Golden Earring -

Golden Earring was a Dutch rock band that started life in 1961 as The Tornadoes. The band released two Nederbeat albums on Polydor between 1965 and 1967 under variations of the pluralized “Golden Earrings” banner before the arrival of vocalist Barry Hay. Between 1968 and 1981, the band recorded 16 albums for the label before Mercury promoted the 1982 release Cut to a global audience. From 1970 onward, their albums bear the singular “Golden Earring” nameplate.

Members: George Kooymans (vocals, guitar), Rinus Gerritsen (bass, synthesizer, keyboards), Hans van Herwerden (guitar, 1961-63), Fred van der Hilst (drums, 1961-64), Peter de Ronde (guitar, 1963-66), Frans Krassenburg (vocals, 1964-67), Jaap Eggermont (drums, 1964-69), Barry Hay (vocals, guitar, flute, saxophone, 1967-present), Sieb Warner (drums, 1969-70), Cesar Zuiderwijk (drums, percussion, 1970-present), Robert Jan Stips (keyboards, 1975-76), Eelco Gelling (guitar, 1976-78)

Background

Golden Earring was formed in 1961 in The Hague by teenage guitarist George Kooymans (13) and his bassist neighbor Rinus Gerritsen (15). They originally called themselves The Tornadoes. After learning about the English instrumental band with that name, the boys renamed their band The Golden Earrings, taken from the title of a song performed by another UK instrumental act, The Hunters.

Guitarist Hans van Herwerden and drummer Fred van der Hilst completed the original Golden Earring lineup. By 1964, they were replaced by Peter de Ronde (guitar) and Jaap Eggermont (drums). Frans Krassenburg joined on vocals and they signed to Dutch Polydor.

Just Earrings

As The Golden Ear-Rings, they debuted with the album Just Ear-rings in November 1965 on Polydor.

Just Ear-rings contains three songs by Kooymans (“She May Be,” “Holy Witness,” “Now I Have”), two by Gerritsen (“No Need to Worry,” “I Am a Fool”), and six co-writes, including “I Hate Saying These Words” and “When People Talk.”

Side B opens with a cover of the Titus Turner standard “Sticks and Stones,” also covered by The Zombies.

Just Ear-rings presents Golden Earring navigating early British Invasion–style beat music with tight harmonies, jangling guitars, and occasional harmonica flourishes. Tracks like “Nobody But You” and “I Am a Fool” layer contoured vocal lines over sharp, propulsive rhythms, while “Please Go” blends Lennon-esque phrasing with rolling Harrison-style guitar solos. “I Hate Saying These Words” and “Holy Witness” favor brisk, garage-tinged energy, punctuated by tense guitar accents. The bonus tracks extend the sound into rawer rock territory, incorporating angular solos and minimalist percussion, recalling the early Kinks and Rolling Stones. Overall, the album balances short, structured pop forms with occasional bursts of harder-edged instrumentation and harmonically rich vocals, leaving a concise but spirited debut.

A1. “Nobody But You” (2:18)
A2. “I Hate Saying These Words” (2:17)
A3. “She May Be” (1:47)
A4. “Holy Witness” (2:47)
A5. “No Need To Worry” (2:04)
A6. “Please Go” (2:56)

B1. “Stick And Stones” (1:41)
B2. “I Am a Fool” (2:06)
B3. “Don’t Stay Away” (2:10)
B4. “Lonely Everyday” (1:42)
B5. “When People Talk” (2:47)
B6. “Now I Have” (1:38)

Just Ear-rings was co-produced by Arie Merkt and Fred Haayen, who also produced Nederbeatsters Hu & The Hilltops. Sessions took place over two days at Phonogram Studios Hilversum in October 1965.

Two tracks, “Please Go” and “Lonely Everyday,” date from an earlier session on 8/8/65. Polydor lifted both songs as singles, respectively backed with the non-album co-writes “Chunk of Steel” and “Not to Find.”

“Please Go” reached No. 8 on the Dutch Top 40.

1966 Singles

On February 11, 1966, the Golden Earring released their third single: “That Day” backed with “The Words I Need,” both non-album Gerritsen/Kooymans originals produced by Haayen.

