HANS VAN HEMERT MEMORIAL TRIBUTE

DREAM, DREAM: He went from a sales career for  the Phonogram label to become one of the most remarkable visioaries in all of music, as well as the mastermind behid the beloved vocal supergroup LUV'. We salute the beloved composer and producer HANS VAN HEMERT, who lost his protracted battle aganst prostate cancer in October. Editor/Publisher Michael McDowell has the story below (Click on above image to enlarge).

YOU'RE THE GREATEST:

REMEMBERING PRODUCER / COMPOSER

HANS VAN HEMERT

(1945 - 2024)

By Michael McDowell

In the team approach to recording, there is often a primarily behind the scenes figure whose vision is largely responsible for seeing the project at hand through to fruition.

In short, the team approach involves bringing together the cream of the crop of the respective participants: vocalists, instrumentalists, composers, producers and engineers for optimum results. Such methodology worked particularly well among solo artists in the early days of the recording industry, as exemplified by such giants as Perry Como, Buddy Clark, Doris Day,, Dean Martin, Patti Page and Russ Columbo.

As rock and roll began to assert itself, the behind the scenes figures took on more visible profiles when it became apparent how crucial their input was to the overall process. Among the early leading lights in that capacity were such remarkably gifted visionaries as Alan Freed, Morris Levy, Phil Spector, Berry Gordy, Jeff Barry and the legendary Bert Berns. 

With the advent of the so-called British Invasion and first generation garage rock by the mid-1960s, the focus gradually began to turn towards self-contained bands that were capable of creative autonomy. Ironically, by decade's end, the need for a guiding light along the lines of the aforementioned individals became increasingly apparent as a number of those bands took creative autonomy to excessive levels, disenfranchising some of the faithful in the process.

By the mid-1970s, it was apparent that the resultant excesses had put at least the mainstream contingent into a protracted aesthetic slump. Thankfully, help was on its way in full force via the so-called indie movement and its back to basics front runners. They included Dave Edmunds, Nick Lowe, Elvis Costello, the Sex Pistols, the Ramones, the Clash, Joe Jackson, Black Flag, the Flamin' Groovies and Eddie And The Hot Rods, to name but a few. 

For the most part, those artists made their greatest impact across North America and the UK. In the process, they did much to rescue rock and roll from what the late Monkees lead guitarist Michael Nesmith once termed the Grand Ennui. However, unknown to many within those circles was the fact that concurrently, a substantial like minded movement was sweeping across the European continent. 

With it came a singularity of purpose that differered primarily only in its return to the team approach. But the results were the same, in that the artists in question took the aesthetic level of the art to its greatest heights to date. 

Perhaps no other such visionary made such a widespread and enduring impact in that respect than did the beloved composer, producer, arranger and Voorburg, South Holland native, Hans Van Hemert. 

The son of television director Willy Van Hemert, Hans Christian Willem Van Hemert was by 1965 well entrenched in a career in the sales and promotions division of the Phonogram label. However, his ongoing fascination with the recording studio led him by year's end to a new role as a composer and producer. Among the many artists with whom he worked were first generation garage rock greats Q65, as well as the Motions and psych rock forerunners Group 1850. Van Hemert also recorded five solo singles for Philips and Decca, including 1973's memorable Because Of The Cats.

In 1972, Van Hemert composed the much loved Land Of Milk And Honey for the highly prolific and magnificent duo of Willem Duyn and Sjoukje Lucie van 't Spijker, better known as Mouth And MacNeal. He also produced their superb and endearingly tongue in cheek Hello-a single that same year.

But it was during the late 1970s that Van Hemert achieved his greatest artistic triumph as the founder and primary visionary behind the beloved vocal supergroup Luv'. Like Dave Edmunds, Luv' drew their inspiration from the pioneers that inspired them and took those inspirations to unprecedented heights. In the process, Luv' irrefutably cemented their reputation as one of the premier vocal trios of the twentieth century. 

To be certain, Van Hemert's vision for Luv' could not have been realized without strong vocalists with a keen eye for the vision. Indeed, the founding Luv' line up of Josina "Jose Hoebee" van de Wijdeven, Margareth "Marga" Scheide and Petula Louise "Patty" Brard was nothing short of answered prayer. The results are borne out in abundance throughout the first three Luv' albums, With Luv', Lots Of Luv' and True Luv'. 

