1974 Tour (2003-2004)
first published: 21-02-2005 / last update: 12-04-2005
The 1974 album and tour marked the 30th anniversary of the Nits and in typical Nits-fashion this was no time to look back in a traditional way. The Nits chose to look back in a different way. The original idea was to have a big concert with various former band members and a tour in which some of them would show up once in a while. This turned out to be too difficult to realize, but the result from the contacts with the former band members was that Robert Jan Stips agreed to return to the band for an album and the tour. He left in 1996 and released a few solo albums, toured with his own music and supported other artists (mainly Freek de Jonge). The album was recorded mostly in 2003 by Henk, Rob and Robert Jan. Many bands would chose to redo their greatest hits or make an album that would be similar to things done in the past for the anniversary, but Nits delivered an album that is very different to what they did before, but still remains typically Nits. The songs are a bit less produced sounding than most things they did since the late 80s. Also the lyrics seem a bit more improvised than before. Of course the return of Stips marks a drastic change in style over the last two Stips-less albums. The synthesizers are back, but Stips also brought a lot of new sounds and samples. It was planned that Robert Jan would only join for this tour, but near the end of the tour it became known that he would stay as long as he enjoyed it. This means that he is probably back for longer. Arwen and Leatitia had no significant involvement in the recording. At least one song was recorded with them, but that one didn't make the album. They were asked to tour with the band though. Laetitia went on tour, but Arwen had her first child a few months before and was not ready and/or able to be away for longer periods of time.
The tour lasted from brought the band to all the usual places: a theater tour in Holland and concerts in Belgium, France, Germany, Switzerland and Finland. Austria was also visited and they returned to Canada for the first time in about 10 years. There they not only visited the usual place Quebec, but also in Winnipeg and they did a special concert in Toronto, thanks to the band Barenaked Ladies who are fans of Nits. The first Nits concert ever in Spain took place in June in Barcelona. A concert in Amsterdam at the Paradiso was filmed and released on DVD (called 2004). This is a great tour souvenir. all the concert pictures on this page are screen captures from the DVD. Near the end of the tour there was a special concert in Nijmegen. As part of the Vierdaagse concerts the band played a special set inside a church (Stevenskerk). Since they had to play later that night in a bigger festival setting, also in Nijmegen, they decided to have an acoustic, stripped down concert in the church, which also fitted with the atmosphere. At the concert Henk had a hat full of notes and he let the audience pick a song randomly, which was then played. This resulted in some great arrangements that were made up on the spot. This concert is definitely a must-have for collectors of live recordings and is referred to as the 'Church' concert in the descriptions below.
Stips is back! Arwen was not present though. This meant that there was no bass player and Robert Jan and (mainly) Laetitia played the bass parts on their keyboards. The role of Laetitia of course was very different when Stips returned. Robert Jan mostly played the lead synth parts, while Laetitia played the more supporting parts, she also played the lyra and the electric violin regularly throughout the concerts. This would be the last Nits-tour of Laetitia, but she did play several separate concerts with Nits and Henk later. Henk did not play keyboards this tour, but he had a new gadget: a device with which he could sample his own voice and play it back (distorted or not) immediately. Especially in the beginning of the tour he went crazy with this. When the tour progressed he became a bit more restrained and was able to use it more efficiently.
lead and backing vocals, guitars, mini-sampler, banjo, melodica, harmonica
Rob Kloet: drums, percussion
Robert Jan Stips: keyboards, backing and lead vocals, accordion, harmonica
Laetitia van Krieken: keyboards, backing vocals, electric violin, lyra, accordion
Tim Akkerman (of Di-Rect): vocals and guitar at the Parkpop
Di-Rect: The whole band played with Nits at the Vrienden van Amstel Ahoy performances.
De Dijk: This Dutch band played some songs together with Nits for the Vrienden van Amstel TV Show.
Freek de Jonge: Robert jan, Rob and Henk play one song at a Freek concert.
Spirit Of The West: Nits did a workshop in Winnipeg together with this band from Vancouver.
