THE STORY OF THE BAND "THE COUSINS" by Freddy Magnus
In 1954, a few young Brussels students, passionate about music, founded an orchestra. After many rehearsals, the group—calling themselves La Jeune Équipe (The Young Team)—began performing at dance evenings in the capital. Composed of six musicians, the orchestra quickly became one of the most sought-after in the city, setting the mood for tea dances in some of Brussels’ most exclusive venues. Their repertoire was diverse, ranging from waltzes to tangos, with boogie and trendy South American rhythms in between.
At the heart of the group were the Van den Meersschaut brothers—Guido, the elder, and André—both guitarists and vocalists. In 1958, a new drummer joined the group: Adrien Ransy, also from Brussels. He was already a seasoned professional, coming from the city’s jazz scene, where he performed regularly at the club La Rosé Noire. Since those gigs didn’t fully provide for him, Adrien accepted the offer from the Van den Meersschaut brothers—founders and leaders of the orchestra—to become part of the group.
In 1959, André, the lead guitarist, having completed his literature studies, had to fulfill his military service. As bookings continued to pour in, his older brother Guido began searching for a replacement. He ended up auditioning a guitarist from another group: Gustave Dereze (also known as Gus Derse). Gus was also an accomplished musician, having studied violin for seven years before switching to lead guitar. He was also an excellent Hawaiian guitar player. With him, La Jeune Équipe entertained Brussels’ high society, dressed in green Caballero-style jackets worn over white shirts and black trousers.
At that time, Latin American music was booming—especially the cha-cha-cha, a style in which the group truly excelled. Their repertoire also included rock’n’roll, with songs by Bill Haley and a few by Little Richard. After completing his fifteen months of military service, André Van den Meersschaut rejoined the band, while Gus Derse switched to electric bass—a new instrument destined to replace the good old double bass.
CLUB LES COUSINS
In July 1959, a new club opened on the famous Grand-Place in Brussels, catering to the city’s upscale youth. Located on the first floor of building number 7, it was run by Jean-Paul Wittemans, a colorful character well known in the artistic scene. Though small, the club quickly became a hit with young people. Jean-Paul had found the secret by organizing weekend surprise parties where the youth let loose to the latest tunes played by a Wurlitzer hi-fi stereo jukebox, model 2400 S. He named the venue "Les Cousins" in reference to Claude Chabrol’s 1958 film of the same name.
Also inspired by the film, the club's emblem was a stylized female head—representing actress Juliette Mayniel, whose eyes in one scene reflect the shape and light of a candelabrum held by Jean-Claude Brialy. This image was reproduced on the stairway wall leading to the club, and appeared on all official materials, including membership cards. For the club’s first anniversary, Jean-Paul invited *La Jeune Équipe*, whom he had already seen at the Concert Noble, and whose drummer, Adrien Ransy, was an old acquaintance.
On Friday, July 1st, 1960, they performed two sets in a reduced lineup: the Van den Meersschaut brothers—Guido (aka Guy Dovan) and André (aka André Shore)—along with Gus Derse (all on guitars and vocals), and Adrien Ransy on drums. Their performance, in a packed venue, was an unprecedented success. They returned on Thursday, July 14th, for Bastille Day.
Jean Kluger, one of the two sons of Jacques Kluger (owner of World Music publishing and director of the Palette record label—Color In Music), headquartered at 13 Rue de la Madeleine in Brussels with a branch in New York at 1733 Broadway, was captivated by the quartet’s performance. He spoke to his father, who was very interested, as he was seeking new artists for his recently founded label.
KILI WATCH
An audition was arranged at Sibemol, the orchestra’s usual rehearsal space. Impressed by their performance, Jacques Kluger offered to record them on Thursday, September 15, at the Philips studios on Rue du Poinçon. The recording was done on a three-track system by a skilled technician named Roger Verbestel. During this session, the group recorded two original titles. In fact, they were scout songs that the quartet had set to music.
The first was "Fuego," a lively cha-cha-cha, and the second, "Kili Watch," a true rock song, though labeled cha-cha-cha-rock. Now they needed a band name. Since Latin American music was hugely popular—especially with the Belgian group Les Chakachas—they considered "Los Primos." But out of friendship for Jean-Paul Wittemans, they chose the French equivalent: “Cousins.”
On September 26, 1960, Jean Kluger signed the four Cousins to an exclusive one-year contract, renewable. A first photo shoot was arranged at the Les Cousins club. Shortly after, a dramatic turn of events occurred: Gus Derse abruptly quit the group. The reason? Without informing the others, Gus had registered the two songs with SABAM (the Belgian equivalent of SACEM) under his name, even though all members had contributed to their creation. At age 30, Gus Derse bowed out.
With ongoing contracts and a record in production, the Cousins had to find a replacement. On the advice of Théo Parys, a music store owner and official dealer of Framus guitars (a German brand the Cousins were loyal to), they were introduced to a highly talented young musician who had recently purchased a bass from the store. Seventeen-year-old Jacques Stekke (nicknamed Jacky) accepted the offer to join the group. Meanwhile, preparations for the release of the 45 rpm single were underway, launched at the salons of the Plaza Hotel in Brussels.
Jean-Paul Wittemans ordered a thousand copies of the record, which Jacques Kluger handed over free of charge on Friday, October 14 at 8 p.m. Among the guests were Dany Robin and her husband Georges Marchai. The unique feature of these thousand pressings was that "Fuego" appeared on side A. The first to play “Fuego” on the radio was Jean-Claude Mennessier (a host on RTB in the 1960s), on October 9 at 2:15 p.m. The following day, he played the B-side: “Kili Watch.”
He continued to play both sides nearly every day, emphasizing that this was a 100% Belgian production. BRT (Flemish radio) followed suit, with their first broadcast of “Kili Watch” on October 13. Then came international radio stations. The track was first heard in France on November 15 on *Salut Les Copains*, and on English Radio Luxembourg on October 30 at 2:30 p.m. This catchy tune full of onomatopoeias quickly became ubiquitous—played in department stores and during intermissions at Belgian cinemas. The single came in a black cover featuring the emblem of the Les Cousins club, with both song titles highlighted and the mention “Jean-Paul presents,” under which appeared “The Cousins.”
Although other Belgian bands had already recorded rock’n’roll, it is fair to say that “Kili Watch” ignited a wave of enthusiasm among young people in Belgium for this genre. The success of the band sparked the birth of dozens of other groups with three guitarists and a drummer. Over 10,000 records had been sold by the time the Cousins headlined the second Miss Grand-Place election, organized by Jean-Paul Wittemans at his club on Friday, November 18. The guest of honor was bandleader Reg Owen.
