The ‘In the Dutch Mountains’ album was and still is the most successful album
the Nits released. The title song was a hit in the Netherlands and various other
countries. It even reached number one in Austria. The second single, J.O.S. days, also
reached the charts. The album itself became a bestseller and the band was suddenly very
much in demand for concerts and media appearances.
The band felt so comfortable about live performances after the Henk Tour they decided to
record the album live in the studio. Of several songs very early takes were put on the
album. No overdubs and postproduction was done on the songs. All the mixing was done live
by Paul Telman in the studio while the band played. The sound of the album indeed captured
the special Nits live atmosphere and the songs were of course perfect to be performed in
front of an audience.
The tour took the band through various countries over the period of October 1987 to
September 1988. They visited the usual countries: the Netherlands, Belgium, West Germany,
France, Switzerland and Austria. Many concerts found their way to collectors. Most of them
were broadcasts through tv or radio, but a few soundboard and audience tapes are available
as well.
A very interesting concert is the one in Middelburg. Joke was ill and couldn't perform.
The band then decided to perform as a trio. Henk apologized before the concert that there
would be less 'low parts', but that Robert Jan would try to cover as much of the bass
parts as possible. Well, he actually did a very good job. In several songs it's easy to
forget Joke is gone. However, many songs sound somewhat hampered. Sometimes Robert Jan
concentrated so much on the bass parts, he made some mistakes in his own parts.. Joke's
vocal parts were often taken by Rob or Robert Jan. This is a very interesting tape to
track down. Many 'standard' songs, like 'sketches of Spain', 'nescio' and 'woman cactus'
sound very nice!
This was the same band that would also record the Urk live album the following tour. Petra Lugtenburg had left, but the rest remained from the Henk Tour.
Henk Hofstede: lead vocals, guitar, harmonica, banjo, flute.
Rob Kloet: drums, percussion, pots and pans, backing vocals.
Robert Jan Stips: keyboards, accordion, harmonica, keyboard bass, backing vocals.
Joke Geraets: bass, backing vocals.
I think the stage was quite simple. The following Urk Tour would be the first one to feature spectacular stage design.
Of course most songs of the ‘In the Dutch Mountains’ album were played. Since they were recorded live in the studio, most songs had a very similar arrangement. But as the band grew more familiar with the songs small things started to change. The next tour would be released on the ‘Urk’ live album and several songs this tour were already the blueprint for that tour, but there were plenty differences. Of course the most famous older songs were part of the band’s repertoire. A few b-sides from 1986 and 1987 were played, as well as one song that would only be released on the ‘Quest’ album almost 10 years later. The request part was born, usually in the acoustic part that ended most concerts, so various cover songs were played as well.
A few songs had actually debuted during the summer concerts of 1987, but most of them in a different arrangement or with different lyrics.
Moon and stars, two skaters, J.O.S. days, magic of Lassie II, an eating house, strangers of the night, the panorama man, pelican and penguin (the lyrics, the music already debuted in the summer concerts of 1987, the swimmer, nights in white satin, the one I love, the leaves that are green, ‘why do we never get an answer’, intermezzos 1&2.
Many songs were carried over to the following tour, but a few were to my knowledge not played again: strangers of the night, yksi kaksi kolme, erom on, ‘why do we never get an answer’, intermezzos 1&2.
This Nits classic was of course again part of the setlists. It was usually played late into the set or as part of the encores. In Hamburg Henk introduced the song as ‘eine Hochzeitsmelodie’ (‘a wedding melody’). The song started with a rather ugly sounding bouncy percussion sound. After some time the guitar, the bass and new percussion joined followed by Robert Jan playing a sound somewhere between an accordion and an organ on his synth. It was from then on played as on the later ‘Urk’ live album. Rob sang backing vocals during the chorus and some other parts. Robert Jn played various melodies on his synth. He used the piano a lot throughout as well. The instrumental part featured a rather extravagant carnival-like organ solo. The same three-step-ending as on Urk was played, often fooling the audiences that the song was over sooner than it really was.
This was played as it always was between 1986 and 1989. This means it didn’t vary to much from the later ‘Urk’ version. It featured the intro with various bike sounds (bells and chains). It didn’t have the elephant sounds that the Henk Tour version had though. The music in the intro slowly transformed from chaotic to structured. The strange, but very nice break in the middle was of course also present. Henk’s electric guitar playing and Rob’s abstract drumming were usually excellent in this otherwise rather standard version.