Robert Jan was positioned to the extreme left, Rob faced him on the right side of the stage. Henk was in the front middel and Laetitia behind him. The stage design for this tour took the video screen concept of the previous two tours to a complete new level. It started in 1994 with the dAdAdA Tour when the band projected a handful of slides on the circles-stage design. Then in 1998 two video screens were used to project movies shot by Henk. In 2000 the screens were positioned on top of each other and things were projected that sometimes were spread over the two screens. In this tour however there were about 25 larger screens of different sizes which all had a different image projected on them. Tom Telman did an amazing job to make this work technically. The subjects on the screens were still mostly things filmed by Henk, but also included other images. With most entries there will be an image taken from the DVD to show what the theme of the projections was for each song. another feature on stage were lots of small IKEA lamps spread and stacked across the stage. These gave a lot of atmosphere and also were used for some lighting effects.
This certainly was one of the most effective stage setups in the history of the band, rivaling with the Squares of the Hat/Urk Tours and the Houses of the Nest Tour.
All songs from 1974 were played, except Chain Of Ifs. Between The Buttons was attempted, but dropped after only one try. Most other songs were played most of the time, but some songs were not always played (Canigo, Athens, Savoy). Of course the usual hits were there, but the tour also featured several older songs that hadn't been played in a while. Unfortunately no songs older than 1983 were played and almost no songs from the 90s. The Giant Normal Dwarf album was well-represented, its songs fitted the two-keyboard set-up perfectly. No songs from Alankomaat or Wool were performed (although some were rehearsed as could be seen in the TV documentary Immer Geradeaus). Personally I think it's a shame that the very old and the more recent stuff was ignored, it would have been a great way to celebrate 30 years of Nits music. Fortunately the songs that were played contained enough surprises and re-arrangements to make this a great tour.
Overview of all the songs played
Adieu, Sweet Bahnhof
This tour featured two versions of this
Nits classic. In the first weeks of the tour it was played in the 'Urk'
version with Robert Jan playing the keyboards. Henk often sang the first
line away from the microphone, as he did during the Ting Tour. This first
part only had keyboard and acoustic guitar accompaniment. From teh second
verse Titia and Rob joined in on synth-bass and the typical Adieu
drumming. Robert Jan also added piano lines. After a few weeks the song was
completely rearranged to a completely acoustic version with both Robert
Jan and Laetitia playing accordions, Henk on acoustic guitar and Rob on
hand-held percussion. They often sang the complete song away from the
microphone, sitting on the edge of the stage. Usually it was played in
combination with a similar arrangement of Home Before Dark. The 'Church'version
was the same double accordion version. Henk had the audience sing along
with the last few lines.
This guitar instrumental by the Shadows
was played many times in the late '70s and early '80s by the Nits and made
a short return during the 1994 Frits concerts, but 10 years later at the
Bloemendaal 1974 Tour concert it suddenly showed up again as an intro to
In The dutch Mountains. Henk played the famous electric guitar
melody while the rest played the appropriate backing. The song segued into
Dutch Mountains, which was for once also played with the electric guitar
instead of the acoustic.
This song is about a man who meets his
daughter in the afterlife. They talk about their past lives. One of the
topics is their visits to the Artis Zoo in Amsterdam and most
specifically the big aquarium with fishes. There were big, ugly fishes
(probably murenes) and they tried to think of famous people who looked
like those fishes. Henk used to tell this story (in some variations) and
asked the audience to name a few people who look like these fishes (some
suggestions were André Hazes, mr. Docters Van Leeuwen, Helmut Kohl and
Joseph Strauss). Henk always ended his story with the sound the fishes
made. He then sampled himself with his little sampler and play it back. He
would play it several times during the song, mainly in the instrumental
parts. Drums and the very prominent melodic synth-bass started the song.
