Golden Earring

ARTICLE ABOUT The A-Z of Heavy Metal FROM SOUNDS (Part 3), April 26, 1975

And we continue with part 3 in these series. I must admit that I didn`t know all these bands/artist before reading about them here. Funny how some fell by the wayside and others became household names.
Read on!


Rock from `eavy to `umble or
The Sounds A – Z of Heavy Metal

Compiled by Pete Makowski and Geoff Barton


Deep Purple

Originally the band sounded like the culmination of all the things that Vanilla Fudge had striven for. Elaborate arrangements, well played rock. The band was formed by ex Artwoods and Flowerpot man Jon Lord, Ritchie Blackmore (ex Screaming Lord Sutch, Neil Christians and the Crusaders) and former Searcher Chris Curtis in `68. Curtis left and was replaced by bass player Nick Simper plus the addition of vocalist Rod Evans. The band recorded three albums with this format – `Shades Of Deep Purple`, `Book Of Talysein` and `Deep Purple`. Evans split to the States to form Captain Beyond with ex-Iron Butterfly guitarist Mike Pinera and Bobby Caldwell. Simper went on to join Warhorse. Simper and Evans were replaced by Roger Glover and Ian Gillan respectively. They recorded `In Rock` in 1970, and the distinct sound of Blackmore`s piercing, innovative guitar style that took Hank Marvin`s tremelo one step further, plus the screaming banshee vocals of Gillan made this THE definitive progressive rock album. Purple rose from the underground following when they achieved commercial success (`Black Night`, Strange Kind Of Woman` and `Fireball`). They achieved gargantuan popularity in the States with `Machine Head` which was the top selling US album in `73. An album later Gillan and Glover split and the future of the band was dubious, but they went on and added unknown vocalist Dave Coverdale and ex Trapeze bassist Glenn Hughes. This made for a change in the band`s music, but not in the impetus of their success.


While the rest of the world was dressing up in beads and kaftans, Mick Farren and the Social Deviants, taking their cue from the MC5, hopped into their leathers and became a street punk rock politico band. In other words, they bashed it out loud and had titles like `Let`s Loot The Supermarket`. They were born in Spring 1967 with Farren, Duncan Sanderson and Russ Hunter as the core and the fluctuating guitar team of Paul Rudolf and Sid Bishop. By the end of `67 they`d dropped the social bit (well, says Farren, “it was a bit long and cumbersome to say”) and they broke up during a tour of America in 1969. Russ and Sandy joined up with Twink and Rudolf in the Pink Fairies. The Deviants left behind three albums – `Ptoof`, `Disposable` and `Deviants`. The Pink Fairies were worthy successors, but they too are defunct now. Paul Rudolf now has The Paul Rudolf Bugs Bunny Drugs Band.


Eire Apparent

Eire Apparent is notable for two things – the presence of guitarist Henry McCullogh, subsequently with the Grease Band, Wings, and, occasionally, Frankie Miller and the production of Jimi Hendrix. One Buddah single, `Rock`n`Roll Band` shows just how well the combination worked.



This four piece all girl group stripped away all the pre-conceived chauvinistic views of women in rock. They could hit as hard as a battering ram. Formed in California the original line up consisted of June Millington (guitar/vocals), Jean Millington (bass/vocals), Alice De Buhr (drums) and Nickey Barclay (keyboards/vocals). The popularity of this band opened a market for other female rock bands (Isis, Birtha, Mother Trucker). June Millington was the first to leave the band and was replaced by Suzi Quatro`s sister Patti. Nickey Barclay, who was the band`s main writer, left last year to form her own band, Good News.


Energy laden, blues based rock and roll laced with glamour. Foghat were one of those bands, like Climax Chicago, struck big in America but haven`t even created a ripple of interest in this country. The original band were ex-Savoy Brown members Rod Price (guitar), Tony Stevens (bass), and Roger Earl (drums). They were soon joined by `Lonesome` Dave Peverett on guitar. They have recorded three successful albums (`Rock & Roll`, `Energized`, `Rock And Roll Outlaws`), on Bearsville label and recently Tony Stevens left to be replaced by Nick Jameson.