This was another song which was played in virtually the same way on all tours between 1986 and 1989, which means that it had the same arrangement as it would have on the ‘Urk’ album. It started with just Henk on guitar and vocals. The synth joined and after some time the rhythm section kicked in as well. The song was played from then similar to the original. The ‘classical’ ending was of course played, followed by a short continuation of a few bars.
This song would become a concert favorite for several years to come. It featured a full keyboard arrangement and bass guitar. So it was much closer to the original album version than the later accordion version that would appear on ‘Urk’. Robert Jan used a flute-like synth sound. Rob played some ‘pots and pans’ percussion, as well as regular drums. Henk played electric rhythm guitar. The whole band sang baking vocals, often using ‘childish’ voices. Henk’s vocals were sometimes distorted. Henk always explained the meaning of the song. It is about a restaurant that gets hungry itself and starts to at its customers. The pots and pans started the song, while Robert Jan played some strange synth noises. After Henk started playing the guitar the song became similar to the original. The song had a very long ‘hu-u-u-ungry’ section with the whole band singing. The bridge featured the accordion. The song ended as on the album, except that the ‘soul’ part wasn’t played of course. All in all I think that this version was musically better than the ‘Urk’ version, which concentrated much more on the funny stage design than on the actual song.
This song started with the percussion, together with some weird synth noises These were continued for a while into the song. Rob started playing some very cool drum parts. The bass and the fast rhythm guitar joined and soon Henk started singing. His voice was distorted for this. Robert Jan used a bell synth sound, as well as other synth touches. Rob played some rumbling percussion and put in ‘reverse cymbals’ several times. Joke sang some backing vocals. A nice instrumental break was played with more synth madness and some nice guitar parts. The rumbling drums were rather prominent. The nice instrumental ending featured a new synth part and Joke’s vocals. The song ended with the bass, drums and ‘reverse cymbals’. This version of the song was very exciting and was definitely the best arrangement of this song ever. The atmosphere was rather tense and full, but very musical.
The accordion version didn’t exist yet, so this song still was the keyboards version. Henk would usually explain the song before he started it with his guitar and vocals. The band joined immediately with Joke on (standing?) bass and backing vocals. Rob played percussion on the wooden melody blocks. Robert Jan used a light atmospheric sound, as well as a marimba sound. Henk’s rhythm guitar was rather prominent. Some more nice synth parts were played near the end. The band managed to create a very warm and melancholic atmosphere for this very beautiful song.
I'm not quite sure what this song is about. The 'das Mädchen im Pelz' is german for 'the girl in fur', which might be related to the Velvet Underground's 'Venus in Furs'. It also might be related to a work of art. On the album track there is a pedal steel guitar, which is of course missing from the live version. The music was very jazzy. The intro was either Henk or Robert Jan playing the harmonica over a drums, bass and piano backing. The vocals were sung over a very similar background. Henk played some soft acoustic guitar, that became a bit more prominent in the instrumental part. His singing sounded great. The instrumental part featured a piano solo, which was followed by an organ solo. The last few lyrics were then sung, before the song slowly ended. Although this song as very subtle, it was often rather intense.
In Hamburg this little instrumental intermezzo consisted of nothing much more than a bit of guitar with a minimum of percussion. It lasted about 20 seconds.
A second instrumental intermezzo was played in Hamburg. This time it was some fast guitar with a very cheap sounding synth melody. Afterwards Henk even said: ‘Intermezzo!’.
For many reasons this song is the most important and most famous of all Nits songs. The beautiful video with the rowing boat probably also helped this song. A cheer of recognition usually goes through the audience whenever they start playing it. This tour it was of course the song that attracted man new fans to the concerts. The song was usually preceded by Henk’s explanation of the lyrics. They are about Henk’s childhood memories of the time he thought that outside of the city there had to be mountains in Holland. The only Dutch mountains are the dikes and the only valleys the streets between the rows of houses. The live version of the album was excellent. It was played a little bit faster than on the album, although it would get a bit more fast in future tours. It started with the famous heavy synths with some airy sounds over it. Rob's drumming and Joke's bass were very strong. The result was a very 'thick' and majestic sounding song. The 'lost a button' part was much softer than the other parts of the song. It featured subtle percussion and high synth sounds. The 'thick' sound returned after this.Henk's vocals were very strong in this song, as they would always be. The word 'mountains', sampled from a Japanese tv reporter, appeared various times. Most noticeable in the ending, after which it was followed by three similar samples of the word 'mountains'. At a lot of concerts this song was played twice, the second time as an acoustic version. See the next entry for more info about this.