Henk played some acoustic guitar. Laetitia and (mostly) inserted many
samples throughout the song, including complete horn-lines, water sounds,
reverse effects and more sound effects. Further there were bright synth
sounds and piano touches and melodies. For the chorus the bas line changed
to sound more like a very low, melodic cello. This returned also for the
end part where litlle sounds (synth and Henk's bubbly samples) were
continued for a while. One big reverse sound ended the song. The song was
regularly performed in the promotional activities when the album was just
released, including some versions without Laetitia and on one occasion
also without Robert Jan! It was then performed in a very stripped down
version by just Henk and Rob.
This beautiful, airy song was not
always performed. Especially at the standing room locations it was often
omitted (it's also not on the DVD). The song was performed closely to the
album version. Laetitia provided the main atmospheric keyboard backing.
Rob provided simple, effective percussion. Robert Jan played some bass
lines and provided a few simple keyboard melodies. Henk's subdued, but still
powerful singing carried most of the song. The screens showed Greek
letters forming various words.
The Bauhaus Chair
After a long absence (it hadn't been played since 1996) this Nits classic made a return. It was played in more or less the usual arrangement with the addition of Laetitia on violin (which was similar to Peter's playing in the Ting Tour). For the promotional tv and radio performances at the beginning of the tour this was played one time without Laetitia. Robert Jan played the melody of the solo on his keyboard.
Between The Buttons
This was only performed once or twice,
but then dropped. Apparently the band couldn't find a live arrangement
that worked for this song. According to Tom Telman the song was played
with the use of a lot of maracas...
Bike In Head
This song was started with busy
keyboard melodies played by Robert Jan over (real and Titia's synth) bike
bells. This morphed into the regular Bike In Head melody and also featured
the typical distorted íke In Head' voice sample. Henk added the normal
acoustic guitar melody, but he varied this melody somewhat throughout the
song. With Rob's intense percussion, Robert Jan's melodies, Titia's bike
bells and Henk's guitar this was definitely a busy version. Titia sang
backing vocals in the song and took over the lead vocals for the 'Artis'
line. The chaotic middle break was this time quite loose with a few
variations of the melody. The 'Is this the real world' section was very
loud with strong keyboard lines and loud drums. The song returned to the
vocal part with Henk's acoustic guitar line. The song ended with the piano
melody while the rest of the band added percussive hits on their
instruments. The bike bells came to the front one more time, before a drum
roll and a final 'Bike In Head' sample finished things off. The 'Church'
version was nothing less than amazing. After a long, dramatic piano intro
(with added Ting-like percussion and bike bells) the song slowly
shifted to the main song. Rob started drumming and Robert Jan played a
jazzy piano backing. Titia played the main theme on lyra and enk played
the guitar melody, but slower than usual. The song was then played and
sung in this laid-back arrangement with some more intense moments in
between. It's fantastic to hear how they turned this abstract, mostly
electronic tune into an acoustic version that wouldn't have sounded out of
place on the Ting album!
Boy In A Tree
This beautiful, subdued song opened most of the concerts.
It was played in a an arrangement that, in structure, wasn't too different
from the original studio version. There were several differences though,
mainly the fact that Henk played some melody lines on his acoustic guitar
throughout the song. Synth bass and percussion provided the base for the
song, while Robert Jan played the main melodic lines on his synth. He also
provided the sound effects, such as the crow noise and some bell sounds.
Laetitia sang backing vocals in the chorus. After playing through the
complete song it 'faded' to the end and bell sounds followed by a final
crow noise ended it completely. The 'Church' version was even more quiet.
Robert Jan played soft piano melodies that formed a perfect backing to the
song. Laetitia played the main theme on the lyra.
Nits joined the band Barenaked Ladies on stage in Toronto to play along with this song of theirs named after the genius behind the Beach Boys in the '60s. Henk sang a Dutch interpretation of the lyrics. The photo of this performance on the right was taken from the official Nits website.
was played only at a handful of concerts. Robert Jan started to play the
bass line on the keyboards while Rob added percussion. Henk played
acoustic guitar when he started singing and Laetitia played violin
throughout the song. Robert Jan played the familiar synth parts similar to
the way he always did. The added violin worked pretty well for this song.
