Hi Adrian Vos, Angelo Santoro, and Jan Reynders. Thank you very much for taking the time to answer some questions for our “It’s Psychedelic Baby” magazine readers and for sharing the story of your incredible band’s history.
Where and when did Cosmic Dealer come into being? Who were the original members, and what bands were they previously involved in? How was the name Cosmic Dealer chosen?
Angelo: When I joined the band it was called “Floating Fudge including the Cosmic Dealer. But later we found the name was too long and we shortened it. The first year the members were Frans Poots (vocals), Jan Reynders (lead guitar), Bas van de Pol (bass) and Adrian Vos (drums). A year later I joined on bass and Bas switched to rhythm guitar.
Jan: Cosmic Dealer was formed in 1968, basically an outgrowth of a band called Hawks ‘66. An earlier version known simply as The Hawks, which included Bas van de Pol and Frans Poots, had gone to Germany and found some success but were forced back to Holland when a bar owner set fire to his own establishment to collect insurance money and the band’s equipment was all lost in the fire. No one can remember why the band’s name was shortened to Cosmic Dealer.
Adrian: I came from the band Living Kick, which was formed in 1967. I already knew Bas and Jan and we wanted to form a band but we had to wait until 1968 due to prior obligations. Frans Poots knew Bas from The Hawks and was recruited. Angelo was known for his exceptional bass playing and became part of Cosmic Dealer in 1968.
Who were the musical influences of the band? Did Cosmic Dealer always play original songs or did you play any covers songs and if so, what were some of the covers?
Angelo: There were many influences on the band. As I recall Bas and Frans were fans of The Beatles, which I was not. I started out a big fan of instrumental surf music like The Ventures and The Champs. Then the music changed and I grew to love long guitar jams from bands like Quicksilver Messenger Service and The Paul Butterfield band featuring Mike Bloomfield. Also, Blues Project was a big influence on me. We played some covers such as “21st Century Schizoid Man” by King Crimson, “Dazed and Confused” by The Yardbirds/Led Zeppelin and “Head In The Clouds” by Gun.
Jan: Cosmic Dealer always played originals, but we did cover songs like “Woman” by the James Gang, “Strawberry Fields” by the Beatles and “Jack of Diamonds” by H.P. Lovecraft.
Adrian: I was influenced by Cliff Richard and The Shadows, The Beatles, The Kinks, The Rolling Stones, moving from early rock toward more “psychedelic sounds” like The Mothers of Invention.
I understand early Cosmic Dealer concerts were quite interesting, involving such things as smoke bombs, painted faces, vacuum cleaners and such. What sort of places did the band play at and could you share some memories of the early performances for our readers?
Angelo: That’s true, but that was before my time, the other guys will tell you about this.
Jan: Did Cosmic Dealer have an act early on? Yes. What comes to my mind first is the super attractive dancer in a white bikini who just showed up and stripped wherever we would play. I never knew her name or whatever became of her. Frans performed with a green painted head and sometime with a two-toned painted head with a black line in the middle. They had to be hand painted before every concert. I guess the “war” in Chinese smoke and smoke bombs were innocent compared to 2013 and the gas mask was a part of an anti-pollution song. Frans wearing it and being the lead singer proved hard to be understood (lyric wise) by the audience. But all in all, yes it was interesting.
Adrian: We were children of our time. Music needed a performance, so we came up with a stage show with Painted faces, smoke bombs and indeed a vacuum cleaner and half-naked go-go girls. After a few performances we found the music to be more important (we became better players and the songs were stronger) and we ditched our stage act.
By 1970 there had been some changes in band personnel. What were these changes and how did they affect the band?
Angelo: The only change was in November, 1969, when I took over as bassist and Bas van del Pol changed to rhythm guitar. Bas was an old style rock and roll bass player and I was a new psychedelic style bassist. Listen to the Live in IJmuiden track “Black Widow” that was was recorded 42 years ago and still does not sound like an old style bass solo. I’m proud of that solo and still like to hear it. Not many bassists were playing with wah wah pedals in those days.