Andy Fraser Band

Fraser surfaced with a new band following Sharks and an aborted liaison with Frankie Miller – Nick Judd on keyboards, Kim Turner on drums and Fraser on lead bass and vocals. They`re the loudest I`ve heard in a long time and as cocky and as unsubtle as you like.

Fusion Orchestra

Later re-titled Jill Saward`s Fusion Orchestra, this band is not so much heavy as flashy, visually and musically. When last seen, Jill would whirl dervish-like from instrument to instrument as if seeking an electric Holy Grail. A somewhat frenzied band, in which the drummer has been known to do a solo stretching from one end of the hall to the other.


Brian Gamage And The Spikes

Issued a single, `Brain Damage`, in mid-1974. It featured a guitar solo played by hurling a meathook at a highly amplified Stratocaster. The band were first formed in 1963 and the current, ever-changing line-up stands at Brian Gamage vocals, Carole Lewis bugle (the only two remaining original members), Arthur Boonstock harpsichord and Ollibund Socket assorted tympani. Their long-awaited album `Blue Funk` is set for release in the distant future.

J. Geils

Energised R&B driven by the `Wolfman Jack` type vocals of ex-art student and disc jockey Peter Wolf and the screaming mouth-iron, courtesy of Magic Dick. This band of Americanos started life in `67 by Wolf and drummer Steven Bladd. The rest of the band – Danny Klein (bass), Seth Justman (keyboards), J. Geils (guitar) and Magic Dick Salwitz were picked up from a technical engineering college. They started out as a gritty, down to earth boogie band. Their last two albums (`Ladies Invited` and `Nightmares` – on the Atlantic label) were a little more sophisticated. Still a premier live act.


Brash Newcastle band, formed in early 1972. Powerful stage act, had some success with the singles `Don`t Do That` and `All Because Of You` – the latter a blatant rip-off of all (at that time) current singles styles, notably Bolan`s `Solid Gold Easy Action`, but great fun all the same. Toured with Slade, have made two albums, `Hope You Like It` and `Don`t Be Fooled By The Name`. Line-up: Brian Johnson vocals, Vic Malcolm guitar, Tom Hill bass, Brian Gibson drums.

Golden Earring

Dutch band, guitarist George Kooymans formed it in 1965 as a bubblegum outfit. Gradually became influenced by early Sixties styles and developed into musically excellent, visually superb band but without much originality. They first came to Britain in 1973 in the wake of Focus` success and soon notched up a hit single, `Radar Love`, and an album, `Moontan`. Current efforts, `Kill Me (Ce Soir)` and `Switch` are disappointing – the band seem to have become too preoccupied with their flashy image.


The archetypal heavy rock three piece, the Groundhogs originally derived their familiar sound in `68. They were a four piece blues band, but after the departure of vocalist Stephen Rye, Tony McPhee took over and in 1970, two albums later, they established their niche with `Thank Christ For The Bomb` which with the followup `Split` could be described as their definitive product. The moody hard edged sound of the band along with Tony McPhee`s sad sounding `droney` vocals made this mob a popular gigging band. In 1972 after the release of `Who Will Save The World`, drummer Ken Pusteinik left to be replaced by ex-Egg drummer Clive Brooks. This is when McPhee`s guitar and songwriting completely took over and after `Hogwash` he recorded a solo album in 1973 – `The Two Sides Of Tony `T.S.` McPhee`.

Grand Funk

Detroit punk rock at 14,000 watts. GFR were the first of the Teeny bop heavy rock gladiators. Originally put together by ex-Detroit disc jockey Terry Knight in late `69, Don Brewer (drums) and Mark Farner (guitar) were formerly from his backing band the Pack. They got Mel Scacher from Question Mark & The Mysterians. Funk went straight to the open air festivals, their main assets being volume and energy, and soon captured the hearts of a new generation of kids. The band suddenly became a monster (their fifth album `Survival` sold a million on the day of release) they became a liberated status symbol to the masses of teenagers who weren`t interested in The Cream or the Beatles. The band had produced their own album `Phoenix` after splitting from Knight and in fact rose back from the ashes and back into the charts. They added ex-Pack organist Craig Frost to their line up and their next two albums were produced by whiz kid Todd Rundgren.