In November, the song ranked 15th in the French-speaking Belgian charts and 18th in the Flemish ones, according to *Juke Box*, the popular youth music magazine published by Jan Torts in Mechelen. This publication, a hit with Belgian teens, compiled its monthly hit parade based on actual sales reported by record shops across the country. “Kili Watch” was covered in French by Johnny Hallyday and Bob Azzam with lyrics by Jii & Jan, and in Flemish by entertainer Bobbejaan Schoepen. Other artists would follow suit—including Plastic Bertrand.
KANA KAPILA
In December 1960, the Cousins returned to the studio to record two tracks: “I Told You So” (a rock song) and “Dale Que Dale” (a cha-cha-cha), both composed by Guy Dovan. The goal was to produce a super 45 rpm for the French market. Its sleeve was identical to that of the regular single. “Kili Watch” was also being distributed in thirteen countries, including Australia and Uruguay.
Numerous magazines covered the release, and *Billboard* in the U.S. informed its readers that “Kili Watch,” performed by the Belgian group The Cousins, was climbing the sales charts internationally. It was abroad that the Cousins made their first TV appearances. In January 1961, Guy Dovan (29, vocals and guitar), André Shore (23, guitar and vocals), Jacky Stekke (17, bass and vocals), and Adrien Ransy (23, drums) traveled to Paris to record the show *Toute La Chanson* hosted by Jacqueline Joubert and produced by André Salvet. They performed “Kili Watch,” broadcast on January 30.
On the morning of Wednesday, January 18, they received a letter from Dutch television inviting them to appear that same evening at 6 p.m. on the show *Pas Geperst* (similar to *École des Vedettes*). In Flanders, they reached the 3rd spot on the charts, just behind two Elvis Presley hits: “Wooden Heart” and “Are You Lonesome Tonight.” Four months after its release, “Kili Watch” had sold 100,000 copies in the Benelux—a record for artists from those countries.
During the Cousins Ball organized by Jean-Paul Wittemans at the Plaza Hotel in central Brussels (Boulevard A. Max) on March 1, Jan Theys of Palette presented the band with a gold record for this sales achievement. The Cousins became the first Belgian artists to receive such an award in this musical genre. The day before, on March 2, Palette hosted a press conference at the Martini Club in Brussels for the release of their second single. On side A was a medium-tempo, energetic rock number, “Kana Kapila”; on the B-side was an instrumental, “Bouddha,” in line with the trend sparked by “Apache” by The Shadows, “Wheels” by The String-A-Longs, and “Pepe” by Duane Eddy.
“Kana Kapila” had the same impact as “Kili Watch.” The record sleeve was similar to the previous one, except the background was a bright red. Sales were also encouraging—reaching 2nd place in French-speaking Belgium in May, just behind Edith Piaf’s “Non, Je Ne Regrette Rien.” Given their rising fame, the Cousins decided to fully dedicate themselves to their musical careers. But 17-year-old Jacky Stekke could not keep up. After a final concert in Leeuw-Saint-Pierre (south of Brussels), he left the band on April 9. He was replaced by 20-year-old jazz guitarist Jean Huysmans.
Their own repertoire was still too limited, so they had to rely on covers from other artists like Elvis Presley, Eddie Cochran, and Buddy Holly. After some TV appearances on Belgian channels—including *Dans Ma Rue* on RTB and *Kijkuit* on BRT—France invited them back. On June 6, they were seen performing “Kana Kapila” and “Bouddha” on *Discorama*.
Meanwhile, on May 2, the Cousins traveled to Lille for a television appearance on the program *Déjeuner Avec Vous*. André Shore was using a Framus Hollywood model S/132 guitar. Guy Dovan used the same model (he had previously played a Framus Lorento), while Jean Huysmans' bass was also from the same brand. In April, they went back to the studio. At the request of a commercial sponsor, Guy Dovan composed a song with lyrics by his collaborator Phil Dape (a pseudonym for Dr. Philippe Minne).
This medium-tempo rock song is likely the first to have been fully sponsored by a commercial company. The sponsor was Piedboeuf Breweries (from Jupille, near Liège), which intended to launch a new orange-flavored soft drink. Matching the drink’s name, the title of this third 45 rpm was “Parasol.” This time, the lyrics were not just playful onomatopoeias but written in Creole. On the B-side was a previously recorded song, “Plere Pays Moin,” a Creole ballad of lesser interest.
The single featured a cover with the same logo as the lemonade’s label. It showed the four band members in full performance mode. A massive publicity campaign was launched across Belgium, with images of the Cousins crouched under a parasol with their instruments.
Despite this well-orchestrated promotion, “Parasol” failed to win over the Flemish market. On the French-speaking side, things went better: it reached 2nd place in July, just behind the unstoppable “Wheels” (“Dans Le Cœur De Ma Blonde”). Simultaneously, their first 25 cm LP was released under the title “Join The Cousins,” again featuring the emblem of the Les Cousins club on a background of red and black rectangles.
Although the back cover displayed some black-and-white photos of the band (now with Jean Huysmans), the ten tracks on the album were recorded with Jacky Stekke on bass. The LP included songs from both EPs as well as two instrumentals: “The Midnight Sun Will Never Set” by jazzman Quincy Jones (known in French as “Soleil De Minuit” by Henri Salvador), and the famous “Manhattan Spiritual,” a reprise of the 1958 hit by bandleader Reg Owen, who launched the Palette label in the U.S. that same year. This spiritual had also been sung in 1958 by Caterina Valente and others under the title “Mes Frères.” In fact, the record label insisted on including those two songs because Jacques Kluger held their publishing rights.
As for the Kluger family, it was the eldest son, Jean Kluger, who became the Cousins’ artistic director.
On May 27, the group appeared at the Song Festival in Zuidlaren (Netherlands) alongside German rocker Peter Kraus and the Blue Diamonds (a Dutch-Indonesian duo) whose big hit was “Ramona.” The festival was a triumph for them, as over five thousand young people gave them a standing ovation. On Friday, June 2, the first Teenagers Festival took place at the Vinci Hall, located on the 9th floor of the International Rogier Center near Brussels’ North Station.
Three thousand people eagerly awaited the stars of this 100% rock show, hosted by the brilliant Jean-Claude: Will Tura, Olga, Pete Monti, Cecily Forde, the Seabirds, Dan Ellery, Bob Rocky, the Spoetnicks, and the Jokers (all Belgian artists). The headliners were The Cousins and Richard Anthony. Then the quartet flew to Italy for promotion, as their first record had already been released there. They had to record around ten TV segments, filmed on Ampex (an early form of video recording). As a result, Italy’s two RAI channels featured the Cousins on shows such as *Caterina Show* (with Sacha Distel, Giorgio Gaber, and of course Caterina Valente) and *Canzonni Da Mezza Sera*.
