Blog | Soundtrack Of My Life – Sleeze Beez

Scr*wed For Life!

Criticized and bashed heavily by the national hard rock and metal magazine of the Netherlands for their grandiose stage posture and egocentric attitude, the turnout for this gig was disappointingly low. On the sweltering spring day in May, a mere 20-30 paying attendees graced the venue. However Sleeze Beez delivered a performance that belied the sparse crowd, playing with the energy and passion as if they were on stage before a sold-out packed arena. Their electrifying show that day left an indelible mark, nestling itself in my heart for decades to come.

“Can ya feel the heat
Drippin’ off of me
Don’t need the fire brigade
It just don’t work that way
See the temperature risin’
I was realizin’
This house is on fire
Hear my baby shout
Don’t let my flames go out
This house is on fire”


But it wasn’t the house that was on fire, it was the band!
Raising the roof Dutch hair metal giants made inevitably clear they were playing to win, playing to entertain. Dubbed “un-Dutch” was covering the load of their high explosive performance this day. “Un-Dutch” referring to their egos and attitude as well as their musical prowess, releasing one of the best melodic metal records to ever be recorded in the Netherlands: `Screwed, Blued & Tattooed’.

In the late 1980s, the Sunset Strip in Los Angeles was the epicenter of a musical revolution. Bands like Mötley Crüe, Guns N’ Roses, Ratt, Warrant, Poison and Skid Row were stirring up the scene with their unique blend of punk attitude and melodic rock. These glammy hard rock acts, with their ‘pretty boy looks’ and raw, daunting sound, were in heavy rotation on MTV, captivating audiences with their catchy hooks, recognizable guitar riffs, and infectious melodies.

It was during this era that a local band, fresh off the release of their debut album `Look Like Hell’, made a pivotal decision that would propel them to new heights. Parting ways with their initial vocalist, Tigo ‘Tiger’ Fawzi, they welcomed Andrew Elt of the local heroes Gin on the Rocks into their ranks. Elt’s arrival immediately put his mark on the distinct raw sound of Sleeze Beez, delivering high-potent hair metal that raised the bar for their new album.


With Elt at the helm, the band was ready to conquer the L.A. Strip, blending swagger-packed anthemic rock songs with rousing choruses and hit potential. Their brooding cocktail of melodic rock was a perfect fit for the era, as they joined the ranks of the genre’s heavy hitters, each vying for a spot in the spotlight. Ever so often one of the bands attracted attention with towering rock ballad making its way into the top 10 nationwide. The videos accompanying the songs were flashy and fast, focusing on the members’ looks and radiant hairstyles, predominantly. Thus the ‘hair metal’ label was applied.

In the midst of the booming L.A. music scene, where talent flourished and bands were signed by the dozens, renowned Dutch radio personality and record company owner Willem van Kooten took a chance. Drummer and songwriter Jan Koster, brimming with confidence, proclaimed his band to be the best van Kooten would encounter and convinced him to invest.

Van Kooten’s Red Bullet label and publishing company had a proven track record, scoring countless international hit successes and propelling iconic Dutch acts like Focus, Golden Earring, and Shocking Blue into the USA’s charts. Despite the band’s debut album `Look Like Hell’ failing to launch, van Kooten doubled down, investing extra resources into their new album, `Screwed, Blued & Tattooed’. Bold as brass and boasting an impeccable production by renowned producer John Sonneveld and Koster himself, the album set sail, landing an international deal with Atlantic Records.

The hit single ,,Stranger than Paradise” lifted the band’s American career, propelling them to new heights. With van Kooten’s unwavering belief and the band’s undeniable talent, `Screwed, Blued & Tattooed’ impacted the music scene, leaving a mark on Dutch rock history. 


The music of Sleeze Beez is a potent blend of energetic melodic rock and heavy driving riffs. Don van Spall and Chriz van Jaarsveld (Picture) unleash an onslaught of slick, nesting melodies intertwined with powerful, heavy riffs. This dynamic combination creates a captivating sonic experience. The foundation of the band’s sound is built upon a rock-solid rhythm section. Founder Jan Koster and bass player Ed Jongsma provide a tight, unwavering groove that anchors the melodic and riff-driven elements. Their precision and cohesion are akin to the workings of a Swiss clock, ensuring a seamless and impactful performance.

Andrew Elt’s vocals are a standout feature, seamlessly gelling with the band’s musical accolades. His insane melodic register, combined with a raw and gritty discharge, allows him to belt out versatile, towering pitches. This unique blend of vocal styles injects the band with the perfect tone, elevating the songs to new heights. Elt’s impressive vocal range is complemented by his radiant charisma, which helps the band enforce their performances and stage presence. His performing skills and especially his vocal skills place him in between singers like Robert Plant and Skid Row’s Sebastian Bach, making the man a true force to be reckoned with.

Every element on the album elevates in perfect harmony, creating a cohesive and impactful listening experience. The band’s energetic melodic rock, heavy driving riffs, rock-solid rhythm section, and Andrew Elt’s exceptional vocals come together to deliver a powerful and unforgettable performance. 


Impacting like a comet the band’s comradery is daunting. Bringing an unparalleled attitude to the front, does not fall well with everyone, but it certainly adds to their luster. Loud mouthed and swearing they take a stab at passive audiences and don’t refrain from telling it ‘like it is’ in the press. The latter is exactly what happens following their performance reviewed in the leading Dutch metal-magazine. The poor turn up is a fact, but the way Sleeze Beez prove anyone wrong is astounding. The electrifying performance is timeless with their status cemented. 

