No Promises...No Debts - Production

Production

  • Producer: George Kooymans
  • Engineer: John Kriek
  • Mixing: George Kooymans, John Kriek, Arnold Muhren
  • Horn arrangements: Jan Rietman
  • Cover design: Jeep Bunt
Golden Earring
  • George Kooymans
  • Rinus Gerritsen
  • Barry Hay
  • Cesar Zuiderwijk
  • Hans van Herwerden
  • Fred van der Hilst
  • Jaap Eggermont
  • Frans Krassenburg
  • Peter de Ronde
  • Sieb Warner
  • Bertus Borgers
  • Eelco Gelling
  • Robert Jan Stips
  • John Legrand
Studio albums
  • Just Earrings (1965)
  • Winter-Harvest (1966)
  • Miracle Mirror (1967)
  • On the Double (1968)
  • Eight Miles High (1969)
  • Golden Earring (aka Wall of Dolls) (1970)
  • Seven Tears (1971)
  • Together (1972)
  • Moontan (1973)
  • Switch (1975)
  • To the Hilt (1976)
  • Contraband (aka Mad Love) (1976)
  • Grab It for a Second (1978)
  • No Promises...No Debts (1979)
  • Prisoner of the Night (1980)
  • Cut (1982)
  • N.E.W.S. (1984)
  • The Hole (1986)
  • Keeper of the Flame (1989)
  • Bloody Buccaneers (1991)
  • Face It (1994)
  • Love Sweat (1995)
  • Paradise in Distress (1999)
  • Millbrook U.S.A. (2003)
  • Tits 'n Ass (2012)
Live albums
  • Live (1977)
  • 2nd Live (1981)
  • Something Heavy Going Down (1984)
  • The Naked Truth (1992)
  • Naked II (1997)
  • Last Blast of the Century (2000)
  • Naked III, Live at the Panama (2005)
  • Live in Ahoy (2006)
Singles
  • "Eight Miles High" (1970)
  • "Radar Love" (1973)
  • "Radar Love" (live) (1977)
  • "Twilight Zone" (1982)
  • "When the Lady Smiles" (1984)

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Famous quotes containing the word production:

    The heart of man ever finds a constant succession of passions, so that the destroying and pulling down of one proves generally to be nothing else but the production and the setting up of another.
    François, Duc De La Rochefoucauld (1613–1680)

    The growing of food and the growing of children are both vital to the family’s survival.... Who would dare make the judgment that holding your youngest baby on your lap is less important than weeding a few more yards in the maize field? Yet this is the judgment our society makes constantly. Production of autos, canned soup, advertising copy is important. Housework—cleaning, feeding, and caring—is unimportant.
    Debbie Taylor (20th century)

    An art whose limits depend on a moving image, mass audience, and industrial production is bound to differ from an art whose limits depend on language, a limited audience, and individual creation. In short, the filmed novel, in spite of certain resemblances, will inevitably become a different artistic entity from the novel on which it is based.
    George Bluestone, U.S. educator, critic. “The Limits of the Novel and the Limits of the Film,” Novels Into Film, Johns Hopkins Press (1957)