This gets a separate entry, because it was played at a lot of concert as an encore. Often the concerts ended with an encore where the band played with just acoustic instruments. This meant primarily that Robert Jan played accordion instead of synthesizers, Henk his acoustic guitar, Joke the standing bass and Rob a small percussion set. They played requests and ended with a second performance of 'in the Dutch mountains'. It started with a loud measure count by Robert Jan and Rob. The song then was played in the same way as the normal version, but the acoustic instruments changed the sound of it completely, making it very intimate. It now was more like a weird folk song. The usual 'mountains' and 'buildings' samples were now replaced by the band shouting those words. The version at an unknown 1987/1988 concert included the opening line of Paul Simon's 'Scarborough Fair' in the 'lost a button' part. That version was very enthusiastic anyway, as expressed by the happy shouts of Henk and Robert Jan after the song.
This now very popular Nits song debuted this tour. Henk usually explained the meaning of the song. It's about him trying to be a member of the J.O.S. football club in Amsterdam. His grandfather was one of the founders of the club, so he had to make it to a tam. Unfortunately he was found not good enough after a test match and so he broke with the family tradition of playing football for J.O.S. He linked this story to that of the beginning of the Second World War. On the J.O.S. football fields there is a monument with the names of the members that died during the war. Henk also mentioned that the fighting in the Netherlands against Germany only took 4 days before Holland was beaten. The conclusion to the song is that being able to play football isn't important, but the ability to use your head is. The studio version of the song featured a guest guitar player and Henk only sang (from the inside of a LADA, parked outside the Werf..). Live however, he did play the guitar. The song started with just the guitar and vocals. After the first verse he made some 'ch-ch-ch-ch' sounds and the full band entered after this. Henk then played less guitar and the main melody was taken over by Robert Jan, who used a guitar-like synth sound. In the song he also used an orchestral sound. In the song there is also some harmonica playing, both by Henk and Robert Jan. Rob sang backing vocals. The song itself was not too different from the straightforward poppy original.
I was told that this was a Billy Bragg song, called 'a New England, but that wasn't right. At the Hamburg concert in the acoustic section Henk sang this song and ended with saying 'Paul Simon'. So I went to a Billy Bragg webpage and found the following info:
"{...} Billy took the first two lines of this song ("I
was 21 years when I wrote this song/I'm 22 now, but I won't be for long") directly
from the Paul Simon song
"The Leaves That Are Green" off the album SOUNDS OF SILENCE (without
acknowledging it). {...}"
The song itself consisted of just acoustic vocals and guitar, although Rob joined in with a little percussion later on. Henk's vocals were rather beautiful and subdued.
At the Montreux concert in the acoustic part a very short snippet of this famous Beatles song was played.
Although the song 'Magic of Lassie' appears on the 'In the Dutch Mountains' album, to my knowledge it was never played live in that version. Another version of this song, 'Magic of Lassie II', was released as ab-side and on 'Quest'. It featured the same lyrics, but completely different music. This version was played live in this this tour (and also in the later Nest tour). It was played similar to the studio version. Robert Jan started with the bright synth melody, soon joined by Henk's very fast rhythm guitar, the bass and Rob's military sounding drums. Robert Jan also used a hornlike synth and Rob threw in several drum effects during the song. It had a long instrumental section, which sounded similar to the rest of the song. This fast, very high energy tune sounded great live, but the version of the Nest tour was even better with two drummers!
This very nice little tune that to me always seems a bit tacked on at the end of the 'In the Dutch Mountains' album, was played very nicely this tour. The beginning of the song was a showcase for Rob. he played a long, laid-back and very skilled solo, which sounded a bit jazzy. Very nice and interesting to hear. After about two minutes a synth melody joined him, as well as some synth bells. The guitar and bass line joined as well and the rest of the song the music remained mostly in a quiet continues groove. Henk's vocals entered as well and the song was played along the lines of the original. At a certain point in the song the music almost stopped, but a build up with a hornlike synth continued the song, returning to the same music. Rob used some woodblock percussion in the latter part of the song. Very nice and very subtle..
This song was played as it mostly was since 1983, but the great part of it was the intro. This consisted of a beautiful piano only segue from 'Strangers of the Night'. The piano slowly transformed into 'nescio' territories, until the orchestral sound started and the song was played as usual, with piano, bass, percussion and acoustic guitar. The 'phone rings' part was not sung by Henk, but by Robert Jan and Joke. The song ended with the fast acoustic guitar and piano section. Unfortunately at several concerts 'strangers of the night' wasn't played and the great segue was missing.