In July, they had three songs in the charts—something never seen before in Belgium. For commercial reasons, “Parasol” was re-released in record stores with the same sleeve but a different B-side: “Aye Lula,” a cha-cha-cha. Before their departure to Italy, Guido Dovan had entered the studio alone to record his vocals for alternate versions of previously recorded songs. This led to a French adaptation of “Parasol” as “Marchand De Parasols,” and “Plere Pays Moin” was turned into “Si Loin De Moi,” along with German versions of the same melodies.
For international markets, the Cousins would often use this strategy. Meanwhile, a second super 45 rpm was released in France in May featuring “Kana Kapila,” “Bouddha,” “Aye Lula,” and “Plere Pays Moin,” using the same sleeve as the second Belgian single. For the summer months, they landed a contract to perform three times a day from July 12 to September 11 at a new venue called *Nouvelle Vague*, located on the rooftop of the Kursaal in Ostend, a Belgian seaside resort town.
The Cousins were also part of the first Teenagers Festival in Zeebrugge on Monday, August 14. They shared the stage with Conny Froboes, Udo Jürgens, Los Machucambos, Will Tura, Los Amadores, and Clark Richard. Before that, they had taken part in the variety segment of the third Comblain-la-Tour Jazz Festival. Presented by Marcel Fort (from Radio Luxembourg), this open-air event on Sunday, July 30, drew over 10,000 people and featured Sacha Distel, Colette Deréal, Diana Dors, and Jackie Seven.
At the end of August, they spent three days in Berlin for German TV, where they performed the German version of “Parasol” on the show *Télé-Bar*. They closed out the autumn with numerous galas. On Saturday, October 7, at the second *Night of Sports* held at the Eden in Liège, the group—headlining the evening—performed their brand-new single, “Dang Dang” and “Stodola,” both rock songs, one sung in English and the other in pseudo-African dialect. Both sides entered the charts in November: 4th in Wallonia and 9th in Flanders.
PEPPERMINT TWIST“Dang Dang” was also recorded in both German and French. In France, it was released as a single paired with “Tu N'M'Avais Pas Dit” and on a super 45 rpm with “Marchand De Parasols” and “Tentation” (a cover of the Everly Brothers’ “Temptation”). Its sleeve featured, for the first time, a splendid color photo of the four Cousins.
“Dang Dang” was later covered by Annie Cordy under the title “Dingue Dingue”.
The quartet returned to the studio (still in Brussels, this time at Palette’s studio located on Rue de la Madeleine) to prepare new material. For the holiday season, they simultaneously released a Christmas EP and a second 25 cm LP. The EP had a color cover showing Guy Dovan dressed as Santa Claus handing a guitar to his brother André Shore.
The four well-known carols were arranged by Guy Dovan and Willy Albimoor: “Silent Night,” “O Little Town of Bethlehem,” “Le Messager Des Anges,” and “Le Sommeil De L’Enfant Jésus”—four beautiful hymns sung in both English and French. The 25 cm LP, with a black-and-white photo, contained ten tracks including eight new ones: “Michael” (an English-language spiritual made famous by The Highwaymen, later covered by Rika Zaraï and Johnny Hallyday as “Pour Nos Joies Et Pour Nos Peines”), “Mumblin’ Mazie” (a medium-rock track by Johnny Otis, also performed by Cliff Richard & The Shadows), “Nothin’” (a composition by Guy Dovan), “Peppermint Twist” (Joey Dee & The Starliters’ energetic twist hit), “Apache” (a slow version of The Shadows’ classic), “Twistin’ Baby” (also by Guy Dovan), “You Caught Me On The Hop,” and “When The Cousins Come Twistin’ In” (a stunning twist version of the classic “When The Saints Go Marchin’ In”).
Most of the Cousins’ original songs were composed by Guy Dovan (the singer). In addition to the other band members, he was frequently assisted with lyrics by Earl Gary and Van Aleda. Another key figure for the Cousins was Willy Albimoor, pianist and bandleader, who served as their behind-the-scenes artistic advisor, arranging most of their songs and even some vocal parts. December also marked a style change for the four musicians—they abandoned their Latin American look in favor of midnight-blue suits with a burgundy pocket square, white shirt, and a matching twist-style bow tie with a shiny center.
That holiday season, they appeared at the Ciné-Théâtre in Châtelet alongside a young Adamo, Jackie Seven, André Brasseur’s trio, and Les Frénétiques. On the 17th, they performed in Tourcoing at the Fresnoy-Dancing with Sim and Les Chakachas, and on New Year’s Eve with Dalida. Critics from both linguistic communities praised them highly. They appeared on the cover of issue No. 63 of Juke Box magazine on January 19, 1962, as they had already done in April 1961.
At the beginning of 1962, new records were released. Singles included “Peppermint Twist,” sung in several languages: in French (40115) with B-side “Elle A Dit: Mmm” (adapted from “Mumblin’ Mazie”), in English (40116), and in German (40117). For the English and German versions, the B-side was the instrumental “Manhattan Spiritual” from their first 25 cm. This was the height of the twist craze—a revolutionary dance that let young people cut loose without needing a partner. It paved the way for dances like the madison, the surf, and later the jerk.
Their version of “Peppermint Twist” thrilled Belgian youth, reaching 4th place—higher than Joey Dee’s original. As rising stars in Belgium, the Cousins continued refining their live performances. Under Guido Dovan’s guidance, several improvements were made. Most notably, he developed a system to create a striking echo effect on their vocals. This fairly complex setup involved connecting the microphones through a preamp, a tape recorder, and then the main amplifier, producing a phenomenal sound no other band could replicate at the time.
To improve their mobility on stage, the band introduced another innovation: a type of metal microphone holder concealed beneath their jackets. This allowed the three guitarists to move freely during concerts without having to remain in front of a mic stand, while still maintaining clear, audible vocals. The Cousins were becoming international stars, with their records being sold worldwide. Pressings could be found in Japan, Australia, Argentina, Brazil, and even in the United States, where Palette had a branch. There, their records were released under the name Continental Cousins, since another band already used the name The Cousins.
In Argentina, where they were published under the Disc Jockey label, they were known as “Los Primos” (the Spanish translation of “Cousins”). At the peak of their popularity, the group was in high demand for dance parties, sports events, and even movie premieres.
On Friday, February 2, they appeared with Serge Gainsbourg as the headline acts of the Bal du Droit called Event 62, organized by the ULB student circle at the cultural center in Uccle. The evening featured the grand orchestra of Albert Langue & His Dixies Stompers. While still relatively unknown in France outside of the northern regions where they performed frequently, Paris was now ready to welcome them.
