2:35
2:27
2:31
1980s Cabaratier / Theater (Toon Hermans), 50 year old male vocals, Choir harmony
3:31
1959 Motown, Close harmony, Amerikaans Nederlands accent
2:58
3:18
3:16
3:07
2:18
3:36
2:43
3:07
3:41
3:16
3:48
3:18
3:48
3:59
3:24
2:17
4:42
3:09
3:40
3:51
4:10
3:23
Down beat [Period: early 1980s] [Genre: Dark Eurovision, Nederpop, Synthpop], [Vocals: 30 year old male, talk box] [Mood: Sad]
3:08
3:08
3:42
4:17
3:20
2:48
3:33
3:24
Romantic Balad / Softpop, Period: Late 1980s, 40 year old female lead
3:24
Softpop / Eurovision / Easy Listening, Year: 1990, 60 year old female lead, ‑Duet
4:38
[Genre: Levenslied / Light Clasical] [Sphere: Solemn] [Period: 1950] [Vocal: 40 year old male, funeral speaker] [Accent: Amsterdams]
4:12
Do not generate duet vocals, Only one lead voice, Backing vocals must not take over lead, [Genre & Feel]
Early 90s Dutch jazz-pop fusion with emotional depth, Inspired by Eurovision 1992-style transitions: subtle, stylish, emotionally driven, [Tempo & Dynamics]
Starts soft and introspective (~80 bpm), Before [Refrein 2], transition to upbeat soft Latin-pop (~105 bpm) with light groove and gentle swing, [Instrumentation]
Electric piano, warm pads, brushed drums (start), Then nylon guitar, light congas, shaker, syncopated rhythm guitar, Optional subtle horn stabs, [Vocals]
Male Dutch vocals: warm, intimate, gaining projection, Add light gospel-style backing vocals after first chorus; more rhythmic during Latin section, [Mood & Arc]
Shifts from numb isolation to awakening, Latin groove reflects inner transformation, Final section becomes minimal and stripped
4:04
Genre: Dutch-language soul ballad with spiritual undertones and 1990s European ballad sensibility
Style: Slow, analog-feeling arrangement with intimate phrasing and warm harmonic layering, Dynamics grow gradually, avoiding sudden changes, Sound is organic and restrained, Vocal: Female lead vocal (alto), clear and emotional, sung without vibrato, Backing vocals join with “oooh”, “aaah” and literal line doubling in final chorus, All vocals are unprocessed and natural, with a studio-live feel, Mood: Introspective, timeless, spiritual, calm, emotionally grounded, Conveys quiet strength and connection to something larger, Structure: Starts with minimal instrumentation, grows into a full arrangement, Instrumental break before final chorus, Ends on long vocal harmony and fade, Texture: Soft Fender Rhodes chords, subtle acoustic guitar, warm Hammond organ, mellow live bass, brushed drums, and slowly building strings, All sounds must feel natural, ‑Lead male, ‑Duet, ‑English lyrics, ‑falsetto, ‑vibrato-heavy vocals, ‑high-pitched or theatrical singing, ‑synthetic drums or beats, ‑trap elements, ‑autotune, ‑vocoder effects, ‑digital mastering shine, ‑EDM drops, ‑funk slaps, ‑disco orchestration, ‑saxophone solos, ‑fast phrasing, ‑bright synths, ‑stutter FX, ‑vocal chops, ‑ambient pads, ‑2000s or later production aesthetics, ‑Avoid: Any form of pop-upbeat energy, ‑fast tempos, ‑ironic or comic tone, ‑dance grooves, ‑pulsing basslines, ‑claps, ‑snares, ‑electronic loops, ‑drum machines, ‑gated reverb, ‑or modern stereo width effects, ‑Do not use American gospel shouting or overblown modulation effects, ‑Maintain an early-1990s European studio sound: intimate, ‑spiritual, ‑reserved, ‑and emotionally sincere
3:37
Genre: Dutch-language acoustic ballad with chanson influences and melancholic 1990s European sensibility
Style: Slow analog arrangement with sparse instrumentation and emotional restraint, Gradual dynamics without theatrical swells, Intimate, dry, and natural sound, Vocal: Solo male lead vocal (baritone), unprocessed and close-miked, with quiet phrasing and subtle vibrato or straight tone, No second voice, No harmony above the lead, No doubling of main lines, Female backing vocals, Mood: Fragile, nostalgic, and introspective, Conveys personal grief without dramatic tension, Stillness over sentiment, Structure: AAB layout, no key change, Starts with piano, adds bowed bass and strings, Includes one short instrumental break before final lines, Texture: Piano, brushed drums, solo violin, bowed double bass, and light accordion, All instruments acoustic, dry, and minimal, Inspired by: Herman van Veen, Wim Sonneveld, Dutch theatre c