A. “That Day” (2:31)
B. “The Words I Need”

“That Day” reached No. 2 on the Dutch Top 40 and catapulted the Golden Earrings to the Nederbeat frontlines. In late May, they dropped their fourth single:

A. “Daddy Buy Me a Girl” (2:42)
B. “What You Gonna Tell”

“Daddy Buy Me a Girl” reached No. 15 on the Dutch chart. Between September 9 and November 18, they released two further non-album singles:

A. “If You Leave Me” (2:17) No. 8
B. “Waiting for You”

A. “Don’t Run Too Far” No. 19
B. “Wings”

“If You Leave Me” and “Don’t Run Too Far” reached respective peaks of No. 8 and No. 19 on the Dutch Top 40.

Meanwhile, the Coca-Cola Company hired the Golden Earrings for a special-edition promo single comprised of two covers: “Rum and Coca-Cola,” a 1945 Andrew Sisters hit backed with “Things Go Better,” a much-covered advertising slogan song by Coke executive Bill Backer.

A. “Rum and Coca-Cola” (Sullavan, Baron, Amsterdam)
B. “Things Go Better”

Before their second album, Peter de Ronde’s departure trimmed the Golden Earrings to a four-piece.

Winter-Harvest

The Golden Earrings released their second album, Winter-Harvest, in April 1967 on Polydor. It contains fourteen originals co-written by George Kooymans and Rinus Gerritsen, including “Dream,” “Call Me,” and both sides of their eighth single, “In My House” and “Smoking Cigarettes.”

Kooymans handles lead guitar and backing vocals on Winter-Harvest, which features Gerritsen on bass and piano and musical guest Cees Schrama on organ and vibraphone. This is their second of two albums with singer Frans Krassenburg.

In the US, Capitol Records issued Winter-Harvest as an abridged six-song album (minus “Another Man In Town” and “Happy and Young Together”) with alternate cover imagery.

Winter-Harvest finds Golden Earring leaning into late-’60s Merseybeat and psych-pop textures while beginning to edge toward darker, garage-tinged rock. The album opens with “Another Man in Town,” a brisk, cleanly executed Merseybeat number anchored by bouncy rhythms and contoured vocal lines. “Smoking Cigarettes” slows the pace into a bluesy, introspective ballad, with subtle vibes and a restrained chorus. “In My House” layers honky-tonk piano over harmonized vocals and steady backbeat, recalling Small Faces’ tight pop sensibilities. “Don’t Wanna Lose That Girl” maintains minimal jazz-inflected guitar comping under gentle harmonies, while “Impeccable Girl” pushes a fuller, more forceful rhythm with a memorable chorus.

Mid-album tracks explore tougher textures: “Tears and Lies” pairs piano with jangling acoustic guitar and bass, and “You’ve Got the Intention to Hurt Me” drives forward with soaring guitar and gruff vocals. “Dream” accelerates into blue-eyed soul territory with forward instrumentation and layered horns, both verses and chorus taking angular turns. “Baby Don’t Make Me Nervous” favors a darker tone, highlighted by a standout organ and crisp lead guitar. “Call Me” reasserts upbeat Merseybeat energy with clear vocals and forward momentum. “Happy and Young Together” blends jangly guitars with layered harmonies and steady, propulsive rhythms. The album closes with “There Will Be a Tomorrow,” a balladic pop-rock number that balances expressive vocals, tight instrumentation, and winding melodies, leaving the record on a refined, high point.

A1. “Another Man In Town” ()
A2. “Smoking Cigarettes” (2:17)
A3. “In My House” (3:53)
A4. “Don’t Wanna Loose That Girl” (2:10)
A5. “Impeccable Girl” (2:09)
A6. “Tears and Lies” (2:56)
A7. “You’ve Got the Intention to Hurt Me” (3:02)

B1. “Dream” (2:35)
B2. “You Break My Heart” (1:56)
B3. “Baby Don’t Make Me Nervous” (2:16)
B4. “Call Me” (2:13)
B5. “Happy and Young Together” ()
B6. “Lionel the Miser” (2:23)
B7. “There Will Be a Tomorrow” (2:11)

Haayen produced Winter-Harvest in December 1966 at Phonogram, Hilversum, with J.R. Audier, who engineered the album in sequence with titles by After Tea, Q65, and Cuby & The Blizzards.

George’s brother, Herman Kooymans, took the front-cover group photo, which shows the Earrings huddled in dark quarters, clad in post-mod attire. Herman’s photography also graces 1968/69 covers for Fairy Tale and Groep 1850 (Paradise Now).

On October 30, 1967, Capitol issued Winter-Harvest as the Golden Earrings’ first US album with a full portrait shot of the band clad in Regency garments and bowler hats (bolhoedjes in Dutch). In 1974, the label capitalized on the band’s US breakthrough with a Winter-Harvest reissue titled The Golden Earrings, which shows the monochrome profile of a model by Exile On Main Street photographer Norman Seeff.