In March, the Cousins performed at the Alhambra and the Olympia, where they were the American-style headliners in a show featuring Caterina Valente. Introduced by Pierre Doris, their performance with Raymond Lefèvre’s orchestra was broadcast on Wednesday, March 14, at 8:15 p.m. Bruno Coquatrix, impressed by their show, advised them to move to Paris, promising many contracts. However, this didn’t happen due to prior commitments they had already made.
At the end of March 1962, the Cousins traveled to England for a few days, appearing on TV for both the BBC and ITV. During this short stay, they performed at London’s famous Stork Club. Despite their success, they had to return home due to strict British laws regarding work permits for foreign artists. In April, Danish TV invited them to perform in Copenhagen.
At the same time, a super 45 rpm was released in France featuring “Peppermint Twist,” “Stodola,” “Elle A Dit: Mmm,” and “Moi, Rien” (the French version of “Nothin’”). Its vibrant color sleeve showed the group in a white Sunbeam convertible. In Belgium, the single “When The Cousins Come Twistin’ In” was released, paired with “Hey Mae,” a powerful rock song composed by the Kershaw brothers. The B-side, “Hey Mae,” was the Belgian favorite, reaching 3rd place in July.
A French version of these tracks followed a month later: “Quand Les Cousins S’En Vont Twister” and “OK Twist.” In May, still in Belgium, two EPs were released. The first included those two songs, plus “Pour Twister” (French version of “Twistin' Baby,” with lyrics by Jil & Jan) and “Demain c’est ton anniversaire” (an adaptation of the lesser-known “Seventeen Tomorrow” by Cliff Adams, with lyrics by Pierre Saka), a lovely ballad.
The English versions of the first three songs were also issued on a super 45 rpm, with “Nothin’” as the fourth track. Both sleeves were identical, showing the band members crouched around instruments arranged like a campfire. The French-language EP was distributed with a different visual. At the same time, Palette released another super 45 titled “Twist Party At The Black & White” (named after a Brussels nightclub), featuring four artists from the label: Vince Taylor, Big Brown, Buddy Bow, and the Cousins with “Twistin’ Baby.”
The cover showed a dancing couple. On Whit Monday, June 11, the band headlined the 36th Matrimonial Tea Dance in Trazegnies, along with Jacky Delmone and the Tigers. In mid-June, they embarked on a three-week tour of Sweden, performing about thirty concerts in various “volkmuset” (event halls that could host thousands). They were initially met with a lukewarm reception, as they were unknown there—only their first EP featuring “Kili Watch” had been released in Sweden. However, after a few shows, they won over the public.
On Sunday, July 8, the Cousins headlined the first Golden Guitar Festival in Ciney, alongside Jackie Seven. This event took place under a big top and featured a contest for amateur bands. The winners were The Saphirs from Brussels, who would find fame two years later with the song “Jivaros.” At the end of August, the group was once again invited to Germany for several TV appearances. They represented Belgium at the Radio Exhibition in Berlin.
They also made a stop in Frankfurt. On August 1, the Cousins appeared on the cover of issue No. 41 of the Belgian magazine Musique 62, alongside Johnny Hallyday and Les Chats Sauvages with Dick Rivers. They also appeared in full-page features in the weekly magazines Humo and Moustique TV Radio on September 6. These covers showed the Cousins in stage costumes, sitting on a vintage convertible, in a color photo taken by Willy Knopf.
This was the first time the three guitarists were seen with new instruments. Jean Huysmans now played a brown Fender Precision bass, while Guy Dovan and André Shore each had an identical guitar, resembling a Stratocaster, in dark red with a black pickguard and light wood neck. This distinctive instrument was a one-of-a-kind model, custom-built by a Belgian luthier. The electronics were still Framus-brand.
ROBOT / RELAX
On Saturday, September 8, during his show *Les Moins 20*, host Michel Lemaire played the instrumental side of a new 45 rpm single. To win a copy, he invited listeners to call in and guess the performers. A wide range of names were mentioned—from The Shadows to Les Chats Sauvages to The Spotnicks—but no one found the right answer. With no correct response, Michel Lemaire revealed that the track was “The Robot” (by André Shore and Adrien Ransy), performed by The Cousins.
The sound, style, and rhythm of this brilliant instrumental were entirely different from anything the group had done before. It seemed inspired by the famous “Green Onions” by Booker T. & The MG’s. Teenagers were miles away from suspecting that The Cousins were behind such a syncopated piece. This instrumental was the B-side of the single “Relax,” a compelling medium-tempo rock track in English, composed by Guy Dovan, Earl Gary, and Van Aleda.
On Sunday, September 9, the band appeared on the lineup of the Teenagers Festival at Parc Communal in Châtelet alongside Robert Cogoi, Salvatore Adamo, and Richard Anthony (who replaced Les Chats Sauvages at the last minute due to Dick Rivers’ departure). On September 14 and 17, the group headlined the Ancienne Belgique in Antwerp and Ghent.
On the 15th of the same month, the 45 rpm “Relax” / “The Robot” was released, reaching 3rd place in the French-speaking charts and 14th in Flanders by November. During that month, The Cousins returned to Sweden for a series of galas. They also appeared on the popular Swedish TV show *Sista Paret Ut*.
For the end of the year, a single, a super 45, and a 33 rpm LP were released for Belgian youth. Sung in English, the single featured “Lawdy Lawdy” (a lively gospel composed by Jean Rolle) and “Sweet Virginia” (a slow ballad by Willy Albimoor and Jean Rolle). It was issued in two different sleeves—one with a black-and-white photo of the band sitting on a carousel, and a more appealing one in color showing the group in the studio.
The EP included “The Robot,” “Relax,” and two new English-language tracks: “Hey Hey” (based on a song by Flemish artist Will Tura, also signed with Palette) and “Kathleen” (a medium rock number by W. Lewis and B. Stuart). French versions of these two songs were later released on another super 45, with “Kathleen” retitled “Marilyn.” Their third 25 cm LP was released simultaneously in France and Belgium.
Entirely in English, it featured ten tracks: “Lawdy Lawdy,” “Limbo Rock” (by The Champs, popularized by Chubby Checker), “Hambone” (a rock song by Red Saunders), “Kathleen,” “Hey Mae,” “Relax,” “Sweet Virginia,” “The Robot,” “Roses Are Red” (Bobby Vinton’s hit), and “Hey Hey.” The luxurious sleeve displayed a color photo of The Cousins in the studio, posed differently than on the single. “Lawdy Lawdy” (later covered in French by Colette Deréal as “Là-Haut, Là-Haut”) only reached 15th place—and only in Flanders.
Once again in demand, the quartet headlined the Ancienne Belgique venues for the holiday season. From December 24 to 26, they played in Antwerp with Burt Blanca, The Gamblers, I Trovatori, and The Kili Jacks. From December 29, 1962, to January 3, 1963, they took over the famed Brussels music hall alongside Burt Blanca & Les King Créoles, I Trovatori, and the powerful American vocal ensemble The Southlanders.