3:17
Upbeat 90s Dutch nederpop in major key, Simple chord progressions, real drums, electric guitar, major synth stabs, Male Dutch vocals, bright and catchy, Big chorus hooks, background vocals in refrain, Joyful and danceable, Like Kadanz or early Poema’s
3:10
Genre: Dutch-language ballad with soft 1996 R&B and pop influences, fitting Eurovision 1996 tone
Style: Slow to midtempo (ca, 72 bpm), analog feel with warm Rhodes chords, soft fingered bass, brushed drums, and sparse instrumentation, Arrangement must remain light and restrained
Vocal: Solo female vocal (mezzo), straight tone with minimal vibrato, No duet, No second voice, Backing vocals limited to quiet “ohhh” or “aaa” textures and short echoed phrases, Lead must stay central and uninterrupted
Mood: Intimate, inward, quietly emotional, Tone is reflective and vulnerable, never dramatic or loud
Structure: AAB layout with optional short bridge, No key change, Gradual swell into final chorus, Ends with soft vocal release or instrumental fade
Texture: Dry room tone with close-miked vocals and gentle instrument layering, Avoid overproduction
Inspired by: Dutch slow pop of mid-90s, modest soul ballads, and emotionally controlled Eurovision entries from 1993–1996
2:39
Era: 1997 live orchestra recording
Voice: Male mid-20s warm tenor soft vibrato steady phrasing medium projection, Female mid-20s bright mezzo light vibrato lyrical phrasing high projection
Style: 1997 Euovision pop, upbeat, romantic, mid-tempo, sunny mood, storytelling arc
Instrumentation: Acoustic guitar, string ensemble, light brass accents, brushed drums, warm bass, glockenspiel touches
Production: Stereo stage mix, subtle hall reverb, center lead vocals, rounded EQ, clean analog texture, ‑Voice: no falsetto, ‑no belting Production: no heavy reverb, ‑no synth pads Style: no dance beat, ‑no R&B phrasing Rhythm: no syncopation, ‑no swing Vocal FX: no doubling, ‑no autotune
2:55
"Laat Je Gaan" ['98]
v4.5+
Era: 1998 digital pop production
Voice: Young male, bright tenor, clean phrasing, soft vibrato, high energy delivery
Style: Boyband pop, upbeat, catchy, simple lyrics, dance-oriented hooks
Instrumentation: Synth bass, clean electric guitar, bright pads, punchy drums, handclaps, vocal chops
Production: Stereo pop mix, tight compression, crisp highs, minimal reverb, modern layering, ‑Voice: no falsetto slides, ‑no gritty tone Production: no heavy reverb, ‑no orchestral pads Style: no rock edge, ‑no R&B runs Rhythm: no swing, ‑no tempo drift Vocal FX: no autotune artifacts
3:12
Era: 1999 studio ballad
Voice: Warm male tenor, soft vibrato, introspective delivery, close-mic phrasing
Style: Piano pop ballad, reflective, slow tempo, emotional build, intimate tone
Instrumentation: Concert piano, light cello, soft sustained strings, subtle pad warmth
Production: Studio recording, no audience, clean stereo image, gentle hall reverb, low compression, warm EQ shaping, ‑Voice: no harmony, ‑no layered vocals, ‑no group feel Production: no audience noise, ‑no applause, ‑no crowd ambience Style: no upbeat pop, ‑no rock elements Rhythm: no syncopation Vocal FX: no doubling, ‑no echo layers
3:38
Intimate Dutch kleinkunst ballad in the style of Herman van Veen, Soft male tenor, delicate phrasing, half-spoken delivery, minimal vibrato, close-mic warmth, Solo performance with expressive piano, sparse cello lines, occasional soft violin harmonics, and subtle room ambience, Melancholic, poetic, introspective atmosphere with a gentle emotional rise, Slow tempo, long melodic lines, breathing pauses, fragile tone, Production should feel like a small theatre recording: dry vocal center, light stereo piano, minimal reverb, organic dynamics, and intimate storytelling focus, ‑No harmony, ‑no layered vocals, ‑no choir, ‑no pop chorus, ‑no drums, ‑no crowd noise, ‑no echo FX, ‑no belt, ‑no heavy reverb, ‑no upbeat rhythm, ‑no electronic elements, ‑no vocal doubling