This song by the Moody Blues was regularly performed as a request and still occasionally is. What the reason is why it is requested that much I don't know. But my best guess is that it' is of course a beautiful song and the fans probably know the band knows how to play a great version of it. This tour it was played for the first time by the band and already they knew how to play a full band arrangement of it. It was featured in the acoustic requests part at the end of the concert in several concerts. The performance in Hamburg started with the vocals and accordion, but the guitar, bass and percussion joined after a while as well. Henk's vocals fit this song real well and they always sounded great, especially in the loud and haunting 'I love you' parts'. This version was rather subdued, but for the aforementioned 'I love you' part the music became more powerful.
This R.E.M. song from the 1987 album 'Document' was also a song that was and still is played by the band regularly. Somehow Henk often connected it to 'Nights In White Satin'. They played a full band version of it in the acoustic re quest part of the show. Robert Jan's accordion made it very warm sounding, he also played a solo with it. Henk's vocals in the 'Fire!' part were very tense.
This was played not too different from the album version. The lyrics are about the man who brought magazines to Henk's house when he was small. One of those magazines was the 'Panorama', a weekly general interest magazine that still is one of the biggest magazines in the Netherlands. The song was quite festive and happy sounding. Robert Jan led the band with his organ. Henk's nice guitar and the tight rhythm sounded rather good. As on 'Urk' the song ended with an a capella part by all four band members, with Robert Jan taking the lowest vocals.
This song is about a childhood memory of Henk. He had an uncle who bred chickens with a black body and a white head. The uncle tried to breed them to have a black head and a white body. Before he died he succeeded, according to Henk. He also mentions in the lyrics that he used to stay at their uncle's house when he was small. The song also uses the famous bookpublishers penguin and pelican in its lyrics. On the album this song is the first take they recorded, which is obvious because it sounds somewhat rough and there's some mumbling in the intro. The music to this song had already debuted on the summer 1987 tour in the song 'Big Yellow Penguin Rooster'. It had different lyrics than the 'Pelican and Penguin' ones. Henk often explained the backstory of the song before or over the intro, which consisted of just the drums. Bass and guitar entered and Robert Jan played some rooster samples. Later he played varied sax synth melodies and also some accordion. The song itself was played very similar to the original. The breakdown near the end consisted distorted rooster sounds and strange Henk mumblings. In Koog aan de Zaan Robert Jan used a different, very weird synth sound in the melodies a few times. This sounded very cool.
This song still had the guitar intro this tour, although there were some variations. In Hamburg someone in the audience loudly whistled something and it actually sounded good, 'nicht slecht' (not bad) was Henk's reaction. More audience members joined and even Robert Jan tried to copy it on the synth with a whistle sound. In Koog aan de Zaan Henk started a capella. Robert Jan made some sea noises on his synth. Later the typical synth sound and the rhythm joined. This version was much closer to the synth intros of the Hat/Urk tour. But usually it started with Henk' singing and guitar playing. The typical 'port of Amsterdam' horn like synth sound was played by Robert Jan after a while, together with the percussion. Robert Jan played various melodies and backing parts. He also used a brighter sound. The melodies had plenty variations. The loud 'goodbye' vocals had heavily distorted echoes. Rob's drumming was at times fierce and also the bass parts were very heavy, especially from about halfway through the song. New melodies on a sound close to a piano were introduced as well. The 'jajaja' vocal parts were loudly sung by Robert Jan, Rob and Henk. This song was, as always, very a spectacular moment in the concerts.
This song was played very similar to the Henk tour version. Henk explained the song to the audience as a country song. He then started it with his banjo. Robert Jan's insane synth banjo parts were added to this. Rob's percussion was sparse, but loud. Sometimes a loud 'ja!' was said by Robert Jan. The 'who puts the salt..' parts were sung by Henk and Joke. The music behind this was a full orchestral sound. Halfway through this very fast song Rob's drumming entered in full force. The almost instrumental tune featured some nice breaks and synth effects. Near the end the song almost came to a halt, but it continued with a very heavy synth bass. The 'who puts the salt..' part was now followed by the words: 'who did? - you did!', sung by Henk and Robert Jan. This song was very hectic and a big improvement over the original studio version.