Gun, Three Man Army, Baker-Gurvitz Army

Lots of Gurvitz brothers for your money. `Polecat Woman` is about the best thing they`ve done and is available on `Three Man Army Two`. The B-G Army sound promising.


I have personally transcribed this from the original paper. Any errors in the text from the original magazine may not have been corrected for the sake of accuracy. If you have a music-related web-page where this fits – please make a link to the article. With credits to the original writer of the article from all of us music fans!

This number of Sounds also contains articles/interviews with these people: Frank Zappa, Gladys Knight, Women In Rock, Betty Wright, Steve Harley, Peter Frampton, Labelle, Peter Skellern, Ray Davies, Larry Uttal, Chris Spedding, Anne Murray, Sweet Sensation, Bernard Purdie, Mike Harding, Ronnie Lane, Yes.

The original music paper this article came from (pictured at the top) is for sale!

1. Send me an e-mail if you are interested. Send it to:
2. The offer should be 20 $ (US Dollars) to be considered. (This includes postage).
3. We conduct the transaction through my verified Paypal account for the safety of both parties.

ARTICLE ABOUT Golden Earring FROM SOUNDS, February 1, 1975

Never knew that Earring toured with Lynyrd Skynyrd until I read this one. Seems to me like a odd bill but that was what was so refreshing in the 70s – there were fewer “rules” and you could expect the unexpected. The band released their latest studio album Tits ‘n Ass in 2012 and are still a touring entity.
Read on!


Dutch courage pays off

Strange chaps, these Golden Earrings. First `Up And Down Absurdia` was the title of their new album, then `Plus Minus Ubsurdio` and now it`s `Switch`. What`s going on? Geoff Barton investigates.

Golden Earring and Lynyrd Skynyrd were together responsible for one of the best concert series of 1974 – you remember, the powerful, if rather controversial double billed tour which, if nothing else, brought the rock year to an exciting and climatic close.
Heavy bets were laid and many a drunken pub argument was had as the question was raised time and again: which of the bands would emerge the better? When it was all over it was a very close thing – finally, it turned out to be impossible to decide.
Yes – it all worked out rather well and was, in all, a very fine package indeed. But what has been happening since then? Well, the Skynyrds are back in Muscle Shoals, working and recording for MCA; Earring are up to very much the same thing – they`re putting the finishing touches to a new album.
I met a busy Earring band at London`s IBC studios and first of all watched George Kooymans lay down a simple but particularly frenzied lick to enhance a virtually completed track for inclusion on the aforementioned album.
Then I went down with Barry into the studio proper to talk about the upcoming album. Is it still going to be called “Up And Down Absurdia”, Barry?
“No,” he laughs, “no, it isn`t. That was once its working title but, well, it isn`t any longer. Our first – rather cruel, I must admit – idea was to give everyone some different names and make a big joke about it all. We had this highly absurdistic feeling before we started this project, that was why the `Absurdia` was there, you know?
“Then I suddenly didn`t like `Up And Down` any more because I saw this album cover – I can`t even remember what it was – which happened to say `Up And Down, This And That`, you know? That always happens – you have something, then you come across something similar and you have to start all over again.

“So then it was changed to `Plus Minus Absurdio`,” he sniggers, “which is quite a funny switch because it`s exactly the same, only it sounds different. But, well, that was too trendy as well. Eventually we decided to keep it straight and simple and call it `Switch`. It`s a good compromise, it means so many things – like it`s a little plastic knob, or it`s an operation. A switch can be anything, you can switch neighbourhoods, switch jobs, switch ladies, you know.
“That was it. I came up with a song called `The Switch` and it all just seemed to fit. We came up with ideas for the cover and everything. All of it really worked well.”
Last time I met Barry he hinted that the cover for “Up And Down Absurdia”, er… “Switch” was going to be something very special, incorporating an alternative sleeve or two to confuse record shops and would-be buyers of the album. Is that still going to happen?
“It`s been, how do you say it, perfectioned?”
“Perfected. Perfectionalised – sounds a lot more English, doesn`t it? Yes, it`s been perfected now and it`s going to be designed by a famous Dutch artist, Corstiaan de Vries. It ties in very much with the title. There`s a lyric sheet, plus the alternative cover, photographed by Graham Hughes.”
Will the album still be a kind of concept album?
“Well, I think all albums are basically concept albums if they`re made in the same lapse of time in the same state of mind. But to me the real idea of a concept album is one which tells a story – in that fashion, I don`t think `Switch` is a concept album at all. But personally all the lyrics were written in the same period, so there`s a definite line in everything. It`s quite an ironic line, really, but I like to think of it as absurd rather than ironic.”
Make of that what you will.