The only recording I heard of this song in this tour is incomplete, but I
guess the ‘classical’ ending was played.
This song was only played in the first
couple of weeks of the show and was then dropped in favor of some older
songs such as Sugar River and Woman Cactus. This very rhythmic song was
very sample-heavy with lots of sounds and noises coming from Robert Jan's
keyboards. Titia provided synth-bass and probably also several more
sounds. Henk played the electric guitar in this song, which actually
sounded very cool. The song sounded busy, even unstructured, with the
unusual drum-beat and percussion, all the samples and the electric guitar,
but I must say that I really enjoy this version.
Cars And Cars
This song entered the setlists after a
few weeks and it was great to hear this '90s favorite again with Robert
Jan present. It was played more or less in the same version as it was done
between 1992 and 1996. Laetitia played violin in this song. She varied a
lot from straight-forward rhythmic sweeps to different melodic parts. The
lack of bass was partly covered by Rob and Robert Jan, but the song did
loose some power because of this. Luckily Robert Jan's familiar piano
melodies were back and this covered this problem up. The intense
instrumental section sounded great as always. At some concerts Henk's
voice had an echo added to it. This was rather subtle, but it was clearly noticeable
if you paid attention to it. The 'Church' version was similar to the
Crime And Punishment
No songs of Alankomaat or Wool were
played at any of the concerts. They did rehearse at least some songs from
these albums, but they never made it to the setlist. This is a big shame,
because it would have been great to hear what Robert Jan could make of
these songs. Luckily a rehearsal version of this song made it in the
TV Documentary 'Immer Geradeaus' about the Nits on tour, which was
broadcast in December 2004. The band can be seen
in a dressing room playing this song using one big drum, Henk on guitar
and vocals, Titia on violin and backing vocals and Robert Jan on
accordion. The song is never played in full, but many
sections were shown. It sounded great in this arrangement and that makes it even
more of a shame that it was never done in concert.. Paul Telman plays a little
string sample from a cassette recorder which he just recorded before near the
end at the appropriate time, much to the hilarity of the whole band. Definitely
very cool song to hear in this version!
This song sounded great in concert. The
studio version is pretty nice, but doesn't stand out, but the live version
was great. The song is based on a large amount of samples and loops
triggered from both keyboards and by Rob. Rob added busy
marimba-like loops next to his intricate drumming and Robert Jan and Titia
provided various melodic loops and sounds, such as electric guitar sounds,
sweeping bass noises and various other busy melodic loops. Henk's nice
singing actually provided the most structure to the song. The ending
consisted of a drumsolo/loop duet by Rob while all other band members
dropped out of the song one by one. This left Rob drumming over the
marimba loop. He extended this for about minute and it was not only funny
to see and hear, it was also a fantastic musical / rhythmic end to this
tune. It always resulted in a loud applause for Rob.
Although it's one of the better known
Nits songs it is surprisingly not present on the DVD. It was played at all
concerts though, usually as one of the first songs of the concert. The
arrangement was very similar to as it was played during the Hat/Urk
period. The only difference is that the standing bass was now replaced by
Titia's synth bass, which sounds very much like the real thing. The piano
was a bit more prominent in the song and Robert Jan would sometimes give a
slight salsa-feel to his playing. Still, the song sounded familiar as
always. The 'Church' version had a funny start when Robert Jan tried out
the melodica to play the main melody. After one note he laughinlgy put it
away and very smartly moved back to the piano. The song was then played
similar to the regular version with the piano playing all the synth parts.
Henk added 'Walk On The Wild Side' quotes to the song and had the audience
sing along with this.
I find the live performance of this
song highly preferable to the somewhat monotone studio version. The main,
rhythmic melody of this Eastern sounding song was fiercely played by Henk
on his banjo over Rob's drumming and Titia's hand-claping. A strange
pulsating bass line was played by Titia or Robert Jan. Titia added strange
crashing-noises on her keyboard, while Robert Jan added the oriental
string-like synth melodies. After a few weeks into the tour Henk started
to sing a few lines of the Beatles song Within You Without You near the
end to which Robert Jan provided the melody using the string sound.
