CD Bonus tracks:
LP Bonus tracks:
Musicians on the CD demo tracks [17,18] and LP bonus tracks [23-25]
Guest on LP bonus track : Phocas Kingma: Guitar
Musicians on the CD bonus tracks [19,20] and LP bonus track , recorded in 1973
Track  is the Elvis Presley song.
Track  is a cover of a song by the band Gun, released on their second album Gunsight (1969).
Produced by Eddy Ouwens and Cosmic Dealer
Tracks [1, 2, 4, 6, 8-13, 16] recorded at Bovema Studios, Heemstede, Holland
Tracks [3, 5, 7, 14, 15] recorded at Soundpush, Blaricum, Holland
Tracks [17, 18] recorded at ' home' studio, Dordrecht, Holland
Tracks [19, 20] recorded at Paay Studio, Rotterdam, Holland
String arrangement on [12, 16] by Richard Emmery.
The double LP live tracks [23-25] are recorded at VPRO Campus, July 29, 1971
LP Negram NQ 20015 (1971)
LP Negram NQ 20053 (1972)
LP Pseudonym VP99-006 (1994)
CD Pseudonym CDP-1003-DD (1994)
LP Pseudonym VP99.032 (2012)
Cosmic Dealer makes a psychedelic rock with a progressive edge and some west coast influences. This means some heavy distorted guitarwork, the flute (which is almost always present in Dutch progressive music) and vocal harmonies.
The albums opens with the simple rocker Daybreak. But al the distinctive elements are already present. The next is a slow west coast type of song, this song evolves into the next track which is one of the best of the album. It is a good, typical seventies hardrock song. The fourth reminds a lot of early Jethro Tull. A nice theme with a flute lead and a wah-wah drenched guitarsolo. Great track also. The track I had a friend sounds a lot like a Drama track. A nice melodic rock ballad. The title track is the most psychedelic track on the album. It starts slowly with a guitar, a flute, some spacey drumming and the band singing. After three and a half minutes the pace is changed and they start to play more heavy and faster. The next is again a heavy rocker with a heavy guitar solo that sounds a bit like an Akkerman solo in his Brainbox years. The fly is a nice little song. Then, as an intro, we hear a few seconds of an old Presley song, but soon they play another typical seventies hardrock song. Flying in the winter is a ballad in west coast style again. The next track is psychedelic rock again, including violins, flute and heavy guitar. The last track, Illusions, is a ballad for acoustic and electric guitar. A nice closing for the album.
On the Pseudonym CD three single mixes are included, who don't differ much from the original tracks. There are also two demo recordings from 1971, which were recorded after the release of the first album. Maybe due to the loss of guitarist Bas van der Pol, these tracks are not very good. In conclusion there a two tracks recorded in 1973. By this time the band sounds like an ordinary rock band. The sound is very American.
(Dutch Progressive Rock of the Seventies)
The songs and riffs on this record are a varied bunch, to say the least. Although the emphasis is on bluesy hardrock with some prog leanings, there's also hippie psych-balladry that reveals the influence of the American west coast scene of that time. Some of the heavier riffs bring to mind LED ZEPPELIN, while the proggy bits are somewhat reminiscent of KING CRIMSON and most notably JETHRO TULL (this may also be due to the occasional flute playing).
The production on "Crystallization"; isn't terribly heavy by today's standards but still quite crisp and clear. It still holds up pretty well to this day. There's lots of those right from the opening track "Daybreak" although not in the muscular shredding style already well known from Hendrix, Page and Beck. Instead the majority of Jan Reynder's leads, though pretty fast, have an almost sitar-like quality. There's some nice wah-wah parts to be found as well. His style is most akin to another Dutchman, Jan Akkerman, most notably his recordings with BRAINBOX and THE HUNTERS (anyone remember "Russian Spy and I"?)