The year 1963 started at full speed for the band. They remained in high demand for numerous gala performances. After a short but brilliant second visit to Denmark, they headlined a Dutch radio and TV show called *Tot Uw Orders*, broadcast live from a military air base in Bergen-op-Zoom.
Their performance thrilled the 6,000 attendees at the concert. But in early February, a new shock hit the Cousins: drummer Adrien Ransy decided to leave the group, no longer inspired by their repertoire. He wanted to focus on more sophisticated music. His replacement was Pol Pécriaux (nicknamed Pépé), a Brussels native (born in the Congo) who had just turned 21. After two weeks of rehearsals, Pol “Pépé” Pécriaux was ready to become one of the Cousins alongside the Van den Meersschaut brothers—Guy Guido Dovan (guitar, vocals) and André Shore (guitar, vocals)—and Jean Huysmans (bass).
On February 23, he performed with the band at the Festival of Youth at the City Hall of Châtelet, along with The Fury Boys. Meanwhile, four super 45s were available on the Belgian and French markets. In Belgium, one featured the French versions of “Hey Hey,” “Marilyn,” and “Relax,” along with “Le Robot.” Another included “Lawdy Lawdy,” “Sweet Virginia,” “Hambone,” and “Limbo Rock.”
In France, the latter was also released, while another super 45 compiled French adaptations of “Relax,” “Relax Baby,” “Roses Are Red,” “Je Reviendrai My Love” (also recorded by Nana Mouskouri and Rika Zaraï), and “Hey Hey.” The fourth track was the instrumental “Le Robot.” The rest of the Cousins’ adventures would be shared in the next issue of *JBM*.
In March 1963, the Cousins—consisting of the Van den Meersschaut brothers, alias Guy Dovan (guitar, vocals) and André Shore (guitar, vocals), plus Jean Huysmans (bass) and Pol “Pépé” Pécriaux (drums)—took part in the film *Hocus-Focus*, presented by Flemish channel BRT for the Montreux Festival during the European television gathering. For this appearance, they dressed up as Romans. The show also featured Flemish artists Will Tura and Freddy Sunder.
The film was broadcast on many channels, including France’s RTF on Friday, August 23. On the music side, a new 45 rpm was released with two different sleeves: one in black and white showing the Cousins on the wing of a small aircraft, and another in color with a red background, showing the quartet from a three-quarter angle. The record included the instrumental “Anda,” featuring castanet rhythm by Belgian guitarist Jo Van Wetter, who would later create “La Playa.” The B-side was “Wadiya,” a fiery rock track with English lyrics by the trio Earl Gary, Van Aleda, and Jean Rolle. Despite its energy, the single only reached 18th place in the charts.
These covers marked the first appearance of the new drummer, Pol Pécriaux. On March 23, the Eurovision Song Contest was held in London, with sixteen countries participating. Denmark won thanks to the duo Grethe & Jørgen Ingmann performing “Dansevise.” The Cousins recorded an instrumental version of the song, which was released as a single with “Boomeranga” on the B-side—a scorching rock track by Willy Albimoor, backed by vocal harmonies.
MAJOR TOURS
On May 5, the city of Binche welcomed them for an open-air Big Show featuring Burt Blanca, Richard Wéry, and Dick Rivers. On June 3, they headlined the Matrimonial Tea Dance in Trazegnies for the second time, alongside Adamo and Robert Cogoi. That same month, two super 45s were released in France. The first included “Wadiya,” “Dansevise,” “An-da,” and “Marche Tout Droit” (the French version of “Walk Right In” by The Rooftop Singers, popularized by Claude François and Frankie Jordan). A splendid full-length color cover showcased the band.
The second, with another four-color sleeve featuring the airplane photo, contained four French-language tracks: “Toodeloo,” “Hully Gully Boy,” “Je N’Oserai Plus Jamais,” and “J’Ai Revu Ton Visage.” Two upbeat songs and two ballads, the first three composed by Guy Dovan and the last by Pierre Minne, all with lyrics by French lyricist Frank Gérald. These titles would later be released in Belgium as two singles.
On Monday, July 1, the club Les Cousins organized a dance party to celebrate its fourth anniversary. Its director, Jean-Paul Wittemans, naturally called on the band and Robert Cogoi. On July 14, the Cousins and Robert Cogoi were also featured in the second Golden Guitar Festival in Ciney, where the winning band was I Cogoni (future Sunlights). On Tuesday, July 16, they performed at the Ostend Casino with Will Tura and Les Croque-morts.
For the 1963 summer holidays, two new singles were released. The first, in July, featured the instrumentals “SOS” (based on the Morse code distress signal rhythm) and “Tel Aviv” (by lead guitarist André Shore), with violin arrangements by Willy Albimoor. These two tracks did not gain public favor. The second, released in September and sung in German, included “Bye Bye Lola” and “Honolulu Love,” targeting the German market. With a Hawaiian feel, these tracks were backed by a large orchestra. Although mentioned in the October issue of Cashbox as having been recorded in Frankfurt (which was false), they went unnoticed by the public.
September also gave the band a chance to take a break before beginning two major tours. Strangely, their French-language songs were released in countries like Brazil, Spain, Italy, and Canada. The first tour took place in October across Flanders in Belgium. Named the Tura toernee, it brought The Cousins and Flemish singer Will Tura to major Flemish cities. The second tour marked their first venture outside of Europe, organized by Palette. For one month, the group performed in Madagascar and Réunion.
Departing from Paris airport in early December, the Cousins ran into a few mishaps. First, their plane tickets arrived late—the Palette-France staff had them delivered to their Paris hotel, which they had already left. Also, their equipment could only be shipped after paying a hefty fee. In the end, after a short delay, they boarded with their gear.
The Palette manager would long remember the adventure, having to chase down the tickets and pay a large sum for shipping and customs. Leaving the cold of France, they arrived in sunny Tananarive. A crowd was gathered at the airport. Curious about the commotion, the Cousins learned that the people were waiting for Pope Paul VI.
The next day, the front page of the only Malagasy daily newspaper featured the Cousins next to an article announcing the Pope’s visit. Surprised by their popularity on the island—where The Surfs were unknown—the Cousins began their series of performances. For Christmas Eve, they performed at the Hôtel Plage, and for New Year’s, they traveled to Réunion Island, accompanied by a regiment of the French Foreign Legion. On January 6, 1964, they left the African continent.
After a few days of rest with their families, they returned to the studio. In February, the single “P’tits Oiseaux” was released (a calypso from Antillean folklore, arranged by André Shore with English lyrics by Earl Gary & Van Aleda), paired with “It’s The Beat,” a rock song performed and composed by Guy Dovan, also with lyrics by the same duo. This track marked a shift in tone—the Cousins were now also influenced by the new musical wave coming from Liverpool.