I mentioned the tour with Skynyrd. Were you pleased with the way it went?
“Oooh yeah,” he says, enthusiastically. “As a matter of fact we didn`t really want to play England at that time because of the lack of new product. People would come and say to us: `if you tour England and you don`t have a hit single out, well, forget it. You`ll just have 100 people sitting in the front row`. So we didn`t expect that many people to show up.
“But all the halls were really full and I think we did some of the best concerts we`ve ever done. It was really a fantastic show – Lynyrd Skynyrd are a fine band and I think people got their money`s worth.”
But all too often the media seemed more concerned with Skynyrd than with Earring, didn`t it?
“Yeah, yeah,” he says, as if he`s heard all this before. “That would have really worried me if the same thing had happened with the people in the hall – like if people were still screaming for Skynyrd during our set – then I`d probably freak out. But that never really happened. Skynyrd always played a fine set and they`re great guys and I`m not knocking them at all at the moment – but they never really stole the show, you know?
“So when it actually didn`t happen and people are trying to insinuate that it did happen – what can you do? It`s like somebody telling you that your nose is flat and your ears are sticking out 30 centimetres, and you look in the mirror and you see it`s not true. That`s a silly example, but you know what I mean?”
Earring are soon off to tour Holland, Germany, France and Belgium – there`s also a possibility of a one-off gig at the Rainbow before they leave for the States in April. If that single British concert doesn`t come off they`ll be into an extensive British tour almost immediately after they`ve finished American commitments – that means some time in the Summer. Meanwhile, “Switch” is released throughout the world in early March.
“This has been our dream for so long,” says Barry, “to have an album out at the same time – everywhere. Before, we`ve always had one album out here, another there and a real old one there. It was just one big fuck up, all mixed up and horrible.
“This is going to make things a lot easier for us.”


I have personally transcribed this from the original paper. Any errors in the text from the original magazine may not have been corrected for the sake of accuracy. If you have a music-related web-page where this fits – please make a link to the article. With credits to the original writer of the article from all of us music fans!

This number of Sounds also contains articles/interviews with these people: Average White Band, Chick Corea, Gilbert O`Sullivan, Guess Who, Led Zeppelin, Trapeze, John Martyn, John McLaughlin, Gary Moore, Billy Connolly, J. Geils Band, John Holt, Hall & Oates, Donovan, Country Joe McDonald.

The original music paper this article came from (pictured at the top) is for sale!

1. Send me an e-mail if you are interested. Send it to:
2. The offer should be 20 $ (US Dollars) to be considered. (This includes postage).
3. We conduct the transaction through my verified Paypal account for the safety of both parties.

ARTICLE ABOUT Golden Earring FROM SOUNDS, August 10, 1974

One thing is for certain, when Geoff Barton, now a veteran of the English music press, interviews someone, you will always get a good article. No matter who he writes about, no matter the decade, you can always rely on Mr. Barton to deliver the goods. It is no coincidence that this man is a music writing legend. So sit back, relax and enjoy!


