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13 May 2017

Boudewijn de Groot ‎ “Nacht En Ontij” 1968 Dutch Psych Folk Rock

Boudewijn de Groot ‎ “Nacht En Ontij” 1968 Dutch Psych Folk Rock
In 1968 it was not possible for Boudewijn de Groot (1944). He had some big knockers on his name (including “A Girl of Sixteen,” Welterusten Mr. President, and “Land of Maas and Waal”), his new album ‘Picknick’ contained the hit 'Meester Prikkebeen’ (a duet With Elly Nieman) and gradually he expanded to the voice of his generation. However, Boudewijn himself was not so pleased with the direction he took his career and looked for something new. He broke down the collaboration with regular copywriter Lennaert Nijgh and his accompaniment group, no longer wanted to live live, and performed the studio with Cuby & The Blizzards guitarist Eelco Gelling to try it out in English. The result, the single 'In Your Life’ under the denominator Tower, was quite successful. At the same time, he wrote together with former student Lucien Duzee texts for his new album 'Nacht en ontij’ (1968).For this lp he radically moved the helm. Ear’s Pop Encyclopedia describes it as “a mystical and pretentious album that alienates him from his audience.” And especially it was certain. If the lyrics of Lennaert Nijgh were already cryptic, “Nacht en ontij”, De Groot and Duzee are doing a great deal on the top. The album opens with the number 'Babylon’. Geroezemoes wake up, classical sounds swell and after a minute, Boudewijn falls into: “ Girls wait for nights / on the god of Shalomon Ra, / the dragon monitors Ophelia / who is in the avenue avenue / with jasmine under flat planes / back to Antarctica. ’ 'The rest of the album is seized by the brilliant and intriguing’ Witches Sabbath ’(Part 1 and Part 2), which takes 25 minutes.A nice blurry song with wizards, wizards, Kardansus de Kobolt and numerous classical figures, inspired by elements from various Old Dutch sagas and legends. Striking is the tremendous fracture with the rest of his oeuvre: 'Witches Sabbath’ is nothing short of a psychedelic masterpiece overlooked. Not only the text is shady and mysterious (see below), also the instrumentation is special: classic strings (with Bert Paige arrangements) are interspersed with experimental percussion, folk-like music, Gregorian songs and strange sound effects. Responsible for these effects was none other than Dick Raaijmakers, who wrote in the Physics Laboratory of Philips (or the Natlab) in the fifties by experimenting with electronic music and computers as one of the first in the world.'Heksen-sabbath’ is een bedwelmend en zeer tot de verbeelding sprekend nummer waarin steeds iets nieuws valt te ontdekken. Voor zijn fans was het echter een brug te ver. Zij verwachtten licht maatschappijkritische liedjes met misschien een humoristisch tintje, maar in plaats daarvan werden ze meegesleept in een vervreemdend verhaal over een nachtelijke heksensabbat. 'Nacht en ontij’ werd nauwelijks verkocht en de bij het album gevoegde bonussingle 'Aeneas nu’ (toch best wel toegankelijk) flopte. En toen ook de tweede single van zijn Engelstalige project Tower geen succes werd, had de toen 24-jarige Boudewijn het even helemaal gehad. Hij trok zich terug in een commune in Dwingeloo en verdween uit de schijnwerpers. In the years to follow, he wrote songs for others, produced albums by Oscar Benton, Kraayeveld and Rob de Nijs, and together with Rick van der Linden he produced the single 'Moonstruck’. Record company Philips has burned the flame by bringing regularly successful collectors to the market. For example, from the lp 'Five year hits’ (1971), in a year’s time, almost 100,000 copies were over the counter. So around 1972, Boudewijn reconciled himself to Lennaert Nijgh, making the album 'How strong is the lonely cyclist’ (1973) and the hit 'Jimmy’ a 'comeback’. The lp won an Edison and a Gold Harp. The rest is history, as it is so beautiful. 

In the oeuvre of Boudewijn de Groot, 'Nacht en ontij’ is said to be an outer leg. Although I’m not too familiar with his later work, I do not believe he ever jumped out of the tire again ………….

A protest singer to personal singer-songwriter, translator of Stephen King books and actor in the role of Chekhov and Otto Frank. Boudewijn de Groot has shown many sides of himself in 50 years. 

Boudewijn’s musical career has a few periods, interrupted by breathing pauses. He’s never been someone who has worked in the footsteps of others, but has often ensured that he sets a new standard. ” In his heyday, he does so with a team consisting of producer Tony Vos, arranger Bert Paige, technician Albert Kos and natural lyricist Lennaert Nijgh. But Boudewijn de Groot loves byways to occasionally collaborate with others. 

