Publications
Kracq
Circumvision
Private Dutch
by Jean Jöbses
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Writing about Kracq is writing about UNIDENTIFIED ARTISTS PRODUCTIONS (U.A.P.), the record label of the 'foundation pop promotion' (S.P.P.). S.P.P. in 1978: "There are two categories in music and art. The first one is a commercial one with two components, success and money. The other one is more personal; the artist wants to convey something, to his own public and in his own different way, without the 'succes-formula'." So the aim of the S.P.P.-foundation became one of giving talented popgroups, poets and composers a chance to release records, but also to publish a magazine and to organize performances, bringing all these people together. S.P.P. existed for two years and released four LPs on the UAP label Kracq became the first band to release an LP on the 'label with the horse'. Kracq was formed during a session in October 1977 by Jos Hustings (ex CARMINE QUEEN), Bert Vermijs, Twan van der Heijden and Cees Michielsen (ex KING'S RANSOM). Their aim was not to perform (KRACQ only performed four times), but to make a record. 
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The compositions of Bert and Jos, arranged by all members, formed a surprising repertoire. KRACQ were convinced of their potential success after two successful trial gigs and after three days of intensive preparation in a small bungalow, the first album on UAP-records was\recorded ("circumvision"). As a result of their many-sidedness the music was difficult to describe. Most important were atmosphere and change. Symphonic pop, influenced by jazz, also by rock, sometimes cosmic, sometimes underground, but always with an atmosphere which marked the mixture of experiment and convention, with a clear tendency towards avant-garde. In the august-issue 1978 of the UK magazine Sounds John Gill reviewed the 'circumvision'-lp and gave it four stars (this meant: extraordinary product). This probably was the reason why about 60% of the copies were sold in England. Shortly after the release of the lp KRACQ disbanded and Jos went on producing and playing. Jos can also be heard on the PERSEPHONY-lp (UAP-3). 
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Persephony
To those who loved us
Private Dutch
by Jean Jöbses
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PERSEPHONY were not a group in the usual sense, they were a one-off project devised by Willem van Beers and Dolph van Schijndel (better known as WF and Le Pyghle). Dolph was a student in Paris and with the help of other musicians, the duo Dolph and Willem recorded the lp 'to those who loved us', the third lp produced by UNIDENTIFIED ARTISTS PRODUCTIONS in 1979. They gave only one live performance, in Paris, March 22, 1979. |
The music on this lp has many influences and various styles; from folk to rock and from poems to pop. PERSEPHONY characterised and illustrated chaos and contrast of this time by way of musical theatre. Coherences between history and existentialism can be found in the 15 songs of this remarkable lp. Dolph still lives in Paris and has written the lyrics for an opera. |
Encyclopedia
Private Dutch : Jean Jöbses
from the backcover
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The Dutch pop-scene, better known as NEDERBEAT-scene, has always been packed with talented bands. THE OUTSIDERS, CARGO, COSMIC DEALER, MOTIONS, SHOCKING BLUE, AHORA MAZDA, Q'65, FAIRY TALE, AFTER TEA, GROUP 1850, FUN OF IT; just a few names from the glorious past. But there was more, much more!!! Just a few people know of bands like AVALANCHE, MIRROR, ELLUFFANT, FRAGILE, FLUX, OBELISQUE, LES GOSSES, KRACQ, TAMALONE, VOIZE, MACREEL. These bands had one thing in common; they all had hundreds of fans, played fantastic music but didn't get their breakthrough, resulting in a contract with a major record company. Some of these groups didn't even want a contract; they preferred the fun of playing together, playing the music they wanted to play. With their own money, or with the financial help of relatives or a big sponsor, they released their albums, the so-called private pressings. There were several reasons to do this: to break through, to pay back the costs of their instruments, or just as a memory for the fans. Music has always been my hobby; the idea of writing this book arose when I realised that there was almost nothing in existence and that other record-collectors couldn't read about these bands. I decided to fill the gap. Of course there is much more to discover in the world of pop, rock, blues, folk, hard-rock and psychedelic, but maybe this is the first step. Have fun with PRIVATE DUTCH. |
Jean Jöbses
Postbus 202
6290 AE Vaals
email: jjobses@planet.nl
We found some information about Private Dutch on the web.
Flop Promotion
Hans van den Heuvel
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De 'Stichting Pop Promotion' is een klub die er naar streeft om 'de betere popmuziek te bevorderen en in de openbaarheid te brengen', onder meer 'door middel van het opvoeren van muziekwerken voor publiek'. Dit onderdeel van haar beginselverklaring werd op 2 april jl voor het eerst tot uitvoering gebracht door het organiseren van een 'Festival van niet-kommersjele muziek' in de Kentering te Rosmalen. De aanvang stond op 8 uur gepland, dus een strak tijdschema (er stonden namelijk vijf groepen op het programma) was geboden. Om half negen begon dus, zonder enige vorm van aankondiging, de groep Sustain uit Zaltbommel, die een rommelige mengeling van jazz- en symfoniese rock bracht. 'Wie ben jij', roept iemand uit het publiek tijdens een vokale eskapade van de gitarist, die tijdens de ombouw-pauze een eigen kompositie van een half uur ten gehore brengt. De opmerking bleek kenmerkend voor de rest van de avond. Er was eigen initiatief voor nodig om te weten te komen dat Saga uit Amsterdam de tweede set |
vervulde. Saga bracht een niet onverdienstelijke vorm van symfoniese rock, met veel tempowisselingen en meerstemmige zang, waarvoor de drummer regelmatig achter zijn kit vandaan kwam. 'Hallo, ik ben Sam en ik maak elektronische muziek. Ik kon mijn studio niet meenemen en daarom laat ik enkele banden horen.' Waarvan akte. Weer een half uur pauze met ditmaal elektronies gepiel op de voorgrond. Halverwege het optreden van Muziek Totaal begonnen we ons al klaar te maken voor een slijtageslag. Koffie en broodjes werden aangerukt. Nog slechts een dertigtal personen van de aanvankelijke honderdvijftig konden de free-herrie-jazz van het Amsterdamse ensemble verdragen. Gelukkig deelden ze na hun laatste set mee, dat h&ugrav;n laatste nummer tevens het laatste van de hele avond was geweest. De groepen Sintilla en Kracq konden zonder meer naar huis terug keren. En niemand die er rouwig om was. Of misschien de mensen van de organisatie..... Waren die er eigenlijk wel? |
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