Their stage grey with white lines and landing signs simulates and aircraft carrier. Slope right to the audience, putting the band in-your-face, as much as their music. Huge is the white 89 emphasizing the release year of the album and start of the promotional “Bar ‘n Grill” tour, matching the discharge of their performances. They grill the venue and raise the roofs!

“Takin’ care of business, rockin’ this town
Hotel, motel, limousine, Greyhound
Jetlag, six-pack, redneck, boom!
Don’t worry, we’ll be back real soon
I’m just lettin’ you know
This ain’t a one man show

You’re the reason we don’t stop
Surrender to me, hands up
Rock in the Western World!”


The band’s live performance on this sunny Sunday, May the 28th in 1989 is nothing short of electrifying. Waving together their finest tracks they create a captivating experience for the audience. Their setlist was a perfect blend of their brand-new album and the debut, showcasing their versatility and musical prowess.

Kicking off with a high-energy trio of ,,Rock in the Western World”, ,,House is on Fire” and the title track ,,Screwed, Blued & Tattooed”, the Beez shoot into gear. These songs set the tone for a barn-storming event, igniting the small crowd’s excitement from the very beginning. Their execution was impeccable throughout the performance. Elt’s vocals were swagger-packed and pitch-perfect, surpassing even the original recordings. The band’s interplay and vocal harmonies added depth and richness to the songs, elevating them onstage.

Absolute highlights of the show to me were the live rendition of hit single ,,Stranger than Paradise” and the often-overlooked gem ,,Heroes Die Young”. Both songs resonated deeply, their live performance displaying the band’s skills, nestling in the hearts of the listeners.


The setlist a dynamic rollercoaster, transitioning from high-energy rockers like ,,Party Animals” and ,,Shame, Shame, Shame” to the heart-warming power ballad ,,This Time”, with Andrew singing it straight to your heart. Chriz ‘the Mega-Farmer’ van Jaarsveld’s guitar solo another standout moment, bringing the tearjerker to a heart-warming eruption.

Closing the show with a powerful finale, foot stompers ,,Hate Rock ‘n Roll”, the heavily engaging ,,Hot and Heavy” and punk-ish rouser ,,Hit and Run”, exploded with energy. Followed by the arena rocker ,,Damned if We do, Damned if We don’t”, and the ravishing riff-driven banger ,,When the Brains go to the Balls” Beez roll forward to its finale. The band’s cover version of AC/DC’s ,,Highway to Hell” perfectly encapsulates the band’s performing abilities, showcasing their ability to bring out the best in their songs and this cover with the performance and musical craftsmanship orbiting.

Elt’s one-liners and interaction with the audience added an entertaining element to the show, keeping the crowd engaged and energized throughout the performance. The band’s encore, pun(k) rocker ,,Ain’t Worth Sh!t!”, with its unapologetic lyrics, proves the perfect closing note to an unforgettable show. With question-and-answer interaction, it’s a great showstopper for the band signing off with a laugh.

“We need a hero
Hold on and don’t let go
Some kind of hero
I know, we know!”


It is this day the band’s music and performance lands deep in every fibre of my body. ,,Heroes Die Young” and ,,Stranger than Paradise” as the accolades of their marksmanship, Sleeze Beez remain unmatched as a live band able to stun the masses, which is exactly what they do opening for chart busters Skid Row on their East coast US tour.

`Screwed Blued & Tattooed’ landed among my all-time top 10 favorite records, frequently gracing my turntable and blasting from my speakers. This album is a timeless gem, brimming with songs that, while potentially dubbed offensive and subject to cancellation in today’s climate, capture the essence of hard rock and hair metal music at its core. Its powerful blend of punk attitude and infectious melodic hooks is utterly captivating, with each track memorable as a heavy version pop anthem. Koster and the band’s song writing prowess shines through on all accounts.

Every song is a blast that endures. Every track a cockrocker that demands to be played with volume cranked up high. Every party lit, `Screwed, Blued & Tattooed’ is a firecracker that raises the roof of all eighties and nineties party. Relive those days ‘in the field’ and make your moments count. Raise your glasses, fist pump and bang wild. This is what hair metal was all about!


The recordings emit serious balls-to-the-wall attitude that resonates across generations. Surprisingly, Sleeze Beez was often overlooked and met with bland responses from many, who frequently cited their music being expired and accusing them lacking originality copying other acts. All failing to appreciate the wonderful delivery of their songs and the Beez’ undeniable skills. 

In my opinion, the band embraced a distinct riff strategy that set them apart from most bands of that hair metal era. Van Jaarsveld’s previous involvement with the Dutch power metal band Picture lent Sleeze Beez a unique perspective on riffing. The guitars boast a more polished, metal-infused sound, with pitched melodies and heavier-toned riffs akin to classic metal bands like Saxon. This all intertwines perfectly with van Spall’s dynamic rhythmic delivery and his perfect interplay, forging powerful guitar drive and duels. The groove and solid rocking foundation are impeccable, the vocal harmonies and harmonized choruses are jaw-droppingly impressive (also in their live performances).

This album stands as a testament to a band from a small country aiming high, providing the soundtrack for underdogs worldwide. It is the soundtrack of an era, cementing the musical heritage of our nation.

But above all, it is part of the soundtrack of my life, the launch into my twenties!

“Work up an appetite
Raise a little hell, raise a little hell
Raise a little hell tonight”

Post scriptum: Proving their marksmanship, the band’s short reunion in 2010 – 2011 displayed their dexterity performing, and timelessness of their songs anticipated by the packed stadium opening for Aerosmith, its rehearsal show, prior in Helmond, and Sleeze Beez’ final gig in February 2011 at the infamous Amsterdam Paradiso, where they returned to their ‘hometown’.

Images are taken from WWW.



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