The Espresso Girl
Henk usually explained this song. It
is about a girl who is following the band 'The Cure' throughout a
concert in Germany. She is not a groupie in the traditional sense of the
word, but she is attracted to the (Japanese) words the singer of the Cure,
Robert Smith, speaks to the mirrors of the dressing rooms. Some of the
songs from the 1974 turned out to be excellent live songs, but none more
so than Espresso Girl. The live version of this song is vastly superior
over the album version. The main reason for this is that the rather
intrusive percussive sound of the album is now integrated into Rob's
drumming and not as prominent. The live version now shows Robert Jan's
excellent piano playing throughout the song and together with Henk's
great, sometimes lounge-like, singing they are the stars of this song. The
power of the live version showed itself best in the 'always looking' parts
and especially the instrumental sections. The drums became louder and
stronger and Robert Jan matched this with even more intense piano playing.
The end part of the song started with the melancholic 'forget me not'
vocals and the band brought down the music to a soft conclusion. This song
was absolutely one of the highlights of the tour.
Fire In My Head
Mostly just played in the theater (and
probably at the Swiss concerts). For this song Rob walked to the other
side of the stage, where from the ceiling two cymbals were lowered (a
smaller and a bigger one). He then played standing behind them Henk would
hold his microphone with them. Robert Jan started the piano melodies and
the song was played in the usual way. Laetitia added lovely violin parts
to the song. A great new feature was in the percussive break that is
normally present in this song. From the ceiling small, hard peas were
dropped on the empty drum kit, which made it sound like the drums playing
themselves. The peas fell down irregularly and this break lasted up to the
last fallen pea. This was sometimes very quick (when almost all fell at
once) or very long (when they fell in little bunches together). Audiences
loved this and it's one of those typical things that you'll only see at
Nits concerts. After this break the song was brought to its
conclusion. At the first few concerts the self-playing drums did not
happen and Rob played the whole song at his normal place. The 'Church'
version was similar to the normal arrangement. Rob stated behind his
drums for the percussion parts.
Giant Normal Dwarf
This song was played a few times near
the end of the tour. As with the of the tracks from the Giant Normal Dwarf
album this one sounded great with this version of the band. It was played
more or less similar to the original version, but with the addition of
Laetitia's violin playing some of the keyboard parts and the main melody
in the instrumental section. Rob and Robert Jan both did some backing
vocals. The instrumental part was played again right after the regular
song ended, just as it was done during the Nest Tour. The 'Church' version
was similar to the normal arrangement with the piano taking over
from the keyboard parts. This actually sounded very nice.
Home Before Dark
Played completely acoustic with both Laetitia and Robert Jan on accordion, Rob on hand-held percussion and Henk on acoustic guitar and vocals. Sometimes they even played it without microphones, sitting on the edge of the stage. The song wasn't part of the setlists early on in the tour, but later it became a standard inclusion together with the similar acoustic version of Adieu, Sweet Bahnhof. At The 'Church' concert they played the the same double accordion version.
This song returned to the setlist
together with the return of Robert Jan to the band. The song was played
almost as a solo performance by Robert Jan, similar to the way it was done
during the Hat and Nest Tours. Henk and Titia provided backing vocals in
the chorus and there was anew feature to the song: Laetitia played the
'bell'-melody on the lyra, which was then, very softly, repeated by Robert
Jan on the keyboard. The version in Hamburg is notable, because at one
point a phone rings in the audience during a quiet moment and Robert Jan
changed some lyrics to 'In a room in this house, I heard a telephone'...
House On The Hill
This song made several appearances early in the tour, but was dropped after several weeks. It started with the percussive hits by piano, drums, guitar and violin and then shifted into the slower vocal section. Laetitia played her violin similar to the way she did in the Wool Tour version of this song. Robert Jan took over on piano again after Henk played it in the last tour. Henk now played guitar. Rob's percussion was very varied and a mixture betwwen straight-drumming and subtle percussion work on his cymbals.