“In My House” (b/w “Smoking Cigarettes”) reached No. 10 on the Dutch Top 40.

1967 Singles

In June 1967, the Golden Earrings hired singer Barry Hay, the recent frontman of The Haigs, a Nederbeat group on Funckler Records.

Hay was born on August 16, 1948, in Faizabad, Uttar Pradesh, India, to Dutchwoman Sofia Maria (née Sluijter, 1922–2004) and Scottish commissioned officer Philip Aubrey Hay (1923–1980). At age eight, he resettled with his newly divorced mother in Amsterdam. After boarding school, he attended the Royal Academy of Art in the Hague.

With The Haigs, Hay cut the 1966/67 singles “Where to Run” (b/w “Separated”), “From Now On” (b/w “Hey Baby”), and “Saturday Night” (b/w “You’ve Got It”), all co-written with bandmate (and future Big Wheel) Rob Van Der Zwan.

In July 1967, the Golden Earrings released their ninth single: “Sound of the Screaming Day” backed with “She Won’t Come to Me,” both Gerritsen/Kooymans songs with Barry Hay in his debut as frontman.

A. “Sound of the Screaming Day” (2:52)
B. “She Won’t Come to Me”

In October 1967, the Golden Earrings released their second non-album Hay single: “Together We Live, Together We Love” backed with “I Wonder – Preview Together We Live and Love,” both Gerritsen/Kooymans.

A. “Together We Live, Together We Love” (3:09)
B. “I Wonder” / “Preview Together We Live and Love”

“Sound of the Screaming Day” and “Together We Live, Together We Love” reached respective peaks of No. 4 and No. 5 on the Dutch Top 40.

Miracle Mirror

The Golden Earrings released their third album, Miracle Mirror, in May 1968 on Polydor. This is their first album with singer Barry Hay.

Miracle Mirror contains twelve George Kooymans / Rinus Gerritsen originals, including “Born a Second Time,” “Gipsy Rhapsody,” “Crystal Heaven,” and the single “I’ve Just Lost Somebody.”

As on subsequent albums, Gerritsen straddles bass and keyboards while Hay handles flute, acoustic guitar, and lead vocals.

In the US, Capitol issued Miracle Mirror as an eleven-track album (minus “Must I Cry?”) with alternate cover art.

Miracle Mirror shifts Golden Earring into fuller psychedelic and experimental territory while retaining traces of their Nederbeat roots. The album opens with “The Truth About Arthur,” which combines minimal, angular vocal lines with fuzzy guitar textures and layered group vocals. “Circus Will Be in Town in Time” moves into acoustic ballad territory, with a familiar, winding melody and restrained instrumental backing. “Crystal Heaven” recalls R&B-tinged psychedelia, punctuated by stabbing horn figures and a brief instrumental section. “Sam and Sue” leans toward garage rock with a taut rhythm and sharp-edged guitar, while “I’ve Just Lost Somebody” expands into psych-pop with layered harmonies and orchestral touches reminiscent of quasi-Baroque arrangements.

“Mr. Fortune’s Wife” pairs offbeat organ tones with brisk, straight-ahead drumming, and “Who Cares?” uses piano and buoyant bass under melancholy vocals, creating shifting emotional contours. “Born a Second Time” slows to a pastoral acoustic frame accented by delicate flute. The album’s heavier moments appear in “Magnificent Magistral,” which emphasizes jangled guitars and driving rhythms, and “Must I Cry?” juxtaposes steady rock pacing with a subtle, jazzy flute solo. “Nothing Can Change This World of Mine” evokes mid-period Pink Floyd with contemplative contours, while the closer “Gipsy Rhapsody” layers strings and upbeat, mystical rhythms into a final, expansive flourish. Across the record, the band alternates between soft, intricate passages and more forceful, rhythmically assertive rock, highlighting Hay’s newly established lead vocals and a broadening instrumental palette.