Up and down absurdia

Geoff `Kid` Barton talks to Earring`s Barry Hay

Since the success of “Radar Love” and “Moontan”, Golden Earring fever has died down appreciably in this country. The follow-up to the hit single, “Instant Poetry”, was, by the band`s own admittance, a “big flop” – and we`ve hardly heard from the Dutchmen since. So what`s happening on the Earring scene now, hmm?
Well, singer Barry Hay tells me that the band have just returned from a pretty extensive tour of the States. Apparently they were over in America for three months, and played almost a date a day.
I had a chat to Barry in Track Records` basement studio. He`s got, like most of the Dutch I suppose, a great command of the English language – and he speaks with a slight American intonation. In fact, if you didn`t know otherwise, you could well think that he was an American, through and through.
Anyway, how was the tour, Barry? Pretty exhausting?
“No, it wasn`t that bad. We travelled under very nice conditions, and we were well taken care of. If it`s like  that, then it`s not very tiring. All in all, it took me about two days to recover, and that`s not bad. But we went dowBelieven very well, and the success was stimulating. The last news I heard was that `Moontan` is going to be a gold album soon. Now that`s overwhelming.”
Barry is none too modest about the tour, and the huge area it covered: “There are bands in the States that do great in the South – but people have never heard of them in the North. But we did every market. We tried them all out. We went down to Florida, and we went all through the South. We did everything.”
Did you find that the American audiences were any different from European ones?
“I think for every band it`s different. But they are different. Let`s say that they`re a lot crazier – in every way. They`re just crazy kids. They just want to come out and have a good time. They`re very wild.

“The audiences we had in England would sit through a whole set, or maybe just get up towards the end. But in the States they just leap up. If it starts right – then they`re up, and they never sit down. But at the same time they`re people, so they`re not really that different.”
This was not the first time that Earring have visited America. The first time was some five years ago.
“We went there just to check it out. At that time we didn`t want to stay in Holland, and we were listening to a lot of music that was coming out of the States at that time. So, we went over, and lost quite a lot of money. We went back a year later, but that was too soon. We decided first to play around in Europe – because the costs are murderous in the States. If you haven`t got a product to back you up, then you`re done for.
“We decided to go back the right way, with an album and a single, and then we would stand a chance. And it took us about four years to get that together – which isn`t bad.”
What sort of venues did you play in the States?
“They were pretty big. We started off as a supporting act, but news spread pretty fast. Soon we stepped up to guest act – which has more prestige. Towards the end we did about ten headliners.”
Now that Earring are finally back in Europe, they are going to record an album for a month, only to return to the States in October. In November they will tour Britain. But have they sold out? Not only do they seem to be neglecting Britain – touring Holland seems just about the furthest thing from their minds.
“Of course people think that we`re selling out. It`s human nature. But there`s very little we can do about it. The States is a very important country, a very important market. We just have to get back to the States, now that the word is around about us. It`s really necessary for us to be there.”

But don`t you think you should consolidate the British market before touring elsewhere?
“Hmm. Yeah. I don`t have the feeling that we are established in Britain. No, I don`t think so. I mean `Instant Poetry` was a failure here. But America is different. American kids are very loyal. They`ll go out and buy your new album even if they haven`t heard it. They`ll buy the new one simply because they`ve got the previous one. In the States you`ve got an AM and FM market. Here, you`re just stuck with one market, and the kids forget so soon.”
Believe it or not, “Moontan” was recorded one and a half years ago, so I doubt if the album represents Earring as they are today. It seems as if the new, soon to be recorded, album is going to be something different. Certainly, Barry enthused about it.
“We`ve got some really nice ideas for it, and I`m really happy with them. It`s very much a progression from `Moontan`. The band has been through so much since that album was recorded. Yeah. It`ll be a huge progression in every way. Everyone in the band has developed as a human being, and the musicians in the band have really progressed. George Kooymans has become really paranoid about his guitar playing. He`s really quite good now. We`ve reached a satisfactory standard.”
I thought that audiences might have got a little tired of the much-vaunted drum-leaping stunt the band are famous for. But, apparently not. Barry said that they are going to develop it into “something more amazing” – I just can`t wait. Meanwhile, I wondered if Barry would accept the comment that the band are a cross between Deep Purple and Yes. As it turned out, he wouldn`t.
“Oh no, no. I don`t really like that. No, not at all. They`re into an entirely different trip than we are. I think both of those bands are very serious, while we are half serious, and half something else.”


