With 'Moontan', Golden Earring delivers pretty much what most people want from an early 70's guitar oriented rock album, namely big riffs, musical pyrotechnics, extended song structures, killer choruses, and no small amount of virtuosity, without sounding like that they were just demonstrating how many notes they could play in a set amount of time.
In reality, 'Moontan' never loses sight of the fact that the rock music should be fun and entertaining, and as a result of that, each of the six tracks on the album are absolutely vital to the balance and the general vibe of one of the frequently forgotten rock gems of that era. The riff rolls over everything like a steamroller, bluesy in its simplicity. The chorus is awesome, very catchy and ful sounding.
Beautiful bass and keyboards really bolster the sound. This is a very good track. The choruses are very good. I'm not a big fan of rock horns in general, but they really work on the choruses of this song, adding pomp to the already bombastic chorus. The song features a very long and great instrumental.
This is really a great track. A bluesy acoustic guitar is backed by a drunken piano and a wobbly bass. It's not bad but, in my humble opinion, it fails to stick out. It's an enjoyable, if somewhat repetitive and maybe a too long song. Despite that and a few faults, it's still quite a good song. It sounds somewhat inauthentic and dated, but it has its own European flair and charm.
Still, it's a good track too. It's drenched in synths, fantasy based lyrics, and gentle acoustics. This is really a great classic of an era where the grandiosity in music was accepted and revered. It's an amazing track that closes the album in a perfect way. Conclusion: 'Moontan' is a very good album, really. It's legitimately a great classic rock album of the golden era of the 70's that certainly retains its great charm even today, particularly for those of us that are partially to the Golden Earring - Something Heavy Going Down (CD and prog rock music.
While Golden Earring are not a band who are name dropped with any regularity, many of their albums, and particularly 'Eight Miles High', 'Golden Earring' and 'Moontan', deserve to be reassessed as great rock classics of the 70's.
You can easily find them and I would recommend picking them up, particularly 'Moontan' is a great starting point to discover the discography of a much underrated and somewhat forgotten band.
As a conclusion, 'Moontan' is a necessity for Golden Earring fans, and a worthwhile listen for anyone interested in 70's rock at its most adventurous. Prog is my Ferrari. Review by friso Prog Reviewer. The almost doom-metal sound achieved on 'Everyday's Torture', one of my favorite songs of the band, is really impressive. Oh boy does George Kooymans improve on that main lead guitar melody.
I always felt like early Golden Earring sounded heavily influenced by Quicksilver Messenger Service's 'Happy Trails' record when it comes to vocals and overall sound.
Taking on the jamband coat the band falls a bit short of a great drummer, whereas Cesar Zuiderwijk would join after this record. The opening section is legendary and the guitar jams following it sound great. The 19 minute tracks is however in danger of falling flat after a mediocre drumsolo and only a slightly more interesting fuzz bass solo amazing sound by the way! The ending section is better but sounds a bit rushed and unfinished. The song would evolve during live concerts into the great '77 cut on the excellent Earring's 'Live' album.
Not a perfect album, but full of great moments of interest to collectors of early progressive, heavy psych, bluesrock and hardrock. Would give it three-and-a-halve stars. Two of Golden Earring's original members stayed with the band through it all, guitarist and vocalist George Kooymans and bassist, keyboardist, and guitarist Rinus Gerritsen. Both Barry Hay vocalist, guitarist and etc and Caesar Zuidersijk drums and percussion would join the band a few years later, before the band's rise to fame, and would also become long-time members who would also remain with the band afterwards.
Ever since the band would remain a quartet of these four musicians, and something has to be said about their loyalty through it all. Although the band had additional international success, they would only see minimal success in the US with the two mentioned singles. However, they were able to release a total of 25 studio albums, 8 live albums, 2 Golden Earring - Something Heavy Going Down (CD compilations and 74 singles worldwide.
Only 2 of those albums would crack the top 50 in the US, "Moontan" and "Cut". The fact that is was one of their most popular albums lies in the fact that it had their 2nd big hit in the US on it. Unfortunately, it was released in the middle of a string of albums that were quite average, and overall, it was also quite average.
It was the luck of the draw that it would get to be as popular as it was, even though the album couldn't seem to pull out another successful single, even though it was full of radio friendly songs.
However, the album isn't a complete write off either, and most of their albums seemed to always have a couple of decent tracks among the several weak tracks, all of them fighting for notoriety, but not getting it. The album is made up of 8 tracks and has a total run-time of 38 minutes, the longest of which is the full almost 8 minute version of "Twilight Zone".
The band line-up was, at this point, the classic 4 person line up. It is produced with slick horns, and has a nice upbeat and catchy style to it. It could have been their 3rd hit, easily.
