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Earrings Biography

Source (google.com.pk)

The story of Golden Earring, below here, is written by Rinus Gerritsen in 2000.

When a recording artist has been in the picture for one or more decades, compilations and ‘greatest hits’ releases become inevitable. 

We never gave these kind of things much personal cooperation or attention, because we saw it as a kind of sell-out that stood in the way of the creative process that will always be sacred to us. 

When Roy Teysse approached us with the plan for this project, on behalf of Universal, we were just about to embark on a sabbatical year and if there is no such things as coincidence, it was a perfect piece of timing. During a period of rest and reflection like that, you notice that it can be fun to look back. 

We made a deliberate decision to put almost all the singles we released in the past 35 years on the first three CDs in chronological order. Their titles and of course the albums from which they are taken then function as beacons in the story. A story that is really more of a report, embellished with a few anecdotes and quotes. Obviously, this text will never be able to cover the ‘complete story’; a real book will have to be published one day in order to do that.So for the moment we will limit ourselves to the actual records: the songs, the productions, the promotion and everything they involve. 

While reading this you will discover that the life of an average rock & roll band is no bed of roses. And that is probably putting it mildly. But believe us, none of these guys would choose a different career if we were given the chance to start over again. 

One of us had to be appointed as the storyteller, and that task has fallen to me. It is an excellent opportunity to thank my mates George, Barry and Cesar for a fantastic and inspirational time, which as far as I’m concerned may continue for a long time to come. 

Rinus Gerritsen

Hand’s wet on the wheel 

Being a child of the post-war baby boom, most of your spare time was spent on the streets with a ball at your feet. The same goes for yours truly in the late fifties, in a virtually car-free era. Music could be heard coming from open windows and echoing off the walls and in the stairwells. Little Richard, Lloyd Price, Fats Domino and Elvis; those are the first names that come to mind when I think back to those days. He was always noticed, that slight young boy of not yet twelve years old, always hanging out with the older kids and always at the forefront if there was any action. Football was not his thing, but he was enthusiastic at judo, a solo sport, and then there was his other passion: playing the guitar, which he had been doing since he was eight. We met at our house when he came to give my brother guitar lessons. My brother Rob, who is three years older than I am, has many talents (at this moment he fulfils all the management positions in Golden Earring BV) but musical talent is not something he can be said to possess. We got on well immediately, Rob’s guitar eventually became mine and George and I had found each other in our shared passion: playing the guitar and our dream of a band that would lead us to great fame. 

Five years, two band names and innumerable band members later, we were performing regularly as The Golden Earrings in and near The Hague with, besides George and myself, singer Frans Krassenburg, rhythm guitarist Peter de Ronde and drummer Jaap Eggermont. One evening a guy came into our dressing room who introduced himself as Freddie Haayen. On behalf of the Polydor record company he offered to record a few of our own songs. Of course we seized this opportunity with both hands. What we didn’t know, was that Haayen was a student, working for the company as a trainee, and had never seen the inside of a studio in his life. He managed to bluff his way through it all though, something we were to see more of in the future. The session took place in the old Phonogram Studio, a converted gym in the Honingstraat in Hilversum and took just one afternoon. ‘Please Go’ was chosen to be our first single, with ‘Chunk of Steel’ on the B-side. To our minds the rendition of the song was far from perfect, but apparently the public thought otherwise and, thanks in part to the support from pirate station Veronica, our first hit was born. Not long after, we quickly recorded another eight numbers and we had our first LP: ‘Just Earrings’. Fred Haayen, who was always in for a stunt and who was not very pleased with the work of the Dutch studio technicians, suggested we go to England for this recording. The journey was made by boat, because there was no money to go by plane. Everyone was seasick, but that was soon forgotten when we stuffed our instruments into a couple of London taxis and drove to PYE Studios. In order to ensure radio support for this record, we had taken Veronica DJ Jan van Veen with us as our guest. We were home again in a day where we performed in the most popular Dutch chat show at the time, Willem O’Duys’ ‘Voor de Vuist weg’. Nothing was left to chance in ensuring it reached the highest possible chart position, despite the fact that the Beatles were unbeatable at the time and were rock-solid at number one with ‘Michelle’. 

There was enormous pressure on us to produce a sequel to ‘That Day’, so we tried to write a song in the same style. After we returned from England we listened critically to the recording and decided that the sound quality was crap. In the middle of the night we went to look for Freddie, who turned out to be in a nightclub that we kids weren’t allowed into. After we pleaded with him for ages, the guy at the door went to look for him. He had to agree with us and flew back to London the next day to re-master the record. After the ‘If You Leave Me’ experience from which it was apparent that the quality of the demo we made in The Hague was by no means less than the English version, we decided to record ‘Daddy Buy Me A Girl’ in Gerard Bakker’s GTB Studio in The Hague. We had already made a number of trial recording there and by then we had the run of the place. Apparently there is nothing as whimsical as a group of musicians, because for this song we traveled to London again. It must have been the adventure that attracted us. During the winter of ’66-’67, we recorded our second LP at the Phonogram Studio in Hilversum, with the fitting title ‘Winter Harvest’. Rhythm guitarist Peter de Ronde had just left the group and there were four of us left: George, Jaap Eggermont, Frans Krassenburg and myself. 

Keyboard player Cees Schrama played on a number of the tracks and he also did the scores for the wind instruments. ‘In My House’ is one of the 14 tracks. 

Frans left the band after the recording. He did sing the background vocals, but the lead vocals are by George. 

At the time this single was released, Barry was the new band member. He was already in the clip and he also sang the B-side: ‘She Won’t Come to Me’. Barry was known as the lead singer of The Haigs, a band from The Hague, but at the time when he was asked to join us, we had just teamed up with Robbie van Leeuwen’s Shocking Blue. Van Leeuwen was not very happy with Barry’s swift transfer and spoke the historic words: “you will regret this terribly one day, little man!!” Barry didn’t have much to regret in the end, although Robbie doesn’t have much cause to complain either. 

All’s well that ends well, and that was surely the case for ‘Sound Of The Screaming Day’, the biggest hit since ‘That Day’. The summer of ’67 was the summer of love, everyone was into flower power. The Beatles had an enormous hit with ‘All You Need Is Love’ and the Stones did the same with ‘We Love You’. And for us it was ‘Together We Live, Together We Love’, sung by both Barry and George. As we had done with ‘Sound Of The Screaming Day’ this song was recorded in London, in the studio of producer Mickie Most where artists like Jimi Hendrix, Jeff Beck and The Animals were to be found daily. A year after ‘Winter Harvest’ it was time for album number three: ‘Miracle Mirror’. 

For financial reasons, albums were recorded in the Netherlands and this time it was the turn of the GTB Studio again. Wind instruments and violins played in Hilversum led and arranged by Frans Mijts. This was also where the mixing was done. ‘I’ve Just Lost Somebody’ was chosen to be the single. The accompanying video clip was derived from the popular pop program “Moef Ga Ga”; 

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