The five original members of Q65 first banded together in The Hague in The Netherlands in 1965. Joop Roelofs, Frank Nuyens, Willem Bieler, Peter Vink and Jay Baar were an unlikely, often volatile gang of outcasts and misfits, but with their raw, unconventional music and rowdy, unkempt image they quickly built up a large and fiercely loyal following. In this extract from the forthcoming Ugly Things Q65 book, author Pim Scheelings talks with JOOP ROELOFS and FRANK NUYENS about the wild times the group was enjoying during the summer of ’66 after the release of their second hit single, ‘The Life I Live’.
REVOLUTION!
After the tremendous success of ‘The Life I Live’, it was time to make an album. In the summer of 1966 the boys once again set out for the Phonogram studio, this time to record Revolution.
Joop: Before we even got started, they gave the studio a makeover especially for us. All the basic tube lamps were thrown out and replaced by special atmospheric lights. They laid down Persian tapestries and burned incense, made it seem like a hippie joint! This was pretty extraordinary, but since we were big stars now with a huge hit single, nothing was too good for us.
Frank: As usual the recording meters all plunged into the red but that wasn’t a problem anymore. Nobody said a thing!
Joop: We began recording at night this time. Normally, everybody at Phonogram worked your typical office hours. Punch in at 08.15 and go home at five for dinner; that was the pop culture in ’66.
Frank: Working nights was possible because Jan Audier and Hans van Hemert were in charge. Before that, we had an old guy at the knobs who smoked cigars. Every time he was fed up and wanted to go home, he blew a big puff of smoke into the mixer and yelled out, “Goddamn it boys, the mixer is on fire! We have to stop!” After he’d done this twice we started to get suspicious.
Joop: We took advantage of the unusual office hours by plundering the canteen’s beer supply. With nobody around at night we went totally out of control! When the canteen lady checked the inventory in the morning, the fridge would be completely wiped out.
Frank: Let’s not forget the record cabinet. One of the label managers, John Ros, had a big cabinet stocked with LP’s. A vast collection of Chess label blues records. We completely stripped the thing and went
out the door with bags full of LPs! The following night it was locked, but he also had a liquor cabinet, which he forgot to lock. That was empty pretty quick too.
Joop: But to say we recorded in luxurious circumstances is an overstatement. We had to put down everything on three-track, that’s all you had in those days. Or in other words: that’s all Phonogram had. All the songs were played live. Bass and drums on one track, two guitars on the second and vocals on the third. The result was
“The papers had huge photos and articles on how the club was trashed by our fans. From then on, the moment we hit the stage, everybody started fighting like crazy!’”
mastered in mono, no dubbing; that was impossible with the ancient equipment they provided.
The album contained a couple of traditional blues tracks that we already did on stage. With that old Negro blues stuff we demonstrated that we had more potential than the average beat band, and weren’t committed to a certain style.
For that matter the title was appropriate, it really was a revolutionary album. Take for instance our sound. For the first time ever in Dutch pop music, a compressor limiter was used. The compressor was an invention of engineer Jan Audier. We had to use it in secret, cause the patent was owned by Philips. They had to hide it under the mixing table during the sessions, but our record sounded amazing because of that thing.
After four nights, we were ready and 31
decided to raid the beer stock again. I remember leaning over a bush in the middle of the night, throwing up, together with Peter. That was the first and last time he drank alcohol, he was sick as a dog. But we were on fire, our first album was finished!
IDEAL SONS-IN-LAW!
Frank: Revolution was exceptionally well received by the Dutch press so we knew we’d made it. This meant we could play anywhere.
Joop: The shows were becoming even more intense and chaotic. Then we started to get a bit of bad press too. Whether it’s good or bad, once you’re famous you’re news. And of course we were a bunch of boozing hooligans who weren’t afraid of a little provocation now and then. Reporters were thrilled with us. Finally they could write about a badass band, as opposed to the ideal sons-in-law of the Dutch beat scene.
For example in reference to a show or better, a no show, in Valkenburg. On the way the van broke down so we called [to say] that we would be a little late. But the club in Valkenburg was full of scum
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