This happens for the first time in 1968. Instead of going Nijgh Baldwin cooperate with Lucien Duzee, a friend with whom he sat at the film academy. It provides “day or night”, an almost ghostly work that is not included in the said year. Everyone is still in the clouds of flower power and not to separate this work. The album is perhaps the first “fantasy” or “gothic’ plate homegrown. An outsider in the work of the now 70-year-old Haarlem.How The Great came to separate this album? Are especially songs from the second half of the sixties that made him a public figure, such as "Master Prikkebeen”, “Drowned” and “The Van Maas Land And Waal, Boudewijn looking after his third album” Picnic “ (which can be seen as a kind of Dutch "Sgt. Pepper’s Lonely Hearts Club Band”) for new challenges. The protest songs and contemporary texts Nijgh Boudewijn is equally ready. 

With Duzee he hits another direction: he writes the “Witch-Sabbath ’, full of mythical texts Torralba, Gauricus and Baldur. Mostly made-up and the music is full of separate pieces: a medieval witch song to an electronic document in which Dick Raaijmakers of Philips Laboratory participates in Eindhoven. The end is grotesque, almost Wagnerian and the sound rises as it were in a spiral. Long before the digital age technician Kos may affect reaching the plate with a kind of coffee mill. The sound goes from left to right, but also from front to back. A kind of prehistoric quadraphonic!"Witches Sabbath-is a nearly half-hour radio play that fills the entire album” day or night “. Although, as an introduction to the pretentious piece is first heard 'Babylon’, a rather traditional sounding song, including string, but the text is almost as unearthly as the witch part. 

Originally sits on the plate a single, with "Who Can Tell Me Yet” and “Aeneas now. Then Baldwin is accompanied by the group The Tower, that he would make a few English singles. The guitarist on these recordings, and also with The Tower part of hearing the 'Witches’ Sabbath’ is none other than Eelco Gelling. Known for Cuby & The Blizzards, but also occasionally used as a studio musician. Gellings name is nowhere to be found on the cover of "day or night”, but if you listen carefully, recognize his blue full game right. Just because Gelling contributions album worth hearing again. Drummer of The Tower is otherwise (late) Q65 member Jay Baar, bassist Jan Hollestelle and Hans Jansen plays keys. No strangers at that time. 

Is “ungodly hours” a classic, like several other albums Boudewijn? No, not artistically; before the work is still something temporal. Not even commercial field since sold the sheet due to the different character totally. However, the album is a “classic” in the sense that it Boudewijns most adventurous work and has now become a cult album. Collectors of psychedelics (both in the Netherlands and abroad) have a first pressing of “day or night” (with photo album and single!) Hundreds of euros over.Personally, I hear snatches of the album for the first time in the early nineties during a series of Baudouin of the bunch, on the radio at the Poster Program. Especially the vortex income end impresses me, but the album is brand -so I find all speed difficult. Eventually a CD in 1994 and I buy, but the search for the original LP continues. One time I buy an original pressing, but 250 guilders being asked for it, I can not muster. I until a few years ago at the fantastic shopping Sounds Venlo a copy without single for “only” 25 euro find. Equal but take and afterwards certainly not regret it, because it sounds wonderful and just because the cover is a beautiful item. 

And Boudewijn? Which returns after this album flopped a while the music back on and seeks refuge on a farm just outside Dwingeloo. He is regularly found in Assen to Beilen or with Eelco Gelling, Harry Muskee or other Blizzards drink. Muskee has -after he left Grolloo- his farm in Ansen and Boudewijn is in Leggeloo well in place. Only in 1972 he returned to Haarlem to visit his buddy Lenneart Nijgh and to write to him again. 

His career takes on “How Strong Is The Lone Biker” a pleasant twist and plates that have been published by him in 1984, are very private and are all worth it. “Where I Live and Who I Am” (1975), “From A Distance” (1980) and “Maelstrom” (1984), the English pop revitalize. In his band play late seventies include Ernst Jansz and Henny Vrienten. Those brands at Baldwin doing that English is fine. Five years later, the establishment of Doe Maar fact. Boudewijn de Groot, like Herman van Veen and to some extent Bram Vermeulen, much direction to the Dutch pop in the eighties data. 

Baldwin brings this weekend a new album, “Behind Glass”. A second “day or night” he will never make. Occasionally he plays 'Babylon’ even in acting. The plate 1968 is what it is: a child of his time, but who wants to hear the adventurous Boudewijn de Groot once, this is a recommended format………….

A1 Babylon 
Written-By – B. de Groot* 
A2 Heksen-Sabbath (Deel 1) 
Written-By – B. de Groot*, L. Duzee* 
B Heksen-Sabbath (Deel 2) 
Written-By – B. de Groot*, L. Duzee* 
C Aeneas Nu 
Written-By – B. de Groot* 
D Wie Kan Me Nog Vertellen 
Written-By – B. de Groot* 

johnkatsmc5, welcome music..