bandmembers 1998 - 2000
Henk Hofstede guitars, vocals
Rob Kloet drums
Arwen Linnemann bass
Laetitia van Krieken keyboards
walking with maria
the 'darling' stone
seven green parrots
angel of happy hour
the wind the rain
jazz bon temps
we started the WOOL tour in Estonia
single : ivory boy
The album WOOL gets released by PIAS - after twenty years, the band finally left their label Columbia. The single Ivory Boy is about Patrick Iliohan, a fan of the Nits who suffered from cancer. His last wish was to record an album together with the Nits. The band have helped him recording some of his songs.
During the sessions for the WOOL album, Hofstede records a Swedish
disco record with lyrics from the book How & What in Swedish", released
in 2003 as Wacker Utsickt
Sony publishes a remastered NITS HITS album, featuring all their singles. The release has a bonus cd with songs from the live album URK.
Nits record Songs from Wool played live at De Lichtfabriek in Haarlem, a TV special. The group invited a number of guestsmusicians for this, like the Zapp string quartet, the Stylus Horns, Leona Philippo (vocals) , Ibenise McBean (vocals) and Peter Meuris (percussion).
During the celebrations of four hundred years of trade relations between the
Netherlands and Japan, Nits go to Tokyo for a number of appearances
together with Junkie XL and Arling & Cameron.
In the cafe Stairway To Heaven in Utrecht their is a fan day for the
celebration of the 25th anniversary of the band. A lot of old members
are there as well. One of the highlights of the day is the appearance
of Lice, a group founded for this day, made up from Nits fans from
Robert-Jan Stips makes the music for the exposition Rembrandt 2000.
the wind the rain
4 track single
Robert Jan Stips - Rembrandt 2000
An audio contribution to the 'Rembrandt 2000' exhibition, taking place in the last months of the first millennium [22 9 1999 / 7 1 2000] in The Hague, Holland
‘By isolating typical pieces of baroque 'language' and moving them into new surroundings I was getting close to a picture of what could have been Rembrandts fantasy about the future music in the year 2000: Barock-With-A-Twist ’