This featured echo-y drums, a synth bass, some guitar effects and a disco bass in the weird intro. Later it turned into a typical 'red tape' Robert Jan sang backing vocals He played some nice bright sounding melodies on the synth. Henk's vocals were sometimes distorted. If it was played, then it was usually part of the encores..
Although this song already debuted at the summer concerts of 1987, it wasn't released until the 1995 Quest album. During the 'In the Dutch Mountains' tour it was however played regularly. Usually it was dedicated to Edwin Krol (actually his name is Erwin Krol), a Dutch tv weatherman who according to Henk always predicts the wrong weather and wears the wrong sweaters.. He sometimes would also mention Rob de Nijs, a famous Dutch singer. He apparently lived around the block from Henk's house. This singer has a very famous song 'Ritme van de Regen', which is of course Dutch for 'Rhythm of the Rain'. The songs have nothing in common though besides the title. It started with tight drums and bass, with some synth touches. Soon enk joined with electric rhythm guitar and there were some low synths as well before the vocals started.. Joke's tight bass playing was the driving force and the sound was made fuller with the synths. Joke also sang backing vocals in the chorus. A very full and fast part ended this strong song.
This song from the Henk album was played in the long version as it always was. I don't think this tour's version is the best one though. The sound should be jubilant and loud, but the band tried a more laid-back version this time. This was especially the case in the beginning of the song, later it gained some more power. Henk did some German poetry at the Hamburg concert to introduce this song:
'meine Ruhe ist hin, (my rest is gone,)
mein Herz ist schwer, (my heart is heavy,)
ich sehe dir niemals mehr.' (I will never see you again.)
The beginning of the song featured soft, but very prominent woodblock percussion, together with the bass and echo-y guitar. Robert Jan played some sweeping synth effects. Behind the vocals he played some more synth touches and effects. The vocals had a double echo on them. For the chorus the piano joined and the music became a lot louder. A synth bass was also played. The song was really saved by Joke's incredible bass lines during the instrumental parts. These also featured trumpet-like synths melodies. The music remained more wild and more synths parts were played. The second instrumental part was now augmented with some full force vocals by Henk of 'when will I see you!'. The song ended with a long chord and a lot of cymbals.
This classic song was played in the regular way. The famous bass line was of course present, even at the Middelburg concert when Joke was ill. Robert Jan played it and did some nice variations of it, before he forgot to play it all together. Rob even did it on the drums at some point.. The song started with a long instrumental intro, featuring the bass, percussion and whammy-bar effects by Henk. The synths slowly entered and loud percussion effects were added throughout. Robert Jan used guitar and orchestral sounds, as well as some short 'hits' on his synth. From the vocal part on it was played as documented on the later 'Urk' album. Joke sang backing vocals in the 'it never stops' parts, while Robert Jan sang backing vocals in the 'I have seen the..' section. he instrumental part featured much louder music, this especially because of the rumbling drums. It also featured an orchestral synth part and a short guitar part. The song then was played in the more quiet way again until the end.
I have no evidence that this was played in the full version, but at the acoustic part in Hamburg Henk recited a few spoken lines from the Erlkönig poem by Goethe. These lines also appear in the song 'Sleep'. Robert Jan followed this by a very short excerpt from the main theme of the song on accordion. Nothing special, but nice anyway!
Unfortunately this song was never played again after this tour. It was very spectacular and it featured some of the best playing the band had ever done up to this tour. It started very quiet with vocals and some quiet guitar. Percussion, piano and bass joined. Henk then played some sharp 'hits' on his guitar. The atmosphere was very relaxed and jazzy. Robert Jan played piano melodies throughout the song. These were very varied and exciting to listen to. As on the album the song had very loud hornlike breaks with wild drums disturbing the rest of the song. Henk's vocals were transformed into the robotlike voice, while he spoke the lyrics in the last half of the song. Jazzy bass and percussion was played under this, while Robert played some more great piano melodies. This section also had the loud breaks, the last one was particularly wild, before the music slowed all the way down. Some spoke parts were done, until just Robert Jan remained. He played some great improvisational piano that slowly segued into 'nescio'.
This beautiful song revolved around a great piano motif. It was played very sparsely. For the most time it was just Henk's voice and Robert Jan's twisting piano melodies. Henk interjected some electric guitar touches and Joke did a few backing vocals. The instrumental breaks also had bass and percussion. These breaks consisted of increasing speed and intensity, followed by a breakdown to the slow part. Other instrumental sections echo-y guitar parts over a piano backing. This version wasn't too different from the later 'Urk' version.