Arranged and conducted by Piet Souer and produced by Van Hemert, those first three Luv' albums are nothing short a vocal harmony euphoria enthusiast's dream. Throughout the proceedings, Luv' absolutely soars in such monster classics as My Man, Oh Get Ready, Dream Dream, U.O. Me, You're The Greatest Lover, I Like Candy Kisses, Ooh Yes I Do, Boys Goodnight, the sublime Casanova, their signature single Trojan Horse and the utterly stupendous Saint Tropez.

Ironically and somewhat disconcertingly, the Trojan Horse single remains to date the sole Luv' release in the United States (in 1978 on Polydor, with Life Is On My Side from With Luv' on the flip). Backed majestically by the Hilversum, North Holland-based Beatrix Pipe Band, Trojan Horse finds Luv' retelling the tale from Greek mythology with their trademark impeccable vocal harmonies. That single was augmented by a somewhat surrealistic video in the vein of early Pink Floyd that finds them skipping merrily through such seemingly unlikely settings as a game room and a petting zoo; augmented by an endearing and good natured "hat fight" between Brard, Hoebee and Scheide. Although Trojan Horse met with instant critical acclaim in the United States (including a rave from Blitz Magazine - The Rock And Roll Magazine For Thinking People), the lack of availability here of any of their follow up releases has led to no small amount of ongoing disconsternation among the faithful. 

Also somewhat ironically, Van Hemert's brief affiliation with another vocal trio in its formative stages led to the restructuring of that other vocal trio to the point that they ultimately went on to rank solidly alongside Luv' as one of the greatest vocal trios of the twentieth century. That group, Babe (who in turn were the vision of the duly inspired Peter Koelewijn) came into the forefront in the immediate aftermath of Van Hemert's work with the group. Comprised of group founder Rita van Rooy, Margot van de Ven and Marga Bult, the so-called Mach II version of Babe went on to set the absolute standard of excellence in the genre via such essential and game changing singles as Dolly The Doll, Explosive, (Don't You Ever) Shop Around, Boomerang, Hot Shot, Tommy Is A Winner, Indian Habits and their larger than life signature single, Together In Love Again. 

Meanwhile, Van Hemert pressed ahead prolifically in the studio well into the twenty-first century. Among his more noteworthy later career moments were Patty Brard's spin off group Patty Cash in 1997, and the inspired De Allerliefste Mama En Papa single by his daughter, Hannah and his granddaughter, Britt in 2008. 

Sadly, Van Hermert was diagnosed with prostate cancer in 2010. Thankfully, he went into remission for a protracted season. However, in July 2023, the disease returned and metastasized throughout his body. 

Despite those formidable challenges, Van Hemert recently gave an extensive interview to Entertainment Business. Therein, in spite of his circumstances, he weighed in with his trademark relentless optimism.

"I'm still in the studio, composing every day", he said.

"I'm still trying to see through what makes today's hits in this completely changed industry. That process continues to fascinate me. I'm not done yet!"

Sadly, Van Hemert's optimism proved to be short lived. He succumbed to his illness in Hilversum on 07 October. The outpouring of grief among his colleagues was both immediate and overwhelming.

"Such sad news", said Babe's Marga Bult.

"A really nice and special person is unfortunately no more". 

Ironically, at the time of Van Hemert's passing, Patty Brard had been in rehearsals with a supergroup that she had put together for live performances in tandem with her birthday celebration in March 2025. The Mega Girls Group is comprised of the absolute cream of the crop of vocal harmony royalty, including Brard, Bult and veterans of such beloved groups as the Dolly Dots, Mai Tai and Frizzle Sizzle.

"I am grateful for the opportunities that (Hans) provided for me at the beginning of my career", said Brard.

"I wish his dear wife, the children and grandchildren a lot of strength and all love".

Hans Van Hemert was 79. 

