How's about an English transcription, anyone?
3 hours of my life....
Time should correspond with what you see on screen.
When the guys start talking English I simply wrote down the first and last words of that fragment. Otherwise it's the complete translation. If someone want to add the English spoken parts, be my guest. But the Dutch spoken parts are all translated.
Btw, it is possible to download this docu (I was able to do so with Real Player). In case someone wants to as well...
Transcript Dutch TV broadcast “Andere Tijden”, episode “The Beach Boys in the Polder”, February 19th 2009Presented by Hans Goedkoop
Research: Hannah Dogger, Rens Oving
Montage & direction: Femke Veltman
Interviews with: Rijk Vlaanderen – Cycle shop-owner, Hilversum / neighbour Carl Wilson
Jeroen Helms – Car salesman
Jack Rieley – Manager The Beach Boys 1970-1973
Blondie Chaplin – Beach Boy 1971-1973
Don Willard – Sound technician studio Baambrugge
LiteraturePeter Ames Carlin, Catch a wave. The rise, fall & redemption of The
Beach Boys’ Brian Wilson, New York, 2006.
Steven Gaines, Heroes and Villains. The true story of The Beach Boys, Londen, 1986.
Job Twisk, The Beach Boys, in Oor, November, 1997.
Shelley Benoit, Holland: The making of an album, in: Back to the beach. A Brian Wilson and The Beach Boys reader, Londen, 1997
Translation:0:00
For “Andere Tijden” we go to the building of the Dutch Institute for audio and video.
Hans Goedkoop: In the 60ies the BB sang about sun, sea and surfing along the coast of California. But in the early 70ies they made an unexpected move. The album Holland, recorded in… indeed… and we’re going to talk about that incredible trip this evening. On how the group moved from that hectic Los Angeles to that small studio between the Dutch cows. Taking along with them their equipment, women, children, staff, and lots more. The Beach Boys in Baambrugge.
0:37: <intro “Andere Tijden” >
1:00: < I Get Around clip >
HG: And that was the first U.S. nr. 1 hit of the BB – good evening – I Get Around, 1964, with at about all the elements that made them famous: fast cars, impressing girls, striped shirts, top-notch refrains, Good Vibrations. And to be honest, a completely blank image of happiness. A couple a years later that didn’t appear to be enough for the boys, the 3 brothers Wilson, a nephew, and a high school-friend. Actually they weren’t surf-dudes at all. Actually they’d had a bad childhood. Above all they were brilliant musicians (?!) and composers, Brian Wilson ahead of them. And they showed that more and more. After 1966 they were competing with the Beatles as the worlds most innovative studio band. But, they higher their ambition became, the less their music sold. And also personally they fared middling. Drugs of course, and along with that Brian’s paranoid delusions, and some other things On stage let himself being replaced, and he locked himself up in the studio. And the band struggled on through the late 60ies and early 70ies. The good vibrations were long gone. It became obvious to them that something had to happen, something drastic, away from Los Angeles, new impulses. And with that in mind in the early summer of 1972 they arrived between the meadows of Baambrugge.
2:50: Blondie Chaplin: This is so different from Los Angeles <…> Looking Around in Holland.
3:19: Jack Rieley: I thought, hey this will be really simple. I’ll get a hold of a real estate agent, or something like that. And I’ll tell them we need a house “aan een gracht”, on a canal in Amsterdam for each of the members of the Beach Boys, and we need some cars and that’ll be it, I thought.
3:45: Rijk van Vlaanderen: “Dear Rijk, thank you for your, thank you for you and your family for help in everything. Carl Wilson”.
3:56: clip Little Honda
4:11: Don Willard: They were sort of idols at the time of course, because they had great songs. I still find their harmonies and compositions brilliant, I have to say. (Sloop John B.) I know, their first albums were surfing records. (Surfin’)
4:57: JR: Very quickly it became all about <…> for that matter. (Surfin’ USA) Seems to me <…> striped matching clothes are gone! (I Get Around)
6:02: Carl Wilson: But Jack Rieley’s contribution to <…> the things we were doing.
6:30: DW: At the time the Beatles had been very innovative with (the making of) Sgt. Pepper. And in America, it didn’t go so well with the BB. So they had to, they wanted to give an answer to Sgt. Pepper.
6:51: JR: And they were in bad shape <…> too insignificant musically. (Monterey footage? / Janis Joplin). Just the thought that <…> so Carl and I started plodding (?, planning).
8:31: BC: They wanted Ricky Fataar and I <…> or something (starts laughing), sorry.
8:56: JR: Wouldn’t that be wild <…> into the group. (I’m Bugged At My Old Man) We had finished an album called <…> I love it, what more do we need. (Fun Fun Fun)
10:50: BC: To me it was like an adventure <…> a farmer’s barn.
11:12: DW: It had been a lamp bulb-factory. Before that it had been a big henhouse. And then within the building, another smaller building was built in. And then it became a studio in 1969.
11:27: JR: Fine I’m sure for making a demo recording, but not for what we had to do.
11:32: DW: 2 months before they (the BB) would arrive themselves, carpenters had been busy preparing the studio acoustically and later on also electronically.
11:43: JR: We flew in an entire <…> you name it, we were all there.
12:10: BC: 5 Beach Boys, 5 houses, 5 Mercedesses, few dogs.
12:16: JR: We increased the population <…> we were everywhere.
