Give substance to banality
Put the face of news presenter Fred Emmer next to that of the young man in this photo, and it will come as no surprise that it is his son. Just like his father, Stephen Emmer is making great strides in his career. He has already released his first LP, but refrains from sucking up to the record industry in Hilversum.
‘That was a wonderful time, when Stephen Emmer still lived in the Netherlands and his mailbox was always full of more requests for film music than he had time to read. For he was practically permanently in the studio, just like the other members of that select group of film composers whose musicality and good taste were legendary in the industry: Jerry Goldsmith, Leonard Bernstein, Henry Mancini, and Michel Legrand. The last time I saw Stephen Emmer in the Netherlands was ten years ago when he left for America for good. Manuscripts of his film music obscured the floor of his apartment from view. His Oscars, barely noticeable among the antiques and works of art, watched with interest as the many masterpieces were packed more carefully than anything else that reminded him of his glorious professional past.’
Musical son of news presenter encounters wall of incomprehension
The sentences above were never written about Stephen Emmer. I borrowed them from Gordon Gray, who used them three years ago to grace the cover of ‘The Big Screen Hits Of John Barry’. Stephen Emmer will have no objection to this, for John Barry is his great hero and shining example. If, in due course, he is referred to in the same way Gordon Gray referred to the creator of ‘Thunderball’, ‘Born Free’, ‘Midnight Cowboy’, ‘The Ipcress File’, ‘Goldfinger’, ‘You only live twice’, and the James Bond Theme, you will not hear Stephen Emmer complain.
Emmer has not had a flying start so far. His self-written, arranged, produced, and performed debut LP ‘Vogue Estate’ has not been received as the interesting synthesis of ambitious pop music and refined kitsch that it undoubtedly is. The wall of incomprehension and resistance that ‘Vogue Estate’ has encountered on its short journey is undoubtedly constructed from the bricks Stephen Emmer reserved for various media in his previous professional role: that of co-founder and editor-in-chief of the music magazine Vinyl. 'Dutch pop must be made charmingly clumsy by humble people'
'The criticism I received was predictable. And on the thin side. Accusing a debuting artist of using synthesizers instead of strings demonstrates a complete lack of understanding of the financial dynamics in the Dutch music industry. Reviewing here, even in rock ’n roll, is a matter of personal revenge. More seasoned artists than I always say something along the lines of: I remain loyal to the Netherlands, because they know that if they show expansionist tendencies or even just strive for quality, they will inevitably be kicked back in line. Dutch pop must be made charmingly clumsy by humble people.’
‘For the first time in my life, I am on welfare. So I have to leave. Not on the spur of the moment, because I don't dare sleep with my head on my suitcase in the New York subway. But as soon as the opportunity arises, I will certainly head west. Here, it remains primarily a matter of being nice to Veronica DJs.’ Every record company assumes that. How typically Dutch.’
‘It has already been suggested that my father’s work stimulated my interest in recording technology. Far-fetched. Because the miracle of the television screen was discussed in our home, I haven’t touched Meccano yet!
It goes very far to assume that, because he presents the news, I would be more comfortable sitting with Sonja Barend or Mies Bouwman. Quite apart from the fact that I would rather be the opening act for André Hazes if he has sold out the Ahoy.’
‘The people who attacked me so mercilessly have not a scar on their souls themselves’
‘My father, by the way, is not nearly as out of touch with the world as I am. He frequents bars where bulletproof glass separates the bartender from the clientele. I wouldn’t dare do that, because everyone would immediately realize I was there to gawk, whereas my father simply belongs there, at least when he is sitting there. Musically speaking, my father sticks to favorites he is incredibly loyal to, such as Junior Walker and The All Stars. My mother was a ballet dancer. At home, she played everything she came into contact with professionally. A lot of jazz. Classical music also played a role in our home, but nothing was forced upon me.
I can still put on Mahler’s Second Symphony in the middle of the night with my feet up on the table, and if the beer doesn’t sit well, effortlessly switch to the Philly Sound. That’s the kind of upbringing you get.’
At the end of the first conversation, Emmer turns out to be in a reflective mood. ‘You know,’ he says. ‘The people who attacked me so mercilessly don’t have a scar on their souls themselves. Artists are covered in scars on the inside. I am now too. I am proud of that. Pop music in the Netherlands: after the first flop, you sit in the waiting room and you plan your escape.’
‘I want to build a bridge between elitist music and folk music’
Outside, at the farewell on the sidewalk, he says, feigning malice: ‘You didn’t ask me at all about my plans for the future, and those are exactly what I want to tell you so badly! I’m going to write music for a Dutch-Belgian film production. Anyone who can write good lyrics for ‘Terracotta Trimmings’ should call me, and whoever can sing it can make a record with me. I have an offer from a London publishing house to write hits in the basement. They aren’t rid of me yet.’
Emmer’s plans turn out to be much more concrete a week later, at the second meeting. ‘I am going to split my work into film and pop music.’ I am going to create verses and choruses of three minutes and ten seconds with a singer. I have found a fantastic singer from the jazz scene, Diana Fleury. She has a smooth voice. Not sandpaper, as prescribed in Dutch pop, but more velvet with a silky sheen. I always pride myself on being able to judge people I want to work with by the way they share a croquette with me at Febo. This lady had the same three seconds of favorite music as I did!’ ‘I am leaving WEA. I received my personal copy of 'Vogue Estate' two weeks after the official release, but now that I need more, I am told that I have to pay 9.10 guilders per copy, being the retail purchase price! It turns out they see me as a tinkerer in an attic, while I see myself as the future leader of a huge orchestra.’
‘There is interest in the new partnership with Island, an English record label. A continental act is interesting to them. In any case, I do not encounter the usual British chauvinism during the introductory discussions. England is my immediate future. Here, I am considered difficult. No one knows what to do with me. And I don't want to make the same record ten times like Garland Jeffreys just to cultivate a hard core of followers. I want to be able to immediately take the place that is rightfully mine in terms of talent. At the moment, that is the English sub-top. And the top is within reach. If I didn't believe that, I wouldn't even start. As long as my signature is known once it is known.’ ‘I want to build a bridge between elitist music and folk music. I want to give substance to banality. The best music is music that everyone can understand. The bridge I have in mind therefore doesn't need to be so monumental. A Bailey Bridge is sufficient.’
[De Telegraaf - Jip Golsteijn - 16 April 1984]