Jan: The only change was Angelo becoming the fifth member of the band. At rehearsals he was very often there. A quiet guy, very very nice. Really. Though we never liked “watchers” or crowded rehearsals there was always a warm welcome for Angelo. Having become friends it was quite normal that Angelo picked up the bass guitar and jammed with us. There was no voting or anything like that, it was clear to the original four that Angelo was now member five. There were numerous advantages when Angelo took over on bass. Bas also sang a lot of lead vocals or shared lead vocals with Frans. Doing that Bas felt more comfortable playing the guitar than bass. Bas began playing and singing more and more of his own material on the guitar. We had an extra guitar player, not only rhythm, Bas could solo away when in the right mood and he had a nice, relaxed way of playing the guitar. And we had a bass guitar player “Deluxe!” Bas, now always with his white (blonde) 1968 Fender Telecaster seemed even more productive and creative than he was ever before. The songs dropped from his pen and the ideas and ideas for ideas were on a daily basis. It became the absolute peak period for Cosmic Dealer.
Adrian: Angelo was known for his exceptional bass playing.
What were some of the early original songs written by the band and what was the writing process like? Who were the most prolific writers in the band?
Angelo: The process was usually like this, Bas van de Pol would come to rehearsal with a few chords and Frans would hear what he could sing and share some lyrics. Simultaneously Jan would devise some guitar parts he would play and come up with a guitar solo he could play. And so it would be with Adrian on drums and me on bass. Sometimes songs would be quite different than Bas expected but always in a positive sense. We would play the song a few times and then talk about it. Then we went to the arrangement, song writing was a group process. Everyone had their input and it worked.
Jan: There was no doubt that Bas was the songwriter. Most of the time with lyrics by Frans and sometimes the melody and lyrics were by Bas. The seemingly never ending stream of songs sometimes had to be cooled down by the other band members. Sometimes the songs were not up to our standards. Other times only parts or passages of songs were Cosmic worthy and not the entire song. In such cases the “wrong” parts or passages in a song were left out and other parts came instead. In a way the whole band contributed to almost every Cosmic Dealer song.
Adrian: Bas came up with the musical ideas, Frans came up with the lyrics. Putting the songs together was a group process and we had our creative input. I was never told how to play a particular song or pattern and the same for the other guys.
When and how did Cosmic Dealer come to sign a recording contract with Negram Records? What were the terms of the contract and who was your manager?
Angelo: Our manager had contact with producer Eddy Ouwens and he came to a rehearsal and he liked what he saw. He wanted to make a demo with us in the Paay Studio. The song we recorded there was “The Scene” a very heavy version and he took it to Negram and they liked it and we had a single release. It is unfortunate that no one has that demo of “The Scene” and I do not know where we could find it.
Jan: Our manager was Aart Poffel who had other acts and bands under his management. He knew producer Eddy Ouwens pretty well. Eddy was the next door neighbor of Adrian. Aart convinced Eddy to come and watch and listen to some Cosmic Dealer rehearsals. He did and from the first moment he was more than enthusiastic. He produced for Negram. Cosmic Dealer made a demo with “The Scene” and “Child Of The Golden Sun” with Eddie in the control room. He made Negram listen to the demo and Negram agreed to make the first single.
Adrian: Producer Eddy Ouwens met with the band, saw us play and was impressed. “The Scene” and “Child of the Golden Sun” was recorded as the first single in Soundpush Studio. In that period the band became aware of their potential and opportunities and was very creative. We rehearsed 7 days a week!
In early 1971 the band went into Soundpush Studios for your first recording session. What songs were recorded and how were they chosen?
Angelo: The songs, “The Scene” and “Child of the Golden Sun” were chosen by producer Eddy Ouwens. He came to our rehearsals and he thought they were the best choices for our first singe. The recording seemed to go very well, 7 hours later we were back outside and Eddie had the master tape in his hands all ready for the press. He was surprised it went so quickly.
From this session a 45 was released, “The Scene” b/w “Child Of The Golden Sun” How many copies of the single were pressed? How were sales? What about radio airplay? Did the release have any impact on the Dutch charts?