I Am A Rock
This Simon and Garfunkel song was done at the 'Church' concert. Henk saw someone in the audience with a Simon and Garfunkel shirt and he played a few lines of this classic song before continuing with the next song.
In The Dutch Mountains
This was played in the standard version
as had has been done most of the times since the late '80s. The
slow middle section did not have the female vocals anymore, the original
sound returned. Tita played keyboard bass. At the large Vrienden Van
Amstel concerts in the Ahoy in Rotterdam this song was played together
with Dutch teen-rock band Di-Rect. Singer Tim Akkerman has been a big Nits
fan for years and was clearly delighted to share the stage. The Vrienden
Van Amstel version was much more wild and loud with added electric guitars
and all the extra musicians. For the promotional tv and radio performances
at the beginning of the tour this was played a few times without Laetitia
and once just by Rob and Henk. he 'Church' version was fantastic. After a
first very short 'modern' version which mostly consisted of arty piano
lines, some chaotic percussion and the word 'buildings'. they played a
completely newly improvised version of this song. It started out almost
reggae-like with a jumpy rhythm. During the song the music moved to an
almost jazzy version, especially in the slow section. The audience shouted
along with the 'mountains' parts. Absolutely a fantastic version of this
The Infinite Shoeblack
One of the highlights of this tour.
Robert Jan started it on synth bass, which sounded very familiar to the
Sketches Of Spain bass line, but it soon morphed into Infinite Shoeblack
with the entry of the brushed drumming and the high whistle-like sound
that provided the main melody. The first part of the song was quite soft
and similar to the album. Titia played violin sometimes in the normal way,
but also by plucking the strings. The bell glass section featured a large
tubular bell (and a small one at some German concerts..). From a few weeks
into the tour Henk's voice was followed by a sweeping distorted echo of
himself in this section, Personally I preferred the version without
the voice distortion. The song shifted to the faster third section
in which Henk also sampled himself and played this back several times with
a lot of distorted effects. It ended with the various Whooosh samples
which were of course acted out by the band...
This was played in the uptempo arangement that is most common for this song. Robert Jan was there again to take over on harmonica from Henk in parts of the song. For the promotional tv and radio performances at the beginning of the tour this was playd a few times without Laetitia and once just by Rob and Henk. The 'Church' version didn't deviate too much from the regular version with the exception of the keyboard parts that were changed into piano parts.
Komm Gib Mir Deine Hand
This German version of The Beatles'song I Wanna Hold Your Hand was unexpectedly played at the Hamburg concert. During the Work Tour this song was a standard part of the setlists, but it hadn't been played since 1982! The version in Hamburg was played after the last song ended. Robert Jan played 2 seconds of The Potato Eaters, after which Henk started singing this song. Robert Jan quickly joined to play the main melody on piano. This improvised version ended after about a minute.
Mourir Avant 15 Ans
This song was played at the Canadian concerts. I haven't heard this tour's version, but I suspect that it was quite similar to the original version.
Played in the usual arrangement, with a
few wonderful opening seconds. Rob ticked the beat and the guitar and a
nice little piano-roll started the song together with the regular beat and
Titia's synth bass. When Henk started singing Rob shifted to a
little faster beat and this transition sounded very cool. The 'Phone
Rings' part was sung together by Titia and Robert Jan. Henk sang the rest
of the English section. The fast ending was of course again present with
Stips back in the band to provide the piano melody. For the promotional tv
and radio performances at the beginning of the tour this was played one
time without Laetitia. The 'Church' version did no deviate too much from
the normal version.
This song wasn't always played, it was
usually part of the encores when it was. This was another song from the
Giant Normal Dwarf album that worked very well in this tour.The song was
played similar to the album version, but ith the addition of Henk's
prominent acoustic guitar. Titia played synth bass and probably some extra
keyboard parts, but Robert Jan played all the main melodies using various
sounds. The ending was very nice. enk threw a tamborine in the air and
when he caught it the band changed to a different chord. This sounded
pretty cool, because the change often did not occur right on the beat. It
was done a few times until a final chord ended the song.