But I think what brought rise to that comment was the fact that the hit single and the “Moontan” album were so different. After all, the single was a bit removed from the music you normally play, wasn`t it?
“Not really. I don`t think there is such a thing as the normal stuff as far as we`re concerned. We always treat each of our songs differently. We`ve always thought of a song as a song, and if it`s the same as the others, then okay. But it`ll more than likely be different. That`s the way it goes.”
Despite the world-wide success of “Radar Love” as a single, the band consider themselves to be an album-orientated band.
“It took us such a long time to get out of the singles thing. In Holland we were forced to bring out singles, and there you have to come out with a product all the time, because it`s such a small country. So, in the beginning we were a singles band, and we really got dissatisfied with it all. Eventually we got rid of that image in Holland, and we`d hate to have the whole thing happening again. Don`t get me wrong, I can see the importance of singles very much. But we are not going to keep churning out singles.”
But isn`t that what you did with “Instant Poetry”? It followed very swiftly on the heels of the other one.
“Yes, I suppose so. But it`s not going to happen again.”
To me, and to a lot of people, the lyrics on “Moontan” were a bit stilted. They tried to be Bolanesque if you like – but they didn`t succeed. They just fell flat. Listen to the words on “Vanilla Queen”, if you have the album. It`s hard to take them seriously. I raised this point with Barry.
“Stilted? Yes, it could be. But on the new album we are going to use French lines, and even have a Dutch song. Oh, I don`t care. As long as I like them, it`s all right.
“I`ll agree with anyone who says it`s not poetry – that`s fair enough. But I wasn`t trying to be far out. Maybe it`s a bit kinky, I don`t know.”

What about the critics who say Golden Earring haven`t got much original style?
“What do they expect? We`re not innovators. No way. Look, I`d like to know who is original. You just name me someone who is doing something original. What is originality? Everything repeats itself, anyway.”
But as it turns out, the new album from the band sounds quite original. Barry says that it`s going to be “food for people who like to get into things”. At the moment the album`s working title is “Up And Down Absurdia”, would you believe. From what I could gather, it is loosely a concept thing. It`s about how different people look at things in different ways – how one person can find, say, a piece of abstract art particularly beautiful, while another can see only ugliness in it. That`s quite a concept, hey? It will be interesting to see if the band can get it across musically.
“The album cover will be into very much the same idea,” says Barry. “The outside cover will just be plain, with some glue on it. Inside there will be several sheets to stick on it, so you can choose the cover which you want. It`s going to be amazing seeing all the record shops displaying different covers, when they`re the same album. You can choose the cover you want. That is `Up And Down Absurdia`.”
You may have noticed that Earring were due to appear at Wakeman`s recent outdoor extravaganza, but for some reason they pulled out. If the band had appeared, the concert would have been an even more spectacular affair. So why didn`t the band play at the Palace?
“Well we really didn`t feel up to it at all. We just weren`t ready for it. You see, we wanted to come over to England and do a really good job – but when we had finished the tour of the States we thought, well, that`s the end of a period. We wanted to stop it there, get ourselves together, and come back to England when we felt ready.
“When we tour in November we`ll be fresh. I only hope that when we record the album we come up with a single that we`ll be able to release to coincide with the tour.
“If we don`t come up with something, we`ll have to pull a stunt. Probably steal the Tower of London or something.”


I have personally transcribed this from the original paper. Any errors in the text from the original magazine may not have been corrected for the sake of accuracy. If you have a music-related web-page where this fits – please make a link to the article. With credits to the original writer of the article from all of us music fans!

This number of Sounds also contains articles/interviews with these people: Bob Marley, Billy Preston, Ronnie Lane, Argent, Ronnie Spector, Duane Eddy, Lynyrd Skynyrd, Andy Fairweather Low, Viola Wills, Mick Jagger, Suzi Quatro, R. Dean Taylor, Johnny Bristol, Julie Driscoll, Status Quo, Georgia Fame, Vangelis, Greenslade.

The original music paper this article came from (pictured at the top) is for sale!

1. Send me an e-mail if you are interested. Send it to:
2. The offer should be 20 $ (US Dollars) to be considered. (This includes postage).
3. We conduct the transaction through my verified Paypal account for the safety of both parties.

ARTICLE ABOUT Golden Earring FROM SOUNDS, March 23, 1974

Here we go again with yet another interview with Holland`s first international reknown rock`n`roll band.