Angelo: I don’t know how many copies of the single were pressed or how many were sold. I read everywhere that it was not successful, so I guess it wasn’t. It certainly did not make the charts. But we were told that Negram wanted us to do an LP.
Another single was released in May, 1971, just one week before your classic album. This single consisted of two more tracks from the upcoming album, “Head In The Clouds” b/w “Find Your Way.” How did this do compared to the previous single as far as sales and airplay? Did it chart?
Angelo: The single “”Head In The Clouds” would be our breakthrough. We got airplay on Radio Northsea. But it was not a hit, that much I know. It did not make the charts either.
Jan: It did better than the previous single. It got more airplay. There were more guest appearances by Cosmic Dealer at radio stations. The single did gain the status of “this single could become very very big.” That got us more airplay, but there was no impact on the Dutch charts.
Adrian: The Gun was a personal favorite of Jan. It was his idea to cover their “Head In The Clouds.”
On March 10, 1971, the band entered the studio to record its one and only, now classic LP, “Crystallization.” How long did it take to record the album?” Describe if you would, the experience of recording the LP? Who produced the album? How involved was the band in mixing and mastering the sound? How pleased are you with the finished product?
Angelo: We were in the studio for two days and the recordings were ready, mixed and
everything. “Head In The Clouds” was shortened for the single version.
Jan: Two days. Bearing in mind the 45s were already recorded. Also bear in mind that Cosmic Dealer was a very tight band. Very together, as friends and musicians. So the recordings went very fast. Many moments of amazed looks thrown at one another by Eddy Ouwens and Andre Hennnig, the tehnician.
Adrian: Eddy Ouwens had very strong ideas about the form of the album. Of course his (commercial) ideas clashed sometimes with the ideas of the band, but in general the final product was of liking to all involved.
How did the album come to be called “Crystallization?” What was the meaning of the title? What was the lineup of musicians who recorded the LP?
Angelo: The title was the idea of Bas and Frans. What was the meaning? I don’t know? The lineup was: Frans Poots (vocals, flute and bongos), Bas van de Pols (vocals, lead vocals on “The Fly” and rhythm guitar), Jan Reynders (lead guitar, acoustic guitar and background vocals) Angelo Santoro (bass guitar) and Adrian Vos (drums and percussion).
Jan: The title track just sounded right for the part. The albums title? Honest it was much a matter of our management and Eddy Ouwens and Negram. I can’t remember too much involvement by the individual members of Cosmic Dealer in this. I don’t remember discussions concerning this subject. I think the title was suggested to us and no one in the band had any objections.
Describe if you would, the experience of recording the LP? Who produced the album? How involved was the band in mixing and mastering the sound? How pleased were you with the final product?
Angelo: The experience was very nice, we loved it. The album was produced by Eddy Ouwens and we were not allowed in the control room during mixing. We were only called in to hear the end result. We were very pleased having had such a good sound technician and producer involved. Having only a demo and a single at the time why should we as inexperienced boys interfere?
Jan. It was a great experience. Often I know for myself, after a certain take it was “brilliant, great, enormous” according to the producer. “Come and listen in the control chamber.” Often we were very pleased but for me the guitar solo on “The Scene” I didn’t like at all. I thought it was just a try to check the overall sound and balance because the all the guitar solos were played loud with Fender amplifiers turned up to 8 or 10, to get “the sound.” So I fiddled around with a minimum of structure in my mind while playing that solo thinking “okay by the next take I’m gonna play it with this....etc.” But that solo was “well played” according to Eddy. I remember asking “can I pay it again? I can do better.” But he played it back several times in the control room and decided it was okay. I also remember the identical case with Bas singing “The Fly.” The instrumental track was laid down and Bas had to sing over it and the song would be finished. Bas sang it, but after listening to it in the control room he wasn’t satisfied at all. He was even a bit “grumpy.” But he was not allowed to do the vocals again. Once again, Eddie played it over and over again, asking Bas, “Boy, what is wrong? You did very well. Its spontaneous. What can you add or improve?” Looking back, little incidents would not have happened had there been more time to record. But we were not allowed extra time.