Frans Poots' vocals are definitely a peculiar beast when it comes to this kind of music. Although he does some convincing hard rock power singing, he actually has the kind of gruff voice that one would associate with a blues or pub-rock band. Still his vocals don't sound out of place at all. In fact, they add to the uniqueness of this record.
The gentle acoustic "If There Is Nothing Behind The Hill" is immediately followed by this rocker. It starts with some twin guitars over a salsa-esque percussion'n'bass rhythm which coalesces in a slightly "In-A-Gadda-Da-Vida"-esque twin guitar riff. A very catchy melodic seventies hard rock song, and definitely one of the highlights on the album.
No idea who this Swingin' Joe Brown is, but this instrumental just has to be mentioned. The first part, with it's gentle double lead and jazzy "Bouree"-esque parts has the most blatant JETHRO TULL-leanings. This suddenly switches to an up-tempo rockabilly shuffle with lots of wah-wah leads before getting back to where it started. Not the best song in terms of originality, but still quite irresistible. The scene was released as a single first and perhaps it's no wonder it flopped, since this is most definitely the hardest rockin' tune on the whole record. A ZEPPELIN-like up-tempo rocker with lots of those typical leads by Jan Reynders and with a wailing Frank Poots. Great, but certainly not top 40 material.
Along with Group 1850 this band are one of the best Dutch psych/progressive bands of the late '60s. They grew out of the legendary Zipps and made this wonderful freaky album that features great songs, embellished with acid guitar work, flute and strong vocal harmonies.
Overlooked by many collectors, the long-haired post-hippies
named Cosmic Dealer are surely worth some investigation.
Several members had been in the legendary late sixties group
The Zipps (a compilation including their singles and
unreleased material is now available). On their album they
displayed a mixture of loud hard rock ("The Scene") and more
lazy rural songs ("I Had A Friend") with vocal harmonies.
Imagine a cross between Jethro Tull, Black Sabbath and
Golden Earring (circa 1970) and you get close to Cosmic
Dealer's sound. Some of the guitar work is really sparkling!
(D. E. Asbjørnsen, Scented Gardens Of The Mind)
The second LP reissue from Pseudonym Records features another psychedelic band who liked to dip their toes in the progressive realm. However, Cosmic Dealer were devoted to creating concise, more radio-friendly numbers and, on this album at least, don't take themselves too seriously.
On Crystallization, Cosmic Dealer are at their best when they are rocking out. Tracks like Daybreak, The Scene and the ELO-ish Head In The Clouds are amazingly fun to listen to. The Dutch accent comes on quite strong, but fortunately doesn't impede the singing. Daybreak in particular has a good opening riff that could possibly be described as progressive. At other times, the band show a more acoustic side, such as the sentimental I Had a Friend or Flying in the Winter. The vocals on the latter track remind me of Roger Chapman's bleating vocals in Family.
Cosmic Dealer were clearly heavily influenced by The Beatles. While you may not be able to make him out in the tiny picture above, the man sitting in front of the band bears an uncanny resemblance to John Lennon. Musically, If There is Nothing Behind The Hills sounds like a lost Beatles track, except in a Dutch accent, rather than a Liverpudlian. However, the biggest giveaway is the band's recreation of the 'Hold that line!' sample that concluded Lennon's frightening piece of musique concrète, Revolution 9. This time, the band shout it themselves to bookend their rather bizarre title track. This piece comes in two parts, a plodding opening section, followed by a frenetic climax, both halves featuring the incessant repetition of the album's name. It wouldn't be so bad if they could pronounce crystallization correctly.
Once again, this reissue comes loaded with another LP of bonus tracks, including demos and live tracks. Also, both singles from the album are on this disc. Inside the gatefold, Mike Stax of Ugly Things Magazine tells the story of the band, helped by pictures. It would have been helpful to point out who was whom in the pictures, as it otherwise impossible to put names to the faces.
This is an obscure, but fun record. While the tracks aren't groundbreaking, the band provide a very amicable listening experience, without pretension. If you already own this album, then the bonus LP might be worth your while for upgrading. If you don't mind a bit of psychedelic music in your life, then check this album out soon.