In April, two instrumental tracks were released: “Madagascar” (a nod to the Malagasy people, composed by André Shore) and “Swingova” (by bassist Jean Huysmans). Though energetic and brilliantly performed, these two pieces failed to gain public favor. These last four titles were compiled on a Belgian EP.
Gradually, youth interest in the band declined as the French yéyé wave and British bands captured their attention. In response, the quartet returned to the studio for a new single released in June. It included “New Orleans” (by Gary U.S. Bonds, already covered by Johnny Hallyday in 1961) and “Tell Me When” (by The Applejacks, previously adapted in French by Claude François as “Dis-Moi Quand”).
The cover featured a black-and-white photo of the four bandmates wearing the bearskin hats of the British Royal Guard. These two English-language rock tracks were later released on a Belgian super 45 titled “The Cousins In London,” which also included “Anything At All” (by Guido and André Van den Meersschaut) and “A Girl Named Sue” (by Geoff Stephens). The sleeve showed the band, still wearing the same hats, above the Union Jack. Despite the stylish cover and strong “beat” content, the record flopped in terms of sales.
The group then performed on the stage set up at the Heysel Stadium in Brussels, sharing the bill with Adamo, Robert Cogoi, Will Tura, and others for the Centennial Celebration of the Red Cross. They were a hit with the large audience, which included the future King and Queen of Belgium. On July 1, they appeared at the fifth anniversary celebration of the club Les Cousins, alongside Luigi, Ariane & Les 10/20.
During the summer of 1964, they played in various cities along the Belgian coast as part of the renowned De Gouden Micro (the Flemish counterpart to the Micro d'Or, a contest for amateur bands), with The Shakespears, Luigi, and Liliane Saint-Pierre. For the Bavarian-themed festivities held under a 3,000-seat tent in Waimes, they headlined with Dick Rivers on Saturday, August 8, and with André Brasseur and his trio the next day. They performed at the Ostend Casino (with John Larry, Ricky Morvan & The Fens, and The Cosys) on August 17 and at the Blankenberge Casino on August 25.
On Sunday, August 30, they once again performed with Dick Rivers, Burt Blanca, and Little Benny at an open-air show in Leval-Trahegnies. In September, a 45 rpm featuring “The House Of The Rising Sun” (a cover of The Animals’ hit) and “Do Ré Mi” (originally by Earl King in 1961, later made popular by Lee Dorsey) hit the market. The latter song reached 18th place in the charts. With its twist rhythm, it was chosen by Jean-Claude Mennessier as the theme for his daily show Nous Les Décagénaires.
These English-language songs were later released in Brazil (on Copacabana), Uruguay (on Antar), and Argentina (on Disc Jockey). In Argentina, “Do Ré Mi” reached No. 1. The Cousins also recorded German and French versions of both tracks. In France, an EP was released featuring only French-language songs: “Le Pénitencier” (as sung by Johnny Hallyday), “Tout Ce Que Tu Veux” (“Anything At All”), “Notre Amie Suzie” (“A Girl Named Sue,” also recorded by The Jets), and “Do Ré Mi.” The sleeve showed the Cousins dancing arm-in-arm with three young women.
In late November, they traveled to Hamburg to promote their German versions. At the end of the year, Palette released a 30 cm LP titled Live, supposedly recorded at the club Les Cousins. In reality, it was a fake live album, though the production was so convincing it was hard to tell. The cover featured various shots of the band posing with a Honda moped (a bit of sponsored advertising). The LP included twelve tracks, some previously released: “Do Ré Mi,” “Tell Me When,” “Deep In The Valley” (an instrumental), “A Girl Named Sue,” “You’d Better Watch Your Baby” (by Jean Huysmans), “New Orleans,” “Pep’s” (an instrumental by André Shore and Pol Pécriaux, including a great drum solo), “Little Honda” (by The Hondells—again for Honda promotion!), “The House Of The Rising Sun,” “My Mama’s Out Of Town,” “Anything At All,” and a reworked, modern version of their biggest hit, “Kili Watch.”
From Friday, January 8 to Wednesday, January 13, 1965, they headlined the Chouette show organized by Jean-Claude at the Ancienne Belgique in Brussels. It was a 100% Belgian lineup featuring Micky Day & His Caravelles, the orchestra of Marcel Mortier, Eddie Defacq, Tonia, and Cécile Ford. In the January issue of Juke Box magazine, the Cousins were elected—for the third year in a row—as the top Belgian band, winning 85.9% of the readers’ votes. On Thursday, February 11, the band performed with Ariane & Les 10/20 at the Victory Cinema on Rue Neuve in Brussels for the premiere of the film Salut Les Cousins (Kissin’ Cousins) starring Elvis Presley.
MAJOR TOURS 2
On Saturday, March 20, alongside Frank Alamo, Jacky Moulière, and Ariane & Les 10/20, they were featured at the “Nuit des Cousins,” once again organized by Jean-Paul Wittemans at the Salle de la Madeleine. In April, the single “Funny How Love Can Be” (a ballad) and “Wait A Minute” (a masterful rock track)—two covers of songs by The Ivy League—was released.
These songs were also issued in French on an EP, renamed “Ne Joue Pas La Comédie” and “Reste Avec Moi,” coupled with “Il Faut Te Battre” (“Rumble In The Night”) and “Si J’Étais Toi” (“You’d Better Watch Your Baby”). The French lyrics were written by Frank Gérald. The photo with mopeds was reused for this super 45. In Italy, the Italian versions of “The House Of The Rising Sun” (“La Casa Del Sole”) and “Funny How Love Can Be” (“Spiegami Come Mai”) were released.
In Argentina, a Spanish adaptation of “Tell Me When” was issued as “Dime Quando.” In Canada, two singles and a 33 rpm album appeared on the Solfège label, featuring French-language songs. Other English albums were released in Uruguay, Brazil, and Argentina, under different labels but using the same sleeve artwork from the “Live” LP. The selected tracklists varied from country to country.
Singing in five languages, Guy Dovan was the polyglot of the group. In April, the Cousins embarked on a month-long tour of sub-Saharan Africa, organized by Roger Domani for the Eurafrican Office of Artistic and Cultural Diffusion. Before departing, they visited Haarlem (Netherlands) on April 10 for the TV show Combo recorded at the Concertgebouw, and Paris on April 13 for a performance at the Châtelet. Announced by all the newspapers, the Cousins arrived at Ndjili Airport in Léopoldville (capital of the former Belgian Congo).