Adrian: The making of the album was a milestone; experience extensive (and intensive) recording in the best studio with the best technician and producer. Your own efforts on tape. A reward for hard labor. The sound was (and still is) ours, the producer came up with the effects.
Cosmic Dealer Gear Used (1968 to 1973)
Jan Reynders:
Guitars: Guild Starfire 6 string electric; Gibson SG 6 string electric; Gibson Flying V 6 string electric; 1962 Fender Stratocaster 6 string electric.
Amps: 2 Fender Bassman 50 watts each; 2 Fender Bassman 2 x 12” boxes
Pedal: Vox Wah Wah
Bas van der Pol:
Guitar: 1968 Fender Telecaster
Amps: Selmer Bass Amp
Angelo Noce Santoro:
Bass: 1962 Fender Precision Bass L Series
Amps: 100 watt London City Amp with 4 x 12” Celestion Speakers; Later a second Orange 4 x 12” box.
Pedal: Shaller Wah Wah with a switch from wah wah to toy toy (honest)
How many copies of the album were pressed? How were sales and did the album get radio airplay upon its 1971 release? Did the album make the charts in The Netherlands?
Angelo: I once heard that 2500 copies were pressed but I’m not sure. The album got some airplay, but I can’t remember exactly what. I don’t think it got much airplay though, regardless.
What sort of venues was Cosmic Dealer playing by this time? Who were some of the bands that you played with? What are some of the gigs that stand out in your minds? How large were the audiences you played to?
Stemvork 1971
Angelo: We played at many different stages. Usually it was in the youth centers, but we also played large pop festivals and theaters with Q65 and Focus among others. When we played with Q65 in Kunstmin Theater in Dordrecht, their guitarist Frank Nuyens had left and they asked our guitarist Jan Reynders to take his place. Jan thought about it, and his wife wished he would do it, but ultimately Jan chose to stay with Cosmic Dealer. We played some concerts in France but the promoter who had arranged the concerts vanished with our money. Later we heard that he was being sought for a huge tax debt. Maybe e needed our money to pay his taxes, hahaha!
Stemvork 1971
Jan: Bigger venues. Festivals. Too many to mention. Audiences varied from 5000 to well over 10,000 I guess. Bands we played with included Brainbox, Focus Cuby and the Blizzards, After Tea, Group 1850, Motions, Dragonfly, Cobra, The Ivys (later Badfinger) etc. etc.
When the album was released in June, 1971, it looked like much bigger and better things awaited Cosmic Dealer. But in July, guitarist/vocalist/songwriter Bas van de Pol, hit the band with a bombshell. He had become a Rosicrucian and his religious beliefs meant that he was leaving the band. Describe, if you would, how Bas informed you of his decision and what were your reactions to his announcement?
Angelo: How did Bas inform us? He just told us that he could not reconcile playing on stage with his religious faith. We had a standing invitation for a live performance for the Dutch national television network for VPRO.campus. Bas told us he would like to do the last gig with us on television. The band decided to replace Bas with a friend, guitarist Leen Leendertse, but time was so short we had only two or three rehearsals with Leen and then the big television appearance. You see VPRO.Campus was an evening show which had the biggest name performers like the Mothers of Invention, Sly and The Family Stone, Dr. John the Night Tripper, Canned Heat, Traffic, Slade, etc. In the end technical problems meant that we only got to play for 25 minutes, half of what we were schedule for. The end result was not good. It was not a good decision to replace Bas. No reflection on the abilities of Leen because he was a great guitarist.