(Basil Francis, DPRP)
Archival release. This album contains 6 songs which were recorded in 1973 [1-6], plus 3 demos from 1971 [7-9] and as bonus tracks there are 4 live cuts also from 1971 [10-13].
CD World in Sound (2012)
Damn, why I had not previously heard of this band, I really do not know! I' must have been asleep. Because as a former subscriber of magazines like ‘Revolver’ and ‘Het Platenblad’ (Dutch magazine for people who are into vinyl) this name must have encountered several times, but I have not done anything with it. And then you do not remember such a name. But suddenly, in the summer of 2012, there is a CD named 'Child Of Tomorrow' of this band from Dordrecht. This second album of the band dates from 1973 but was never released. No idea why as the debut ‘Crystallization’ from 1971 was a quite impressive release. That debut also shows to be one of the most expensive collectors items in Dutch pop history. And guess what: now, nearly forty years later, the band will start to play live again!
This release includes six tracks which were recorded in 1973, with a slightly different line up than the recordings of the debut. There are also three songs from demos from 1971 as well as four songs which were recorded during a live performance, also from 1971. The band themselves describes its music as psychedelic hardrock and listening to songs like 'Child Of Tomorrow', 'Sinners Confession’ and ‘Julia’, I can agree with that partly. Where it should be noted that the emphasis is on psychedelica and not on heavy rock. In fact, it never gets heavy. The sometimes long instrumental passages (‘Lifetime’) give the psychedelics just that little bit of extra (please read progressive influences) that it actually sounds quite original. Especially if you also add some West Coast- like vocals (‘You're No Good’, ‘Society’ and especially the beautiful 'Winterwind') you get a totally unique sound. Unfortunately the live recordings sound very bad. Far away (literally and figuratively) you hear a great band, which at times sounds like Jethro Tull (and not only because of the flute of Frans Poots) and bluesy guitars in the tradition of Fleetwood Mac. Most impressive is the powerful guitar solo in 'The Scene', while the closing track 'Cosmic Jam' lives up to its name. Cosmic Dealer is a band The Netherlands still - retroactively – can be proud of.
(Wim, Lords of Metal)
Rare and unreleased 1971 and 1973 material by incredible Dutch band comes to life on CD and Vinyl thanks to German reissue label World In Sound!
Thanks to Wolfgang and his wonderful World In Sound German reissue label 13 tracks, 67 minutes and 53 seconds of rare and previously unreleased Cosmic Dealer finally sees the light of day! This incredible CD/Vinyl release includes a 24 minute performance done for the Dutch national television (VPRO) show “Campus” that has never before been released.
The contents of “Child of Tomorrow” come in five sections. This review examines the works by section, beginning with three tracks recorded at the Paay-Studio Rotterdam in May 1973, the personnel at this session being Jan Reynders on lead guitar and backing vocals; Ad Vos on drums; Angelo Noce Santoro on bass; Kees de Blois and Ed Boender both contributing rhythm guitar and sharing lead vocals. The first track performed by this quintet is the releases title track, with a run time of 3 minutes, 41 seconds. The radio friendly and exquisite, tastefully commercial “Child of Tomorrow” is reminiscent of Spirit at its best, with Reynders’ gently snaking guitar lines leading the way for Boedner’s gentle vocals, with Santoro and Vos supplying a punchy rhythm section. At the 2:30 mark the tempo changes as Reynder’s guitar wails and Santoro and Vos go into overdrive for the final minute of the song. By the time this song was ready for release Cosmic Dealer had already disbanded. A travesty as the song was perfectly suited for release as a single, the only question being whether it would have been the a-side, or the b-side for “Sinners Confession.” Reynders’ guitar introduces and drives this second track, twisting and turning, setting the stage for de Blois’ gentle vocals and Santoro and Vos’ tight rhythm before a short solo by Reynders’ sends the song to its conclusion. “You’re So Good” features haunting vocals by Boedner, supported by Reynders’ lead guitar. The song flows delicately, the bottom end held up by Santoro’s bass and the rhythm guitars, with no drums involved. Another song perfectly suited for radio airplay. What a twist of fate. Songs with commercial appeal flowed naturally from Cosmic Dealer, while other bands toiled session after session in the never ending quest for a “hit.” Unfortunately Cosmic Dealer was unable to take advantage of the fruits of their efforts.