DEBBIE GIBSON ON TOUR

IT'S ACOUSTIC: Blitz Magazine - The Rock And Roll Magazine For Thinking People Editor / Publisher Michael McDowell shares a warm moment with DEBBIE GIBSON at the Wabash, Indiana stop of her Acoustic Youth tour on 23 October. Michael McDowell has the story below. Photo by Tim Chang. C&P 2024 Blitz Magazine - The Rock And Roll Magazine For Thinking People. All rights reserved.  (Click on above image to enlarger).

IT'S ACOUSTIC:

DEBBIE GIBSON

WRAPS EY35 TOUR

IN WARMTH

By Michael McDowell

To paraphrase a track that was integral to the proceedings at hand, kindness speaks a thousand words. 

The road to Wabash, Indiana was no doubt paved with good intentions. But for a few of the faithful who were making their way there for the Eagles Theater stop of Debbie Gibson's Acoustic Youth tour on the twenty-third of October, it also came with a bit of excess baggage.

To wit, among the faithful (affectionately known as Deb Heads and Diamonds), trials and tribulations availed themselves to the degree that it nearly derailed the momentum among a few of their number. To wit, some spoke of various concerns, from personal health challenges to the recent loss of loved ones.

True to form, the various Deb Heads who gathered outside of the theater that afternoon rallied to the cause, offering support, prayers and words of encouragement amongst one another as needed. Such altruism proved to be a microcosm of the greater environment, with many among the venue's personnel availing themselves in kind.  

Perhaps not so ironically, Gibson also experienced her own set of challenges en route to Wabash. While on the road, her entourage's main mode of transportation suddenly found itself in need of a bit of fine tuning.

"It's in the R.V. hospital", she said. 

Nonetheless, kindness and camaraderie remained the order of the day when Gibson and the faithful gathered inside of the theater prior to showtime for a town hall meeting of sorts. True to the relentless optimism component of her mission statement, Gibson even provided a bit of diversion with an ad hoc Q&A session. Blitz Magazine - The Rock And Roll Magazine For Thinking People kicked off that segment by deferring to the musicologist contingent with a question about her earliest record purchases.

"(Elton John's) Crocodile Rock, Billy Joel's 52nd Street and Marie Osmond's version of (Anita Bryant's) Paper Roses", she said. 

When Gibson took to the stage that evening, the capacity crowd greeted her with a thunderous ovation. She responded in kind with an electrifying performance that belied the acoustic setting. 

While the primary focus was a bare bones (keyboards, saxophone and percussion) celebration of the thirty-fifth anniversary of her 1989 monster classic second album, Electric Youth (which included a Mambo-like arrangement of the title track), Gibson sweetened the set list exponentially with a combination of other Atlantic Records - era highlights (including the obligatory and utterly stupendous Shake Your Love and Only In My Dreams) and selections from the soundtrack of her UK stage production of Grease. Gibson augmented the proceedings with a generous helping of story telling that did much to fuel the overall atmosphere of relentless optimism.

However, it was an out of the blue moment of inspiration that brought about a protracted standing ovation at the evening's midpoint. 

"My next album will find me doing a bit more of my singer / songwriter thing", Gibson said.

With that, she premiered a rough draft of a cut to the heart ballad slated for that forthcoming release. To suggest that there was not a dry eye in the house would not be mere hyperbole. 

Later that evening, Blitz Magazine reiterated as much to Gibson outside of the theater:

"That new ballad is a hit". 

The look of uncertainty on her face in response was most assuredly understandable, given that the material in question remains an unproven commodity for the moment. However, seconds later, a paserby inadvertently did much to underscore the unintentionally prophetic elements at play.

"I really enjoyed your show", he said.

"And your new song was beautiful. I think it's a hit".

"Told ya!", Blitz Magazine added, offering a benediction as Gibson and her entourage boarded the RV for their forthcoming shows in Wisconsin and Illinois. 

Not surprisingly, on the tour's final stop in Chicago, Illinois on the twenty-eighth of October, history from Wabash the previous week repeated itself, with standing ovations for both her rendition of I Honestly Love You and the new material. 

"This is like my highwire act", Gibson said.

"I'm so honored".

Indeed, while the Doors once sang of being on a Tightrope Ride, Debbie Gibson has lived it four nearly four decades. And during this phase of that ride, while it may have been showcased in an acoustic setting, one constant remains:

It's still electric.