Going Dutch with Earring

By Pete Makowski

Just once in a while a band like Golden Earring unexpectedly comes along and gives the whole British music scene a hefty kick up the arse, and it comes as no surprise that Earring have finally established themselves in this country after only a few tours and one hit single, “Radar Love”.
I spoke to George Kooymans who, along with bassist Rinus Gerritson, has been in the band for around eight or nine years. “I was at school when the band began,” George recalled, “I was cutting records and touring in between classes.”
The band went through quite a few changes and finally came to their present line-up in 1967. “We were the first band in Holland to do harmonies and things like all the other bands were playing Shadow type instrumentals.”
If you ask George how many albums the band have, he`ll immediately answer, “two in this country.” They recorded quite a few in Holland but nothing they`re extremely proud of. This is not due to the songs, just the time they`re given to record.
“We never had more than five days to record an album. This is one reason why we wanted to be successful outside of Holland, because we did not make enough money to spend more time on recording.”
They joined Track about a year ago and you`ll probably know that the band have toured the country quite a few times and before they brought out “Moontan” Track released “Hearing Earring” a compilation of old material.
“That was a collection of about three albums, I didn`t like it very much. The idea of bringing out old material doesn`t appeal to me. But because we were touring, they had to bring out something.”

The fast and steady progress of the band became obvious about a year ago and soon their name became commonplace in the papers, but what many people weren`t aware of was that the band had all their money invested in the tour and their whole future depended on the success of it.
“We spent all our money on things like our quadrophonic system and paying roadies,” said Rinus, “but we just had to get out of Holland because we knew it would affect our music in the end. Our music improved a helluva lot when we went to the States and that, about six years ago, was also something we got together ourselves,” said George.
I asked Rinus how it felt starting from scratch again in Britain. “It was terrible you know, we played gigs like school dances and things like that. We`ve done all that in Holland years ago but we knew the only way to get anywhere was by doing these concerts.”
When “Moontan” was released the band were still playing the seedier places, did they feel they`d ever come up to their present level? “Well we noticed that the reaction was getting pretty good,” answered George, “and we were beginning to communicate well with our audiences.”
Then the eventful release of “Radar Love” did they know this would be their big break? “No, our company asked us to choose a single off the album and we thought that it would be the best track.”
The next single will be more commercial, specially aimed for that type of market. “Don`t the band feel this a dangerous step as their music is far from commercial? “Yeh, we don`t want to be put into classification, but I think it`s worth while bringing out a single once in a while.
“We know that we can`t depend on a permanent success just because we`ve had one hit single. That`s why I`m glad `Radar Love` didn`t get to number one, we`ve got something to work up to.

“We`re more concerned about the album,” interrupted Barry Hay, “we`re gonna work damn hard to make a good album because that`s the audience we`re after.”
Good policy. I noticed when I went to their concerts the audiences were split into different sections. The kids who came to hear “Radar Love” and didn`t enjoy the rest of the set. The kids who came to hear the single and were completely knocked out and the already hardcore Earring fans. We`ll only find out after the tour who were the majority and I`ll put my money on Earring. I heard their new single and it follows closely the formula of the first single. A definite hit. “It takes a few hearings to get into it,” said George, “you can never really tell whether it`ll go or not.”
The band will continue to record their new album after they complete a Spanish tour, they`ll probably record a “Top Of The Pops”.
Although things seem to be rolling smoothly now, it has definitely not been an easy ride. It takes a lot of determination to stick together for so long without result, I asked George if they ever felt like splitting up in those hard days. “We did before we came to England, `cause I didn`t see any prospects and it was getting very boring and I felt like doing something else. But now there are so many things happening it`s become interesting again.”
I asked him what kind of ideas they had for the next album, “Well we`ve got a working title and we`re all writing around that concept. We all write things separately and then get it together. But right now we haven`t laid anything down except the single. We really want to cover a wide range of music because we don`t want to be labelled… I don`t like that.