Their first performance took place in that city on April 25, at the Théâtre du Zoo. Although uneasy due to the country’s political unrest, they performed in several regions, including neighboring countries such as Angola (Luanda), the Central African Republic (Bangui), Rwanda (Kigali), and Urundi (future Burundi, in Bujumbura). Everywhere they went, the crowds—white and black alike—were ecstatic.
In Léopoldville (now Kinshasa), they gave multiple concerts for soldiers and university students at Louvanium. They also made appearances in Gabon, Cameroon, and Côte d’Ivoire. However, it was in the Republic of Congo (later Zaire) that they found the most success, with thousands of young fans supporting them. But not everything went smoothly—they experienced a few mishaps. In Kaliba, for example, they played at the request of a Congolese captain in a mercenary camp filled with heavily armed men.
On June 13, returning from Borna and heading to Matadi to cross the Congo River, they were stopped upon disembarking and searched by Congolese soldiers. In Jean Huysmans’ suitcase, they found a military round of ammunition given to him as a souvenir by a militiaman. He was arrested and taken to a military post for questioning. The other three, shaken, contacted a high-ranking officer whose intervention quickly resolved the incident.
As he did in Madagascar, Guido Dovan brought his 8 mm color film camera and captured beautiful footage—lasting testimony of their tour and popularity. In the show Strip Tease, broadcast on April 22, 1987, and replayed on TV5, some clips from Guy Dovan’s films were shown. On June 30, 1965, the Cousins were the headliners of the huge Independence Day celebration in Bock Park, held under the patronage of Prime Minister Mr. Tshombe. Amid the fanfare, they managed to make people forget, for a few hours, the tense political atmosphere in the capital. Just like when they arrived, a crowd of young people gathered to see them off.
Barely back in Brussels, they had to pack their bags again. On July 9, they left Belgium for Argentina. This time, they were trading summer for the Argentine winter. The Cousins were headed there at the request of the record company that distributed them locally.
The schedule included media appearances and promotional tours. After a 22-hour flight, they landed in Buenos Aires. Stepping off the plane into freezing temperatures, they noticed hundreds of people waiting on the airport terrace. As they approached, the crowd’s shouting and excitement made them nervous—they wondered if the Pope had also chosen this time to visit! But no, it was for them.
Flags and huge banners reading “Bienvenidos Los Primos” were being waved, and the crowd chanted “Los Primos, Los Primos.” At the reception, they learned that they were hugely popular in Argentina—but known there as *Los Primos* (Spanish for “The Cousins”). Television channel Canal Cinco filmed their arrival live. It was unprecedented—perhaps only the Beatles had received such a hysterical welcome.
All along the route to downtown, people cheered them on. A full procession formed: buses of fans, honking cars, fire trucks, and even five light aircraft from a local club. Upon arriving, confetti and streamers were thrown from windows in a genuine American-style parade. The procession led the Cousins to a TV studio, where they were welcomed with thunderous applause and a crowd that spontaneously sang the chorus to “Do Ré Mi.” Deeply moved, the quartet would never forget that welcome. The entire event was broadcast on television. After a day of rest, they began a jam-packed schedule of receptions, galas, cocktail parties, and radio and TV appearances.
Looking to promote a new chocolate bar called Crico (known in Belgium as Crispic), Nestlé invited them to record an advertising version of “Do Ré Mi.” A flexi-disc was pressed and distributed with the purchase of each chocolate bar. Only Guy Dovan, the lead singer, took part in this promotional track. On July 21, Belgian National Day, they were invited to a reception at the Belgian Embassy. The event opened with the orchestra playing the national anthem, *La Brabançonne*, followed by… “Kili Watch.”
The group also signed a one-month concert contract in Argentina for 1966. Upon departure, nearly 300 fans—mostly female—waited at the airport. Police had to intervene to help the band reach their flight, as the fans tried to stop them from leaving. The main hall at Ezeiza Airport suffered minor damage, and the musicians returned to Belgium with not a single button left on their jackets. They arrived in Brussels on August 13, took a few days to rest, then left again for a month-long tour in Italy.
After four months of intense travel, Guy Dovan, André Shore, Jean Huysmans, and Pol “Pépé” Pécriaux earned some real vacation time. During this break, Pépé reflected on things. Nostalgic for the Congo—his birthplace and childhood home—he made the difficult decision to leave the group and join his father, who managed a real estate company there. He reunited with his three bandmates in the studio one last time, and in late October, they released the single “At The Club” (by Gerry Goffin & Carole King) with B-side “Just Because” (by Guy Dovan with lyrics by Van Aleda, who also handled the arrangements).
By the end of the year, these two tracks were coupled with “Action” and “Don’t You Want To Love Me Baby” on a Belgian EP titled *At The Club*, featuring a humorous cartoon of the Cousins performing. In a very rock-beat style, these four songs unfortunately did not meet sales expectations. Since mid-1964, Guy Dovan and André Shore had replaced their custom guitars with beautiful Vox models. Now the Cousins needed to find a new drummer to replace Pol Pécriaux.
They chose Garcia Morales (age 21), son of Belgian conductor Jeannot Morales, well-known in Brussels music circles and former drummer of Les Croque-morts and Babs & Babettes. Garcia was an excellent drummer with formal music education. In December, the new lineup of the Cousins recorded an episode of the monthly RTB television program *Alphabétiquement Vôtre*, where they performed “Action.” It aired on January 1, 1966.
On January 5 in Buenos Aires, Argentina, the PA11965 trophy (International Artistic Production) was awarded to the musical act with the greatest success in 1965. The prize went to The Cousins and was to be officially presented during their next visit.
On February 15, 1966, the group flew out of Zaventem Airport (Brussels) bound for Argentina, where they were scheduled to give numerous concerts. Their popularity in the land of the gauchos remained as strong as ever. Everywhere they went, they stirred the enthusiasm of thousands. In Mar del Plata, a seaside city, 8,000 people cheered them on.
The venue was packed, and the crowd spilled over onto the beach. They were even named “Ministers of Music” during the carnival. In a formal ceremony, the mayor presented them with the keys to the city. On March 10, during a reception at the Belgian Embassy, they were finally presented with the Pai trophy: an ornate silver cup (crafted by Italian silversmiths in 1880) weighing 26 kilos.
During their stay, they also visited neighboring countries where their records were distributed. Upon returning to Belgium at the end of March, they released a new 45 rpm single featuring the English version, “The Story Of A Country Boy,” of Adriano Celentano’s hit “Il Ragazzo Della Via Gluck” (known in French as “La Maison Où J’Ai Grandi” by Françoise Hardy). The B-side was a rock song by Guido titled “You Will Find Another Baby.” The cover bore no photo but instead promoted “The New Sound of the Cousins” in bold lettering. This new, edgier sound was achieved with help from guitarist Burt Blanca, who already mastered that style.