Jan: I reacted far from “tolerant.’ Out of my ignorance and not being familiar with the true and deeper thoughts behind the Rosicrucians, I thought the whole thing was fake. But Bas turned into himself, he spoke less often than before. Bas and I were born in the same village and were “special friends” as well as the friendship that was in Cosmic Dealer as a total. But I didn’t understand him at that time. We were driven apart, not angry but apart. Later I learned about the positive sides of the religion but I never dug so deep to understand it all. I did not feel at ease in this matter at all. Also, Frans also became an active member of the Rosicrucians, even before Bas did and Frans stayed with the band. Frans was more open about the subject. But I never understood the big idea behind it all. We were close friends, all five of us and it was not a matter of “informing us” but telling us and showing us that he was going to live his life in another way. As for Bas leaving the band? We all saw it coming and it was a shame, really because commercially it was a very bad moment for him to leave the band. A band that had worked so hard (with loads of fun!!!) with an album coming out, a TV show coming up, 25 minutes live on national TV! And the heart-member, the main songwriter, the artistic and creative brain inside the band LEAVING? “That’s not very wise.” Reactions were cool. Uneasy. Not “Cosmic Dealer” like atmosphere. Strange, but unreasonable to Bas so he had to deal with it. How sad it was. Cosmic Dealer was at its peak. The spirit at that moment was lets get it over and done with.
Adrian: Bas left for personal/religious reasons.
The band carried on, but soon lead vocalist Frans Poots announced that he was leaving the band for religious reasons as well. What was it like being a member of Cosmic Dealer at that point, having just lost two key members of the band?
Angelo: You go too fast. After the TV show Leen went back to his own band. He was only 2 or 3 weeks a member of Cosmic Dealer. And Cosmic Dealer just went to a 4 man and from this period are the Live In IJmulden tapes. We had a lot of gigs with the 4 man lineup. But after 4 or 5 months Frans decided to stop. It was December 1971 or January 1972 and then I stopped as well.
Jan: That question is not asked the right way. Frans was already a member of the Rosicrucians and Frans found a way to combine playing in a band like Cosmic Dealer while Bas could not combine the two things. To him it was a crossroad really. To Frans it was not. Frans stayed in the Cosmic Dealer till the end! The P.A. did not belong to the band but was owned by a member of the management. He and Aart had some serious arguments on several issues and of course Cosmic Dealer was one of them. He (Henli) had a key to the place where all our amps were stored and where we rehearsed and one night he just took his P.A. from that storage room. After all, he owned it. But he had not informed us at all so it came as a total and unpleasant surprise to us. We were P.A.-less! We could only finish two small concerts playing through a borrowed P.A., which, to me was very sad. No more fun playing. The concrete reason we broke up was no P.A. And the individual members were not able to buy a new or used P.A. But the individual members never had any kind of argument. I think a blanket of disappointment was thrown over us. And mind you, we were 22, 23 years of age. A promise full and unique band in Holland. We were told so, but did not know so ourselves. And all of a sudden these 22, 23 year old guys are finished as a band due to reasons we could not help.
In 1973, the band reformed. Who were the members at that point? The band went into the studio and recorded some demos. What were the songs you recorded?
Angelo: A few months later Cosmic Dealer started again, with a new singer Kees DeBloise and another guitarist/singer Ed Boender and we worked on new material. The songs recorded were:
1.Child of Tomorrow
2.Sinners Confession
3.Your So Good (Recorded in January 1973).
And later we recorded:
4.Lifetime
5.Society
6.Julia (All these recorded in April 1973 without Kees DeBlois.
Jan: Angelo, Ad and myself along with Kees DeBlois on vocals and Ed Boender on guitar and vocals became Cosmic Dealer. Just for commercial reasons and just because the band name, Cosmic Dealer, was ours. Three of five members were original but soundwise it was a pretty different band.
Adrian: In 1973 the band was reformed, this time Frans Poots was replaced by Ed Boender, while Angelo Santoro returned. There was also a new vocalist, Kees de Blois. With these members the group started to work on new material and recorded a few demos. But it didn’t last long. In the spring of 1973 the band had already split up again, this time for ever.
How long did the band stay together before breaking up for good in 1973? Did you play any gigs during that period?
Angelo: We were together for one year, first with 5 men then later with 4. We did play gigs but I don’t remember how many. We also did a TV show for kids from Eddy Ouwns to promote a single of “Double Dutch” a song called “Turn It” but I’d rather not be reminded. We don’t play on that single but had a few idiots needed to promote it. And the guys who really played had sat in the audience to laugh at us. Jan was on mandolin and Ed Boender on accordian and neither had ever played such the instruments. But it was only for fun.