As Henk usually explained, this is a
song about the 'free' year, called Rumspringa, young people from Amish community in the
USA get to experience the 'wild' world outside their protected environment.
The song was released as a promo single, but unfortunately never made it
to the shops. It was always a highlight at concerts, the fast wild part of
course resonated well with the audience, but I was always more impressed
by the contrasting slower parts that sounded fantastic live. The song
started in full force with the jumpy rhythm over which Robert Jan added
cool sounding keyboard noises. Titia and Robert Jan provided backing
vocals. The switches from fast to slow and back sounded very natural.
Especially the last long soft section was impressive. The song almost came
to a complete stop before Robert Jan brought it back with a mellotron-like
sound. The similarioty to the Beatles' Strawberry Fields Forever did not
go unnoticed by the band and Henk often sang 'Let me take you there', the
first line to that song, in this part. Henk also played the melody on his
melodica in this last section.
The lyrics of this song were
usually explained by Henk at concerts. It is about a rabbit that lives
somewhere in the Savoy Theater in Helsinki. Before a concert a girl puts
some grass in the dressing room and after the concert it is usually eaten.
Henk and Robert Jan often made sniffing noises during this story.. Like on
the album the song started with a cowbell-like percussion part over which
some synth sounds were played. Airy synths are played over the slow rhythm
and Henk's guitar and singing. Robert Jan inserted loud, melodic synth
bass loops. These apparently symbolize the rabbit hopping around. There is
a lot of dynamics in the song, sometimes the music would almost break down
to nothing, while synths and guitar parts brought it slowly back. The song
went through a few of these phases until it ended with cow bell
percussion, vocals and some synth noises. It is a unique and fragile song,
one of my favorites from the 1974 album and it creates a fantastic
atmosphere and there are a lot of small things going on. I think this song
worked great in concert.
Sketches Of Spain
This was a standard version of the song. The synth bass took over from the bass guitar and this worked fine. Henk sang the lyrics slightly rushed, which was a nice variation to the original, but I don't think it was an improvement. Laetitia sang backing vocals in the 'It never stops' parts. Robert Jan sang backing vocals in the 'I have seen...' sections. The middle instrumental break sounded quite heavy with rumbling drums, electric guitar and piano melodies with a short echo-y guitar part as an extension.
Soap bubble Box
This was played at just a few concerts. The arrangement was very light and great. Robert Jan played the normal piano parts, but Laetitia added melodies on the lyra that sounded wonderful and sang backing vocals and Henk played the banjo (but kept it rather simple). The additional percussion by Titia worked especially well in the instrumental parts. It’s a shame this wasn’t played more often, since it was a great addition to the setlist.
At the Vrienden Van amstel Ahoy
performances all participating artists joined on stage to sing a medley of
Dutch classic songs. Henk sang this song originally by V.O.F. De Kunst.
Unfortunately this didn't sound too great, because the song is not very
fitting for his voice. His enthusiasm definitely made up for this though!
This song entered the setlist a few weeks into the tour and it was a great addition. The song was more or less played in the same way as on the album, but Robert Jan's keyboard playing sounded much more loose than on any previous version and he played around with it on many occasions. The song was usually part of the encores and at almost all shows the audience clapped along with it, adding to the loose atmosphere. Titia concentrated on the bass lines, Robert Jan provided backing vocals as well.
A Touch Of Henry Moore
Started by Robert Jan playing
variations on the main theme with the typical Henry Moore-sound. Henk used
his little sampler to play parts of his voice over this. Titia played
melodies on the lyra, which was a nice new addition to this song. Rob
played the common Henry Moore drum rhythm. Henk often inserted little
voice samples during the tuen, but mostly in the instrumental sections.
Robert Jan also added some new weitrd sounding samples now and then. Titia
provided backing vocals in some parts of the verses and in the chorus,
which was sung again (which is not always the case).