12:38: RvV: In 1972 I was in my shop, and came outside because of a car that drove out of a lane, with in it a small boy behind the wheel. And that’s how I got in contact with Carl Wilson of the Beach Boys. (interviewer): And what do you mean with a small boy in a car? What happened? RvV: Well, he probably took off the hand break of the car and drove backwards – and, well, there wasn’t so much traffic as nowadays – and hit the fence overhere – one can still see the dents – and that evening I got in contact with his dad – and he said “come by this evening” – and I became aware that it was (one of) the BB, Carl Wilson.
13:32: JR: That was more than a cycle shop. That was a social outpost, if I recall correctly.
13:39: RvV: Yes, and then he would come by at around 12 o’clock or 12:30, and then he would stand beside me in the workshop near the equipment, to talk about all kind of things, and his son would wander around, playing with all those wheels. And I was working then, but in the mean while we were talking with each other. That’s how it went.
14:07: JR: When you’re in a place, you know, no town, small town, a "dorp" (= village) in The Netherlands, in Holland, that pretence of celebrity goes away quick, and in stead there’s something much nicer… and that’s “gezellig, zeg” (= “cosy/pleasant, isn’t it?”).
14:28: RvV: Then we would drive along the Vecht (a Dutch river), and then wanted to see all the castles, and they loved it. I remember that one time that we had to step out near a farmer’s fence, because they had seen a cow. And I was thinking by myself “Strange situation with those people. You live in Hollywood and have everything just around the corner. And here you have to stop for a cow. And then wanting to caress them. Even posed for a photo.And well, yeah, they loved it.” (Funky Pretty)
15:06: JR: I remember walking up a “bloemenmarkt” (flowermarket), along a “single” (town canal) with Brian Wilson. <…> spectacle of flowers all around.
15:24: DW: They experienced it here being liberal. I can understand that, comparing it with America at the time. Because that you’d go to a shop and be able to order a quantity of soft-drugs was totally new for people from abroad. As if you would be going to the butcher. That’s how they would talk about it. “Can you imagine?”
15:48: JR: I think that the influence <…> for that particular project.
16:22: DW: There’s a song on it, on the record, called Steamboat. At a certain moment it was recorded at double speed: drums, piano and bass. Then it was put on normal speed again, and then that was doubled again, resulting in a beautiful extra layer. (Steamboat)
17:05: JR: I wanted to add <…> used on a lot of tracks (The Trader, live footage Billy Hinsche)
17:40: CW: It was a very creative time for me <…> a very spiritual time also.
18:11: BC: It turned into a pretty mellow <…> you know, it was great (Funky Pretty)
19:10: RvV: Mercedes, they all had one. All rented at a lease company. Don’t know which one, but I think somewhere near Leiden (Dutch city).
19:21: Jeroen Helms: It was of course the order of the year. 8 Mercedesses at once. Even if it was only for 6 months. But at the end, to my calculations, we could earn twice on it.
19:33: JR: You have to take into account that they were expecting a certain life-style.
19:38: JH: “Okay, it includes everything?” I say: “It includes everything, insurance, road tax, etc. etc.”. “Okay, when can we have them?”.
19:47: JR: I can’t remember a single conversation in which was dealt with “You know, you are spending too much money”.
19:55: JH: It was, also for that time, a rather high amount monthly. And it was agreed on immediately. They didn’t have to take care of the pence.
20:03: RvV: “Where do you live from?” Well, 4 to 5 concerts each year in America, they did in a baseball stadium. And that would be sold out completely. And further making 1 record each 2 years. And that would be their income. (Sail On Sailor, footage Billy Hinsche)
20:43: BC: … is a more funky song <…> it wasn’t fully realised.
21:32: JR: It is true that Holland wasn’t the start of a new direction of the BB. It was a new direction on it’s own. But I never felt, that they would go back to Los Angeles, and keep following that same direction. No, it was never the intention of an escape.
22:05: BC: Rolling Stone magazine liked the album a lot <…> but it was the BB.
22:21: JR: Mission completed. That simply was it for me. I have to admit, it wasn’t always easy to work with Brian Wilson, because he’s a very complicated person. At the time I decided after 2, 3 months: if I can get away with it, I wanna stay. And I indeed did that. (interviewer): How long did you stay? JR: 2 and a half year in The Netherlands.
22:58: DW: Afterwards I heard that the whole Holland-spectacle almost made them bankrupt.
23:04: JR: I know that – everything included – it was more than half a million Dollars.
23:13: JH: They were returned, let me say this decently, they were returned very untidy. The interior were, ehm, let me say this differently, you couldn’t sell them like that. Washing them wasn’t effective. I think that, of those 8 (Mercedesses) at about 5 had to be furnished again. They got a whole new interior. (Surfin’ USA)
24:04: HG: Surfin’ USA, with a view on a Dutch ditch. It was a risky combination and a moderate success. The “connoisseurs” regard Holland highly. But all in all, it was more an escape, as Rieley just mentioned, then a way out. Because the future doesn’t put you in a cheerful mood. Back in the U.S. the BB fell back into the troubles they had had. The new members disappeared. The drugs would demand it’s toll. The first of the Wilson brothers died, a second one followed. And even though from time to time something new came, the band started to rely on their old successes and greatest hits tours. The “good vibrations” were finally over. So that, afterwards, one could say that Holland was their last innovative album. Right here on the meadows. “Put that one in your pocket”. We end here. Next week…
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