Jan: According to my scrapbooks for 8 months. We did three gigs. That went very well by the way.
In 2010 Cosmic Dealer regrouped. Who were the band members at this point and what was it like to be reunited after so many years?
Angelo: Yes, it took 38 years to get back together. All original members only Bas had passed away from leukemia. But all the other guys are there: Frans Poots (singer and flute), Adrian Vos (drums), Jan Reynders (lead guitar), Kees DeBlois (vocals and rhythm guitar) and Angelo Santoro (bass). And we had a lot of fun as if we had never stopped. It felt good! But unfortunately Kees had a stroke last September and had to slow down. But it will be good to play with him as he has no paralysis. So we’re back with 4 men, exactly the same lineup as the “Live in IJmulden” tracks from 42 years ago.
Jan: Ad, Angelo, Kees DeBlois, Frans Poots and myself. A strange but nice combination. Bas sadly passed away and Kees DeBloise from the second lineup took Bas’s place on vocals and guitar. We had all played together as Cosmic Dealer except Kees and Frans. So this was a strange but nice situation. Loads of fun. Kees fits in perfectly singing Bas’s parts. Every now and then we run into one another, especially Kees, Frans and me. But frankly seeing Ad again, seeing Angelo again, it felt good. Again! We never argued during the split up. So it was a happy reunion, we still enjoy old friends. We play bars, festivals, places where people come to see us. Now, ain’t that good? And what’s unique and unfinished? Songs written by Bas with some lyrics being unfinished are now completed by Frans Poots. The music we remember, as well as some of the lyrics, but some details are missing, a splendid reason to be creative again. We play the entire “Crystallization” album, “Illusions” and “Crystallization” now being a medley. And the intro of “Sinner’s Confession” and the entire “Daybreak” is also a medley. My most memorable moment: A very long-lasting memorable “moment.” Suddenly being aware that we’re make it. Angelo in the band! Bas’s endless-seeming creativity! Outstanding harmony vocals! Eddie Ouwens/Negram invested in us! ALL PRACTICALLY AT THE SAME TIME! My most memorable gig? An outstanding performance in Dordrecht where the whole audience went: WOW! All the members playing in Dordrecht based bands were there that night and without any arrogance, only with pride: WE BLEW THEM AWAY! We were often told so, after that night. So it is not me, feeling that way. We were perfect that night and we knew it at that same moment! Most memorable studio moment? More times when I saw Eddy Ouwens looking at the technician and seeing him amazed. Not expecting we were so precise and professionally quick in recording1 I’m dubbing I’m playing or singing a track over a (basic) track!
Since reuniting what sorts of venues have you played? What does a typical set list consist of? Does the band play entirely songs from the “Crystallization” period?
Angelo: We played in music pubs and in discos and last on the Mega Record Fair in Ubrecht and the day after we played for the presentation for a book “Pop in Dordt 1960-1990” in Merz Dordrecht. (All the videos are on YouTube) We have also played on a blues cruise, and at a big Blues Festival there was a short documentary on TV Rijmond in Rotterdam about us.
Looking back on the 40 plus years since Cosmic Dealer arrived on the music scene, discuss if you would, your most memorable moment as a member of the band. The most memorable gig you ever played? Your most memorable moment in the studio?
Angelo: That is a difficult question. I think maybe the first single and probably the ceremony on the first album?? I also once saw I was going crazy from my own bass solo. I threw my L series 1962 Fender Precision on the podium. And when I high jumped off the stage between the audience and ran out of the Room while my bass stood around singing. But that is not my most memorable moment as a member of the band. The other guys were quite shocked when that happened and especially the women who were there were shocked. Nobody understood what was happening including myself!
In 2012 the German World In Sound label released “Child of Tomorrow” consisting of 6 studio tracks from 1973, 2 home studio cuts from 1971, a rehearsal cut from 1971 and 4 songs from a live performance on Dutch national television in 1971. Three versions of “Child of Tomorrow” are available: 2-LP vinyl, 2-LP colored vinyl and CD. How did this World In Sound release come about?
