This third release in the Beat Express series is devoted to Kennemerland, an area bounded by Haarlem and Zandvoort in the south and Bergen and Alkmaar in the north. The most famous band that this region produced is without any doubt the Bintangs.
The Bintangs were the predecessors of the sixties generation in Beverwijk and especially in the early sixties their possibilities looked unlimited. As early as 1964 they were the local heroes from Santpoort to IJmuiden and Heemskerk. When the Bintangs performed in Santpoort-South, in a small venue with an audience of 150 people, there were 450 more waiting outside to catch a glimpse of the band. The railway overpass in Beverwijk was covered with Bintangs graffiti, just like the 80 meters high gas container at the industrial park. After they’d played all the local places they became too big for the IJmond. They were offered a record deal with Op-Art, a label owned by Paul Acket’s Muziek Express. But 1969 and 1970 were the golden years for the Bintangs, with hits like “Riding on the L&N” and “Traveling in the USA.”
Flux (Beverwijk) only made one single for TSR (Tee-Set Records) that was surprisingly good. But not everybody shared that opinion. The chances for “Kakatoe” were completely ruined when Radio Veronica, in the person of Rob Out, labeled the single “Flop of the week” after having a gigantic argument with Tee-Set manager and label owner Theo Kuppens. Flux consisted of the brothers Albert (bass) and Harry (drums) Schierbeek, the latter having played drums with the Bintangs for a while. Also present were Rien de Reuver (voc/guit) and guitarist Jaap Dekker, who was shortly before that part of the infamous Hotletts, a band with a phenomenal live reputation, but sadly without a record deal. Flux had a lot of original material because at every weekly rehearsal one of the members was obliged to show up with a new self-penned composition(!). Besides that the band played lots of covers by the Doors and Jefferson Airplane and worked much of the time in the east of Holland. They visited the capital’s rock sanctuary Paradiso several times.
The Hamlets were also from Beverwijk. Not only did they release a single with a strong resemblance to the Kinks, they were even immortalized in a photo with their heroes while opening for the British band on their Dutch tour. The Kinks used the Hamlets’ equipment. Although their only single was at the time denounced completely by the youth magazine Hitweek, the song has recently been selected for an American CD. The band consisted of rhythm guitarist Aad Molenaar, drummer Frans Kroon, Jean Koster (bass) and Wim v.d. Linden (lead guitar). Their fans were notorious for following the band to every concert in a big coach. At a time when it was almost impossible to get a TV appearance they were invited on December 30, 1966 to the NCRV program Twien. In 1967 the band fell apart. The former lead guitarist, Aad Molenaar, now owner of two record stores, has been a firm promotor of new IJmond bands.
There were poetic liner notes on the back sleeve of the Clarks’ single. They were from Haarlem and the single was released on the Tanya label, but despite this the record didn’t really become a world hit. There was a dispute over the name Clarks with bands of the same name from Nijmegen and Zwolle. Because the manager of the Haarlem Clarks had been clever enough to register the name the dispute was cleared up quickly and brought the band a lot of publicity.
In the sixties many dance schools used more or less popular bands to increase the fame of their own business. The Black Knights from Heemstede were very honored with Dansstudio Griffioen’s invitation to cut a record. Sponsored by the Dansstudio, lead guitarist Peter Opdam, bassplayer Louis Kloes, lead guitarist Stan Erbrink and drummer Co Erbrink recorded a Shadows-like instrumental, coupled with a spicy beat song. Peter Opdam wrote both tracks.
In Haarlem the Lazy Bones were lord and master, although there was considerable competition from other local celebrities like Sense Of Humor, Modesty Blaise and the Heavy Beats. Because their manager’s wife worked at the public library and “knew a rather nice band,” they were allowed to record a single at the library’s expense. They recorded six songs at Bovema Heemstede, almost live, in the record time of only three hours. Two of these songs were released as a single by the library and given away to new members. The Lazy Bones consisted of Jur Heidema (leadguitar), Jan Barnhoorn (voc), Frank Heck (organ), Paul Bagmeyer (bass) and Ton de Graaf (drums). ). Because this single appeared in a very limited edition and at the same time is very sought-after by both national and foreign record collectors it currently costs at least 200 guilders ($90) at record fairs.
Boogie-woogie pianist Rob Hoeke has released about 22 LPs and 5 CDs over the years. Only those produced during the ’65-’67 period, when Willem Schoone (“the blonde prince”) was the band’s vocalist, will appeal to the true beat enthusiast. With songs like “When People Talk,” “What Is Soul,” “Rain, Snow, Misery,” “Margio” and “Drinking On My Bed” the Rob Hoeke Rhythm & Blues Group had one hit after another. However, the band’s lineup went through many changes. Apart from Rob and Willem the best-known members were Paul Hoeke (drums), Frans Hoeke (rhythm guitar) and John Schuursma (lead guitar). For this compilation we opted for a commercial single made for Jolita Nylon Stockings and obtainable by paying an extra 100 cents for a pair of stockings. . Lots of ladies appear to have made use of this offer, because this record is easy to find in every fair or garage sale, so there must have been an enormous number of records released.
Little is known about the United Five from IJmuiden. Led by ex-Paolo & his Tigers front man Paolo Rosa Bian they released two singles in 1967 in Germany, where they mainly operated. . There were also some guys from Amsterdam in the United Five: Jan Blom (voc), Nico Biersteker (guit), Jan Heukels (guit) and Wim Nijveld (drums).
There’s also little to relate about the Haarlem/Amsterdam band The Hangmen. In 1966 they released a splendid cover of the Monkees song “Hey Hey We’re the Monkees,” re-christened by the Hangmen to “Hey Hey We’re the Hangmen.” On the sleeve they’re dressed up with fierce-looking wigs. Personnel: Ivo Brink (guit), Richard Schots (bass), Henk Kempe (drums) and lead guitarist Tony Leroy who had played in the Outsiders a few years before.
The Selfkick originated from a neighborhood band called Hot Dogs. When poet/painter/vocalist Yme de Jong joined them they changed their name, and their outstanding presentation (including purple-white pop-art trousers) together with ferocious performances - during which several pieces of equipment got demolished at times - the interest of record companies was soon aroused and the Delta label came out on top. Their first single “Gosh, I’m Your Woman, Not Your Wife” even got to number 38 in the hit parade. The press liked the Selfkick, and “Hitweek” dedicated a whole page to the band. The author of this article won’t want to remember that he ever wrote these words because he’s no less than Andre van der Louw, former mayor of Rotterdam and Minister of Culture. Just like fellow Beverwijkers the Hamlets, the Selfkick were performed on TV, this time for the VARA program “Fenklup” on February 11th, 1966. The host of the program was a then still unknown Sonja Barend. Further highlights were gigs with the renowned Pretty Things and with Johnny the Selfkicker – the famous sixties poet – who for obvious reasons liked to perform with the band. In 1968 the band came to an end. Yme de Jong went on to write some songs for the Bintangs. Band members: Ton v.d. Woude (lead guitar), Fred de la Rie (bass), Wim van Baal (drums), Dick Kuyver (rhythm guitar and Yme de Jong on vocals.