This song was played in the way it usually was. It had the 'yo-oh-oh' chants by all the male bandmembers. The music often changed between staccato and fluent parts. Most of the time it wasn't yet the sing-a-long it turned out to be on the Urk album.
The band took their time for the rendition of this beautiful laid-back song. It lasted around 8 minutes. The song usually followed the high energy of the song 'In the Dutch Mountains', resulting in great contrast. On the 'In the Dutch Mountains' album the song is present in its first take. The regular playing of this song improved it over the original. It became much tighter, especially in the punchy bass parts. These are for me some of the highlights of this song. Joke managed to revolve around a central theme, varying a lot. The song started with the percussion and some airy synths. Henk played some whammy-bar guitar effects. Joke joined and Henk started to sing the vocals. Several laid-back instrumental parts were part of the song, sometimes dominated by the guitar and sometimes by the synth. hind Henk's beautiful singing he played echo-y guitar parts. Robert Jan played piano touches and melodies. Rob's percussion sounded somewhat distorted from about three quarters into the song. This effect fitted the song really well. Near the end some choir-like synth sounds entered. A slow organ really signaled the end of the song.
This was played in the same way it always was between 1986 and 1989. Therefore it was close to the 'Urk' version. Before the song Henk often explained the lyrics. A loud 'I' stared the song, which had slow drums and a not so prominent bass. The chorus featured synth voices, some guitar and Joke's backing vocals. Robert Jan used various other sounds as well, for instance a trumpet. The 'shirt is waving' parts featured distorted drums and some atmospheric synths. The Middelbug version really misses Joke's backing vocals.
Most likely this title is wrong. I don't recognize this song. It was played at the Hamburg acoustic part. It continued right from 'Nights in White Satin'. This sounded rather cool. Henk played fast guitar, joined by percussion, bass and accordion. This fast song sounded very good, but it was short. These are some of the lyrics (if you recognize it please let me know!):
'Why do we never get an answer
when we're knocking on the door'
Some loud 'oo-oo-oo-ooh's were also part of the song.
As usual this song served to introduce the band. First Rob started drumming and when their name was called the other bandmembers started playing as well. Rob usually did a little drumsolo part in the intro. Joke joined him first, followed by Robert Jan. Finally Henk played guitar and started singing the song. Robert Jan used various sounds: piano, sweeping high sounds and bells. Henk's vocals had tripled echo's. The music was full and busy with a strong groove and weird breaks. The instrumental part was rather strange with weird synth lines and vocal effects ('shudda-dhudda-shudda'). The drum built up and some low piano was played. Henk sang the high vocals, accompanied by the ska-like synth parts of Robert Jan. The music became a bit softer, but not for long. The band returned extra loud. The song returned to the chorus and was played in this way until the end.
This song already premiered on the Summer 1987 tour and was released as the b-side to J.O.S. Days. It's a high energy instrumental tune. The title means 'one two three' in Finnish. It started with a slow bagpipe-like synth sound, but soon a faster melody started, joined by the percussion. Even more synth melodies and variations started. Henk regularly played some very high flute sounds and he sang some 'hey-hey-hey' vocals with a lot of echo. A synth bass was also part of the song. The music became even faster further on in the song with several more melodies, real bass and stronger drums. This song's intensity increased in several steps towards the end.
VARA twee meter sessies 29-10-87 (radio)
Koog aan de Zaan 30-10-87 (soundboard, complete show, Nits Archive Tape, thanks Tom!)
VARA 03-11-87 (radio)
Amsterdam 06-11-87 (radio)
Hamburg 20-11-87 (soundboard, complete show, Nits Archive Tape)
Berlin 21-11-87 (50 minutes)
Middelburg 12-12-87 (audience recording, Joke is ill and not playing. First ever Nits trio
performance)
Apeldoorn 15-01-88 (15 minutes)
Zeeland 26-2-88 (soundboard, almost complete show, Nits Archive Tape)
Paris 11-04-88 (radio, large section of the concert)
Parkpop Den Haag 26-06-88 (festival, radio)
Montreux 08-07-88 (festival, soundboard, complete show
Unknown 1987/1988 #1 (soundboard, just the acoustic part, Nits Archive Tape)
Unknown 1987/1988 #2 (soundboard, just the acoustic part, ight belong to Zeeland concert)
On two of the 'Twee Meter Sessies' cds a song of this tour was present:
volume 1: J.O.S. Days
best of twee meter: 'In the Dutch Mountains
If you spot mistakes or if you want to give comments or additions please mail:
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