The addition of horns also gives the track more excitement and substance. But the next track "Future" takes the spark right out of the first track, with a moderate, sneaky sounding track that at least has a faster 2nd theme that appears a few times. But it was a song that sounded too much like other songs that had been done before, with that slight espionage feel that many of their tracks had. But it lacks anything really memorable.
The track is just one song in the band's pile of mediocrity. The chorus is too corny and stereotypical. The song has everything the public wanted from Golden Earring. That sound of espionage again, the infectious bass riff that gets played along with forever in the long instrumental break, almost sounding like it was inspired by a disco beat, yet it was still a fun and exciting track anyway.
It gave the public what they wanted. I just don't understand why the band didn't take a cue from this and Radar Love that this is what the public wanted, songs that stand out and generate excitement, not run of the mill songs with nothing to grab a hold of.
Yes, the song is repetitive, but that is the charm of it as it continues and grows in intensity through its long instrumental section. The vocals even generate the excitement working along with that cool, dirty guitar sound that created a rock anthem. They proved they had the ability, yet, for some reason, they missed it more than they hit it. Its just pop fodder, not what the public wanted Album) hear. It didn't even get a chance to be a single, though it could have been a perfect jingle for Eveready.
The last track is "Secrets" and is even worse. There is no doubt that Golden Earring had it in them to be remembered as a better band than they were, but, their search for the next big hit just put them in the sad pile of mediocre bands. They did have great songs other than their two hits, but they all came along in the 70s, and the fact that Twilight Zone seemed to come out of nowhere amid a string of bad albums should have been the band's wake up call to get serious again, but they never would.
If you are looking for a collection of their best songs, I would suggest the first half of "The Continuing Story of Radar Love" which has some of their better earlier songs on it while the 2nd side is more hit and miss, but it is pretty much all you need in the band's discography, plus a few of their better tracks in the 70s.
Review by Matti Prog Reviewer. Most of the tracks are written by main vocalist Barry Hays and guitarist-vocalist George Kooymans. GE's version has both a rootsy feel for the raspy vocals and pompousness for the hectic, ELO-reminding arrangement. Works well. Hard rock isn't a close genre for me, but I sort of like, if only for a little bit, the catchy energy here.
I can imagine a partying group of youngsters havin' a good time with this music Do young people listen to this kind of ballsy rock anymore? I doubt. The production is good, there's energy and guts and the instruments can be heard clearly. And there's notably less cheese than in the 80's hard rock averagely. But since we're prog-listeners instead of hardrockers, two stars is enough. On ground of this all-too narrow-minded compilation I wouldn't search further material from this band.
If I could borrow their proggiest 70's material from library for instance, I'd be interested to check it out. But the 90's era is completely another case.
The 11th album, 'To the Hilt' is no exception. There are some great progressive tracks here, and there are some mediocre ones. They had their album success, but they had a hard time finding that 'single' success between 'Radar Love' and 'Twilight Zone'. But, there were many progressive classics in the meantime, namely in this album, they were 'Nomad' and 'Violins'.
The album starts off with what looks like a classic prog track at over 7 minutes. But while they attempt to get a hook out of the somewhat simple rock melody, it just doesn't come up with anything that catches your attention. The song itself isn't bad though with its somewhat funky vibe. As it moves into the instrumental break, the background groove quiets down as a synth solo plays in a subdued manner before pushing back to the main theme.
After another verse, the original riff returns before another synth solo plays out the track. Unfortunately, the synth is mixed low, so it's almost hard to tell anything it going on other than the supporting foundation. While the riff generates a bit of excitement, there is no real delivery or pay off. I do admit that it is nice to hear the acoustic guitar take the lead and have a synth solo included in there, but, again, you wonder where the pay off is. The title track 'To the Hilt' tries to take an almost hoe-down, inspired vocal to a danceable, toe-tapper, but ends up falling flat.
It sounds a lot like 'The Who' without the enthusiasm. The synth is mixed much better this time. It also shares solos with the guitar and the vocal melody is more complex with progressive rhythms.
After a return to the vocal melody finishes, the music travels into psychedelic territory with some odd effects. This soon builds into a nice, floating instrumental with a jazzy melodic line provided by an electric piano when the rhythm kicks back in. They have had more than 40 chart hits in their home country. Outside of The Netherlands they are best known for their U, Album). Formed inthe band has been active for more than 55 years non-stop, which probably makes them the world's longest surviving rock band, formed a year before The Rolling Stones.
The current line-up has been intact since They never stopped touring and … read more. Golden Earring is the best known and internationally most succesful rock band to come out of the Netherlands. Outside of The Net… read more. Similar Artists Play all. Trending Tracks 1. Features Exploring the local sounds and scenes at Noise Pop Fest. Albums of the latest and loved, and the ones to look out for discover By okspud1 15 Feb am. All Things Hyped: Last.
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