The band’s next session, from September, 1971, resulted in three more tracks being laid down. “Lifetime” opens with Boedner’s lilting vocals accompanied by Reynders’ gentle guitar with Santoro and Vos controlling the tempo, the result a sublime state of relaxation filled with beautiful guitar work and pin point rhythm. “Society” features Reynders’ wah wah driven solos and flawless rhythm work by Santoro and Vos. “Julia” displays the versatility of Reynders’ on guitar, the instrumental piece again featuring his command of the wah wah pedal and well structured lead lines.
A home recording session from August 1971 features the band in its earlier incarnation and playing much heavier music. “Didn’t You Know” has a driving rhythm, filled with fuzzed out guitar and masterful use of echoplexes by Reynders and fellow guitarist Leen Leendertse. Frans Poots’ use of echo gives his vocals an ethereal effect well suited to the music. “Westwind” starts gently, but a minute and a half in Santoro and Vos turn up the tempo beating out the rhythm, with Reynders and Leendertse adding Quicksilver Messenger Service (John Cippolina) like snaking lead guitar lines before the song settles into delicate Beatlesque vocals for the finale.
A rehearsal session from 1971 supplies “For You” which features Reynders’ smoking hot guitar and heavy bottom end courtesy of Santoro and Vos, the cacophony of sound overpowering Poots’ vocals. Midway through, Poots’ flute takes the fore temporarily, but in the end it is Reynders’ guitar that takes charge and brings the rocker to a close.
The real treasure of “Child of Tomorrow” is the inclusion of the four tracks performed live in 1971 for Dutch national television. A live version of the title track from the bands’ sole LP “Crystallization” opens with the flute of Poots and his gentle vocals, the rhythm section and guitars holding back. Reynders’ guitar bobs about until a bit over four minutes in when he puts it into overdrive, joined by Santoro and Vos. Poots belts out the final vocals as the tempo and volume become hypnotically rhythmic. “Didn’t You Know” features Reynders’ guitar screaming along with Santoro’s bass and Vos’ drums, his guitar obviously in control of this up tempo rocker. “The Scene” again features Reynders and his fuzzed out guitar with Santoro and Vos locked in perfect rhythm behind him, with momentary pauses allowing Poots’ flute to take center stage. “Cosmic Jam” (also known as “Black Widow”) is another heavy rocker featuring Reynders’ fuzzed out lead guitar, but showcasing Santoro soloing on his bass run through a wah wah pedal to astonishing effect. This full tilt rocker finishes out the set and the album with eight minutes of incredibly heavy rock and roll. This number finds Frans Poots bashing his bongos, Jan Reynders’ guitar fuzzed to the max, and Ad Vos pounding his drum kit, but without question it is the wah wah soloing of Angelo Santoro on his bass that makes this the real show stopper and the perfect ending for the album.
Meticulously remastered, like all World In Sound releases, “Child of Tomorrow” completes the story of Cosmic Dealer. In their first lifespan that is, as the band has reunited and is playing live shows even as I wrote this review. For the first chapter in the life of Cosmic Dealer you will need to pick up the 2 CD or 2 LP version of “Crystallization” available from Pseudonym Records on 21 January 2013 and be on the lookout for the review of that release which will be published in “It’s Psychedelic Baby” Magazine soon. Until then, pick up a copy of “Child of Tomorrow” and Happy Listening!
(Kevin Rathert, Psychedelic Baby )