Over the first chorus Robert Jan sang a couple of days of the week, this
was also a new feature in the song. In the end this version is similar to
older versions, but adds lots of new things and that's definitely a good
This was usually played as the second
song of the concerts. It was started by percussion and acoustic guitar,
Robert Jan entered with the keyboard melody and Laetitia entered with
synth bass and was further played in the regular uptempo version as it was
done in the late '80s and early '90s. It was the long version, including
the breaking train sample, which was accompanied by light effects
using the IKEA lamps that were scattered across the stage. The song
returned after this and was played normally to the end. The version at Parkpop was special,
because Di-Rect singer (see also In The Dutch Mountains) joined the band
on stage. He played guitar and alternated the lead vocals with Henk.
Apparently this was one of his childhood favorites and it's very nice he
played this with its. The audience of 10000's enjoyed this as well! A
small part of this was actually broadcast on the main Dutch national news
program. The 'Church'-version was similar, but all synth melodies were
replaced by piano and Robert jan played around freely with them. The
breaking train noise was made several times by Titia on her electric
violin, although the rest of the band didn't know or forgot she was going
to do that....
Walk On The Wild Side
Some quotes from this Lou Reed song were
added to the 'Church' version of The Dream, similar to the way this
happened during the Alankomaat Tour.
Wees Niet Bang
A few months before the 1974 Tour started Robert Jan, Rob and Henk joined Freek de Jonge on stage during an encore of a concert of his and they played this song with him. his was the first time in several years that the three of them were on a stage together again. The song was released on the BOSK charity album and later this live version was released on single by Freek.
Robert Jan wrote this song for Sacha
van Geest, fellow musician in Supersister and friend who suddenly died in
the summer 2001, just after a very successful reunion tour with all
original Supersister members. As on the album, Robert Jan sang lead vocals
on this song. The upbeat nature of the song is in contrast with the sad
occasion that was the inspiration for it. It was played similar to the
album version, including the fun, cheesy-sounding keyboard solo in the
middle. Henk provided backing vocals to Robert Jan's lead vocals. At some
concerts Robert Jan's vocals almost sounded too fragile, but mostly they
Whales Of Tadoussac
This song was played at the Canadian concerts. I haven't heard this tour's version, but I suspect that it was quite similar to the original version.
Within You Without You
A few lines of this Beatles song from the Sgt. Pepper's Lonely Heart's Club Band album, written by George Harrison, were sung by Henk over a section of Eifersucht. He didn't do this at the earliest concerts, but it became a standard thing to do after a couple of shows.
With Used Furniture We Make A Tree
This was supposed to be the first
single from 1974, but it was only released as a promo. It probably
wouldn't have been very successful with its strange rhythm, but a single
(with b-sides!) would have been nice. The title
of the song appears in the poem 'The Black Art' by Anne Sexton (1928-1974)
that can be read here. The lyrics include
several references to current affairs and other 'modern' things. Robert Jan
started the song with synth noises, similar to the way he started Bilbao
Boa in the dAdAdA Tour. The song was then played more or less the same as
on the album, but it sounded better in concert. The jumpy beat, the enthusiastic singing and Robert Jan's
synth noises made this a fun song to witness. For the 'TMF..' and similar
sections Rob played a loud rumbling drum rhythm that shook the house with
power. The song was The ending consisted just of drums and synth effects
until a final 'We make a tree' by Henk ended the song. For the promotional
tv and radio performances at the beginning of the tour this was played one
time without Laetitia.
This song made an appearance a few
weeks into the tour, but it wasn't played very regularly. It popped up
occasionally though. This song hadn't been played in a long while and it
is great to see it back, although it wasn't as fierce at it was in the
80s. The song started with Rob providing the drum beat. Robert Jan soon
joined with the melody and Titia played the bass line on her keyboard. The
song was played like it usually was in the 80s. Robert Jan now used a more
smooth, bell-like synth sound instead of the more obvious bell sounds he
had in the past. Henk still was able to hit the high notes!