Band/Record: Catapult - Catapult
Label/Matrix: NL 1974 Polydor 2925 028 with 1Y // 2Y
Condition Record/Sleeve: EX-/EX- (record a few light hairlines only, plays great just below ex audio. Cover clean and unwritten, with corners tiny "eaten", tiny wear on edges)
Extra Info: Fantastic Album ...GLAM ROCK KILLER !! The best and wildest Galm-rock album out of Holland. Original Dutch 1st pressing on the Polydor label. Wow .. near ex audio... very rare album !!
~~ .......Once they were back at home they threw themselves into
their work immediately, quitting jobs and dropping out of school to
concentrate wholeheartedly on music. Assisted by their manager Aad
van Delft, the band chose the first of September 1973 as the official
starting date. Later that month the band was strengthened by the
addition of keyboard player Michael Eschauzier.
Barry Hay, the singer of Golden Earring, conjured up a catchy band
name: Catapult. The band logo was designed by the artist and genius Wim T. Schippers.
On the twenty-third of November the band played their first gig supporting Golden Earring in the Maassluis
Sport Hall. In the month following their live debut, they recorded
their first single, "Hit The Big Time" under the guidance of ex-Earring
drummer Jaap Eggermont.
As the title suggests, the song was about their stay in Spain. It is a
raunchy, catchy, and primarily energetic song that was to place the band
slap bang in the middle of the glitter rage. Using a combination of
extravagant attire, outrageous haircuts, and flashy rock'n'roll, Catapult quickly became the Dutch answer to British glam giants like The Sweet, Mud, and Slade.
In April 1974 Elmer Veerhoff was to replace the departed Michael Eschauzier, and the definitive line-up was born. In 1974, 1975, and 1976 the band was to score several hits: "Let Your Hair Hang Down", "Teeny-Bopper
Band", "Seven Eleven", and "The Stealer". These works showed that
Catapult, as opposed to many of their contemporaries, were no "dime a
dozen" band. The songs are put together intelligently, the arrangements
are adventurous, and the musicianship leaves nothing to be desired. The
high, recognizable vocals of Cees Bergman were also an extra attraction. These were all qualities that were optimally exploited by producer Jaap Eggermont.
Catapult was also one of the first pop groups for whom synthesizers
became a definitive part of their sound. During these first years the
band was also known as a live sensation. To the absolute horror of some
club owners, Catapult were also a band who weren't afraid to
sporadically flirt with hard rock during their live performances. This
was a secret passion that was to bear fruit in B-sides and album tracks
like "Springtime Ballyhoo" and "Run For My Wife". When their only
official album was released in 1974, the band was at the peak of their
success. The singles were selling well and the band was performing
weekly at packed venues. Their success was not only limited to The
Netherlands, as their singles were also released in Austria,
Switzerland, Germany, France and England where they received good
air-play. The band also established itself in Belgium, where they
regularly performed live. The Dutch music press, however, turned its
nose up at everything that bore the slightest resemblance to glam rock
Picture overview; please take a look at the pictures:
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