax on lead vocals and specialized in an eclectic R&B and folk-influenced style. Q65 from the Hague recorded extensively and lasted well into the 1970s, releasing the invective "I Despise You" in 1966.  