Cosmic Dealer interview

February 15, 2013

Cosmic Dealer interview

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.
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? 
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. 
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.
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.
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?
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.
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. 
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. 
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?
That’s true, but that was before my time, the other guys will tell you
about this.
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. 
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.
1970 there had been some changes in band personnel.  What were these changes and how did they
affect the band?
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.
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.
Angelo was known for his exceptional bass playing.
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?  
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.
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.
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.
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?
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.
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. 
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!
early 1971 the band went into Soundpush Studios for your first recording
session.  What songs were recorded and
how were they chosen?
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. 
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

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.
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? 
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.
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.
The Gun was a personal favorite of Jan. 
It was his idea to cover their “Head In The Clouds.”
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?
We were in the studio for two days and the recordings were ready, mixed
“Head In The Clouds” was shortened for the single version.
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.
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?
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).
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?
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?
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.
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: 
Guild Starfire 6 string electric; Gibson SG 6 string electric; Gibson
Flying V 6 string electric; 1962 Fender Stratocaster 6 string electric.
2 Fender Bassman 50 watts each; 2 Fender Bassman 2 x 12” boxes
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?
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

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

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?
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.
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.
Bas left for personal/religious reasons.
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? 
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. 
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. 
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?
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
1.Child of Tomorrow  
3.Your So Good (Recorded in
January 1973).  
And later we
6.Julia  (All these recorded in April
1973 without Kees DeBlois.
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. 
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.
long did the band stay together before breaking up for good in 1973?  Did you play any gigs during that period?
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.

According to my scrapbooks for 8 months.   We did three gigs.  That went very well by the way.
2010 Cosmic Dealer regrouped.  Who were
the band members at this point and what was it like to be reunited after so
many years?

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
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!
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? 
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.
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?
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!
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?

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.

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.
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.
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. 
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?  
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. 
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!
would like to thank each and every one of you for taking the time to grant this
interview to “It’s Psychedelic Baby.’

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.
1972 – Crystallization – Negram NQ 20053.
1988 – Crystallization – Bootleg Italy.
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
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
One Comment
  1. Reading this interview today, I recall so clearly receiving Jan's 19 page, hand written, scanned responses arriving upside down and wondering if it was really worth all the effort it would take. But then, and even more now, I realize how precious his words are. They, more than anything else, distill the spirit and life that is Cosmic Dealer!

Leave a comment

Your email address will not be published. Required fields are marked *