The band have recently toured around Europe with the Who, did they find themselves confronted with difficult competition? “No I didn`t think it was difficult, it was quite easy, I enjoyed myself.” Will they be touring with them again? “No, I don`t think so, because er… I don`t want to say we`re the same kind of band, but we really take a lot of the people and get them exhausted and then the Who come out and they do the same sort of thing. I don`t think we`re the right type of band to tour with the Who.”
The band will soon be appearing at the Rainbow (March 24) and I asked Mr. Kooyman if he was worried at all. “No not really, we`ve played gigs bigger than that, but we do worry a bit before gigs anyway. I worried when we started the tour but it`s going well.”
The band played the same venue supporting Lou Reed, what did they think of it then? “Well you get certain kinds of people seeing certain acts and it wasn`t our audience that night. A lot of people were just coming in when we went on and a lot of people were in the bar… I didn`t like that.”
Not to worry, I think it`ll be better this time round. Don`t you agree?

I have personally transcribed this from the original paper. Any errors in the text from the original magazine may not have been corrected for the sake of accuracy. If you have a music-related web-page where this fits – please make a link to the article. With credits to the original writer of the article from all of us music fans!

This number of Sounds also contains articles/interviews with these people: Marsha Hunt, Dave Dee, Robert Wyatt, Procol Harum, Thin Lizzy, Kilburn & The High Roads, Cat Stevens, Zzebra, Johnny Winter, Elkie Brooks, Alvin Lee, Hudson-Ford, Canton Trig.

The original music paper this article came from (pictured at the top) is for sale!

1. Send me an e-mail if you are interested. Send it to:
2. The offer should be 20 $ (US Dollars) to be considered. (This includes postage).
3. We conduct the transaction through my verified Paypal account for the safety of both parties.

ARTICLE ABOUT Golden Earring FROM SOUNDS, November 17, 1973

The last time I posted an article about this band there was a sudden influx of readers of the blog from the Netherlands. So here is one more for you great people of Holland – and other friends of this band who with this, their ninth album, also went to no. 12 on the American Billboard charts. Their most famous single, Radar Love, went on to a 13th place in the Billboard singles chart. Yes, they were sort of huge in America for a while.


Album Review:

Golden Earring: “Moontan”
(Polydor 2406 112)

By Pete Erskine

This is the other Dutch band; and this is the eight time in succession that I`ve played this album. So far I have experienced no after effects at all. So far, it would seem that this is yet another master work of samey background music. During the last circuit – between the opener “Rader Love” (featured on the “Whistle Test” last week) and “Vanilla Queen” I repaired a plug, washed the dishes and had a shave. Upon my return I wasn`t even aware that the album had been playing until the player switched itself off. I did think that the “Whistle Test” film clip was impressive though; if their material is, as others have said, a composite of early 60s styles, that`s more than compensated for by their visual side. I thought they looked really good – vocalist Barry Hay has great style and I thought Cesar Zuiderwijk`s final leap over his drum kit was pretty spectacular. Golden Earring do seem to exude a strong charisma – and according to recent reports, a great deal of spunk on stage. By way of contrast “Moon-tan” is excessively meandering, too full of near-misses and changes in musical direction to imprint itself on the listener. There`s little doubt that instrumentally the band are exceptionally capable – viz. the gentle contrast of the harmonic guitar passage rounding off “Candy`s Going Bad” (a feel reminiscent of some of the more ethereal Traffic things) and the instrumental mix involving flute, guitar and rhythm section on “Are You Receiving Me” – but the sum quantity is, rather sadly, an album which is still too easily forgettable.


I have personally transcribed this from the original paper. Any errors in the text from the original magazine may not have been corrected for the sake of accuracy. If you have a music-related web-page where this fits – please make a link to the article. With credits to the original writer of the article from all of us music fans!

This number of Sounds also contains articles/interviews with these people: Nils Lofgren, John Lennon, Free, Ronnie Lane, Ozzy Osbourne, Carlos Santana, Average White Band, Dale ‘Buffin’ Griffin, Magna Carta, Alice Cooper.

The original music paper this article came from (pictured at the top) is for sale!

1. Send me an e-mail if you are interested. Send it to:
2. The offer should be 20 $ (US Dollars) to be considered. (This includes postage).
3. We conduct the transaction through my verified Paypal account for the safety of both parties.