Angelo: That’s my story. I had saved those 40 year old recordings which we ourselves had to make in the Paay Studio in Rotterdam in 1973. Later I had myself a few times thought about releasing them on my own ANS.records label. But I was not really active in recent years with the label, but I still have it. But I wanted that record to come out because it was good enough to be published. And I’ve always been interested in record labels. A few years ago I saw a couple of the cds that World In Sound had released. I wrote down the contact information and then later searched for and found the contact information again. I got in contact with Wolfgang and we began an extensive exchange of emails. I did not tell anyone from the band what I was doing. Wolfgang did a wonderful job of creating 4 different sleeves for the colored vinyl edition. You should have seen the look on the boys (Cosmic Dealer members) faces when I presented them copies of the 2 LP colored vinyl set from World In Sound. The Live in IJmulden tracks are not from Dutch TV. The recordings are from somebody in the audience who had a Revox recorder and two microphones. The recordings from Dutch TV are on the second CD of the new release of “Crystallization” on Pseudonym Records. World In Sound does their own mastering so I sent them the original audio to work with.
Jan: The writer of the title track is Ed Boender. He was and still is the father of his son. Ed is a very serious guy. He is in politics now! He has always had the problems of the world in his mind. Listening to other songs he wrote will make that clear to you.
Also, the brand new (release date 21 January 2013 in the US and UK) 26 track 2-LP and 42 track 2 CD sets are not only astonishing sonically, but also make “Crystallization” the most reissued album in Dutch history. How much was the band involved in these releases and how flattering is it to have the most reissued recording in the history of The Netherlands?
Angelo: We have been involved, but not very much. We have had almost nothing to say about what tracks came out. We were very happy with the two versions of “Fast” which appear on the release. One of the versions was a sound check that we had no idea existed for 41 years! We are also very proud that our album has now been reissued 8 times.
Jan: Of course it is more than very flattering. We enjoy it very much. Recognition after all these years is very nice. The band was not involved in the reissue and this has its good side. We were very surprised by the VPRO takes for instance. I did not know we played “Fast” two times for VPRO radio.
As we enter 2013, what does the future look like for Cosmic Dealer? Are there any events that our readers should be on the lookout for?
Angelo: We don’t really know. I have a new 16 track recorder and bought some new mics in the hopes that we might make some good recordings in 2013.
Jan: Plans for a new album? Of course. Playing the gigs we like and leave it up to us to make such a gig a success!
I would like to thank each and every one of you for taking the time to grant this interview to “It’s Psychedelic Baby.’
Angelo: You’re welcome.
The Cosmic Dealer album "Crystallization" has become the most re-released album by a Dutch band ever. It had been one of the most expensive collectors albums from Holland. Last Saturday, the 8th of rerelease. This time as a double CD with 42 tracks on it. Also a new 2nd pressing of the sold double vinyl album with 26 tracks edition Saturday saw the light. Crystallization spending a row below.
1971 - Crystallization - Negram NQ 20015. (vinyl)
1972 - Crystallization - Negram NQ 20053. (vinyl)
1988 - Crystallization - Bootleg Italy. (vinyl)
1993 - Crystallization - Pseudonym CDP 1003. (CD)
2000 - Crystallization - Pseudonym VP99.006. (vinyl)
2006 - Crystallization - CD Real. 0108077 Russia. (CD)
2012 - Crystallization - Pseudonym - VP99.032. double (vinyl) album.
2012 - Crystallization - Pseudonym - CDP-1106. Double (CD).
And now after 40 years of the second album appeared.
There are 3 versions of the (World In Sound) lable.
Child of Tomorrow - WIS 1045. (CD) Germany.
Child of Tomorrow - RFR 034. Black (vinyl) Album & Live EP. Germany.
Child of Tomorrow - RFR 034. Couloured vinyl album (amber) & EP. Germany.
Interview made by Kevin Rathert/2013
© Copyright http://psychedelicbaby.blogspot.com/2013
© Copyright http://psychedelicbaby.blogspot.com/2013
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