Album Review: Niet In de Auto by Gerard Cox – A Dutch Pop Gem from 1970
Let’s talk about Niet In de Auto by Gerard Cox, a quirky little slice of Dutch pop history that dropped way back in 1970. Released under Decca Records and backed by the lush sounds of Rogier van Otterloo’s orchestra, this album feels like stepping into your grandpa’s record collection—only cooler than you’d expect.
First off, let me just say, this isn’t some overproduced modern banger. Nope, it’s got charm, baby! It’s raw, kinda cheeky, and unapologetically old-school. And honestly? That’s what makes it stick with you. Two tracks really stood out to me while spinning this LP (yes, I still use a turntable because nostalgia is life).
Track Highlights:
1. "De Baardmijt"
Okay, so “De Baardmijt” translates to something like "The Beard Mite," which already sounds ridiculous—and trust me, the song doesn’t disappoint. The orchestration here is smooth as butter, but there’s this playful edge to Gerard’s vocals that keeps things fun. You can almost picture him leaning into the mic with a mischievous grin. What sticks with me most is how absurdly catchy the chorus is; even if you don’t speak Dutch, you’ll find yourself humming along. Like… why am I walking around muttering “baardmijt” all day? No clue, but hey, it works.
2. "Niet In De Auto"
Ah, the title track. This one hits different. Imagine cruising down some vintage Dutch highway in a beat-up Fiat, wind blowing through your hair, and suddenly this tune comes on the radio. It’s upbeat yet oddly reflective, like those moments when you’re stuck in traffic but secretly enjoying the pause. There’s a certain swagger to the horns and strings that gives it an almost cinematic vibe. By the second listen, you'll feel like you're starring in your own retro road movie. Plus, who wouldn’t remember lyrics telling you NOT to do something? Classic reverse psychology right there.
Why It Sticks:
What makes Niet In de Auto special isn’t just its musicality—it’s the personality dripping from every note. Gerard Cox wasn’t trying to reinvent the wheel here; he was making music for people to enjoy without taking themselves too seriously. Backed by Van Otterloo’s orchestra, everything feels polished yet delightfully human. Little imperfections creep in now and then, reminding you that real humans made this—not some soulless algorithm.
And yeah, maybe part of its appeal lies in its weirdness. Let’s be real: not every album has songs about beard mites or driving etiquette. But somehow, it all clicks together in this charmingly chaotic package.
Final Thoughts:
Listening to Niet In de Auto feels like flipping through an old photo album. Sure, the colors are faded, and some pages might be dog-eared, but each snapshot tells a story worth remembering. If anything, this album proves that great music doesn’t need flashy gimmicks—it just needs heart.
Oh, and one last thing: listening to this record made me realize I probably shouldn’t sing along to “De Baardmijt” at family gatherings. My cousins gave me weird looks last Christmas. Lesson learned.