The Cousins also changed their look: since Garcia Morales was the only one without a mustache, the other three shaved theirs off. After a few shows in Belgium, they headed to Germany for a television appearance in *Chansons Worden Schlagers* with Gilbert Bécaud, broadcast on May 16.
In France, they were among the Belgian guests—alongside Tonia and Paul Louka—on the TV program *Bras Dessus, Bras Dessous* on the first channel. This show, part of a collaboration among Francophone countries, was broadcast in France, Switzerland, and Belgium in May.
That same month, the single “Ah Right, Marna” (a lively song composed by André Shore, ideal for the jerk dance) was released, backed with “Four Sailors Back Home” (a slow ballad by Jean). Curiously, the sleeve still featured a photo of the band with Pol “Pépé” Pécriaux. Despite the new sound and the addition of brass instruments, the single failed to catch on with young audiences. These four tracks—The Cousins’ final recordings—were released in France on a last super 45 rpm, whose red-background sleeve was identical to the single.
From July 22 to 29, they headlined at the night club La Champagne in the Ostend casino. In August, they performed at a major venue in Viareggio on the Italian Riviera, where Charles Aznavour and Gilbert Bécaud had previously appeared. One evening, sitting on a bar terrace, the Cousins made a serious and final decision.
Tired of the hectic lifestyle and being far from home (all three founding members were now married, some with children), they decided to end the band. It wasn’t so much due to a decline in popularity or bookings, but rather a desire for more regular family lives. Their wives had some influence in that decision. Previously, they had already turned down a lucrative three-year contract in South America.
Back in Belgium, news of the Cousins’ breakup hit like a bombshell. Still, they honored their remaining commitments. They headlined the *Sunday Parade* at Parc Marie-Louise in Namur and appeared in three episodes of RTB’s *Alphabétiquement Vôtre*, aired in October and November. Their final concert took place in Tubize, at the Boule d’Or hall, with Jesse & James opening, in February 1967.
Surprisingly, in the January 1967 readers' poll in *Juke Box* magazine, they still ranked 2nd—just behind André Brasseur and ahead of The Sunlights.
1969
In 1969, two years after the group’s breakup, producer Roland Kluger asked guitarist André Shore to record a new album. With help from just two other musicians (bass and drums), André recorded all the guitar parts himself.
The album was produced by sound engineer Pierre Dupriez in collaboration with musical director Willy Albimoor. Recording took place at Studio de la Madeleine in Brussels. The LP was released under the title *The Flying Guitar*, featuring 11 tracks—three of which were original compositions by André Shore. The album had a late-60s vibe, with psychedelic touches and flower-power influences.
COME-BACK
On June 1986, Guy Dovan received a call from the Ghent newspaper *De Gentenaar(s)*, which was planning a themed event at the Casino of Ghent. For this second *Nuit du Gantois*, the chosen theme was the 1960s. A former fan of The Cousins proposed to Guido that the group reunite for the occasion. Surprised but enthusiastic, the former lead singer contacted the other members. Guy Dovan, André Shore, and Jean Huysmans all agreed to a one-time comeback. The challenge remained the drummer—since all three former drummers were living abroad: Adrien Ransy in Portugal, Pol Pécriaux in Zaire, and Garcia Morales in Germany!
André then suggested involving his two sons, Danny (24) and Alain (20), both musicians in their band Alter Ego. Alain (aka Gil Bréac) would take on the drums, and Danny would become the fifth Cousin, playing percussion, guitar, and singing backup. Apart from Jean Huysmans, it became a true family affair—with four Van Den Meersschauts!
Despite their various commitments, they rehearsed three times a week, preparing a twenty-song setlist from their classic repertoire. A warm-up concert was held in Liège by Blackjack Records on Saturday, November 1, 1986, at the Eden Palace, during a dance evening led by the Savio Bellini Orchestra. The venue welcomed 500 people—some nostalgic to see the band again, others discovering them for the first time. They opened with Eddie Cochran’s “C’mon Everybody,” followed by all their hits and even a modernized version of “Hambone.”
The band was ready to face the Ghent audience on Friday, November 14, headlining at the Casino of Ghent. Over a thousand people attended. The event was graced by political and sports figures, and other performers of the era like British singer Helen Shapiro. For the event, the organizer pressed 2,500 copies of an EP featuring two songs by The Cousins: “Kili Watch” and “Dang Dang,” with the other two tracks being instrumentals.
After this electrifying night, Freddy Magnus—then host of the show *Strato In Gold* on a local Tubize radio station—invited founders Guy Dovan and André Shore for a two-hour interview. A friendship quickly formed. After seeing them at the previous concerts, Freddy convinced the station to host a 60s-themed evening. The Cousins agreed in December. On Saturday, February 28, 1987, the *Folle Nuit des Années 60* took place at the Gymnase hall (which The Cousins had inaugurated in 1963), drawing 800 attendees. After performances by The Rockabilly Players (from Charleroi), Stroff (Denis Vinson—the Brussels Gene Vincent of the 60s), and Burt Blanca, The Cousins took the stage.
The magic was still there. Two teams from RTBF (French-speaking Belgian TV) filmed the event—one for the next day's news and one for the show *Strip Tease*, aired on April 22, 1987, and later on TV5. Articles appeared in various newspapers and magazines. The Cousins were approached by multiple radio and TV stations (RTBF, BRT, RTL). Contracts poured in, and the band launched a new tour across Belgium. Guy Dovan, André Shore, and Jean Huysmans returned to venues they had played in the 1960s. A real *back to the roots*! They appeared in Leval-Trahegnies on June 8, 1987, during a show hosted by Michel Lemaire, and in Brussels (Porte de Namur) in February 1988, for a 60s night with Burt Blanca, Robert Cogoi, and Richard Anthony.
On May 11, they played at L’Edelweiss in Boncelles. In November 1989, the group traveled to Kinshasa, Zaire, at the request of their former drummer Pol “Pépé” Pécriaux (active in the band from 1963 to 1965). Now living in Kinshasa, Pol wanted to reconnect and organized a private event with friends and the Belgian community of the capital. For a few tracks, he returned to the drums, joining new drummer Alain for an unforgettable double solo on the instrumental “Pep’s.”
Their final concert took place on April 1, 1989, at the Casino of Knokke. Feeling they had relived the joy and fulfilled their audience’s expectations, they made the mutual decision to stop. Still active in their professional lives, they could no longer maintain both commitments. A recording project had even been considered—but was left behind.
2010
To celebrate the 50th anniversary of “Kili Watch,” André Shore’s two sons, Alain and Danny, recorded a modernized version of the song.
The Cousins’ final appearance took place on April 10, 2010, in Hannut, during a benefit evening for “Children of Haiti,” organized by Pol Oter (of the band Pacific) and Kiwanis.