A1. “The Truth About Arthur” (2:56)
A2. “Circus Will Be In Town In Time” (3:27)
A3. “Crystal Heaven” (3:52)
A4. “Sam And Sue” (1:40)
A5. “I’ve Just Lost Somebody” (3:04)
A6. “Mr. Fortune’s Wife” (3:17)

B1. “Who Cares?” (3:45)
B2. “Born a Second Time” (2:37)
B3. “Magnificent Magistral” (2:45)
B4. “Must I Cry?” (2:16)
B5. “Nothing Can Change This World of Mine” (3:23)
B6. “Gipsy Rhapsody” (3:19)

Sessions occurred during winter 1967/68 at GTB Studios in the Hague, where Fred Haayen produced Miracle Mirror in sequence with titles by The Shoes, Sandy Coast, and singer Bojoura. Jan Audier engineered the album amid work on Decca Nederbeat singles by The First Move, Franky & The Timebreakers, and Short ’66.

“I’ve Just Lost Somebody” appeared in March as an advance single (b/w “The Truth About Arthur”) and reached No. 8 on the Dutch Top 40.

Miracle Mirror shows the Golden Earrings starring down into an upheld mirror with their reflections looking out at the viewer. Dutch cover photographer Nico v.d. Stam captured the image and the back-cover group-photo of the members in psychedelic paisley garb.

The US Capitol cover shows cutouts of the band against a scenic sunset backdrop, mirrored from both sides of a center vanishing line. The backside features liner notes and a timely half-inked doodle of the members engulfed in flowers. German Polydor copies show a cutout head cluster in stark black and white.

“Dong-Dong-Di-Ki-Di-Gi-Dong”

On July 13, 1968, the Golden Earrings released their third non-album Hay single: “Dong-Dong-Di-Ki-Di-Gi-Dong” backed with “Wake Up – Breakfast!” — both Haayen-produced Kooymans/Gerritsen originals.

A. “Dong-Dong-Di-Ki-Di-Gi-Dong”
B. “Wake Up – Breakfast!”

“Dong-Dong-Di-Ki-Di-Gi-Dong” reached No. 15 in Belgium and became their first No. 1 hit on the Dutch Top 40.

On the Double

The Golden Earrings released their fourth album, On the Double, in January 1969 on Polydor.

On the Double is a two-record set with nineteen songs, all credited to George Kooymans apart from five Rinus Gerritsen numbers: “Judy,” “Remember My Friend,” “The Grand Piano,” “The Sad Story of Sam Stone,” and “Just a Little Bit of Peace in My Heart,” the single.

This was their final album with “s” in the band name and their first with songs credited separately to Kooymans and Gerritsen.

On the Double spans a wide range of styles across its four sides, revealing Golden Earring in a transitional phase. Hard rock tracks like “Song of a Devil’s Servant,” “Hurry, Hurry, Hurry,” and “God Bless the Day” feature driving drums and angular guitar lines, while softer compositions such as “Angelina,” “High in the Sky,” and Gerritsen’s ballads “Judy” and “Remember My Friend” emphasize contoured melodies and gentle keyboard or acoustic arrangements.

The band experiments with playful pop-rock on “Pam Pam Poope Oope Loux” and music-hall touches on “Mitch Mover,” while “Mudrock 9-6182” and “Time Is a Book” explore singer-songwriter and folk-inflected territory with harmonica and slide guitar. Kooymans’ “I’m a Runnin’” introduces blue-eyed soul inflections, and “Backbiting Baby” pushes toward a garage-tinged, near-progressive rock approach, balancing piano textures with sharp rhythmic shifts. Throughout, the album alternates between uptempo rockers, atmospheric ballads, and whimsical or experimental excursions, yielding a diverse but consistently competent set.

A1. “Songs on a Devil’s Servant” (3:44)
A2. “Angelina” (3:09)
A3. “Pam Pam Poope Poope Loux” (2:44)
A4. “Hurry, Hurry, Hurry” (4:21)

B1. “My Baby Ruby” (3:17)
B2. “Judy” (1:44)
B3. “Goodbye Mama” (3:06)
B4. “Murdock” (3:12)
B5. “Just a Little Bit of Peace in My Heart” (5:19)

C1. “The Sad Story of Sam Stone” (2:28)
C2. “High in the Sky” (3:22)
C3. “Remember My Friend” (2:58)
C4. “Time Is a Book” (4:04)
C5. “Backbiting Baby” (5:37)

D1. “I’m a Runnin’” (3:25)
D2. “I Sing My Song” (3:59)
D3. “Mitch Mover” (3:00)
D4. “God Bless the Day” (2:41)
D5. “The Grand Piano” (3:26)

Sessions occurred at GTB with Haayen and engineer Gerard Beckers, a soundman for Ro-D-Ys and folk-psychster Boudewijn De Groot. On the Double features returning keyboard auxiliary Cees Schrama and sax by non-musician Niko Venneker, a Dutch photographer. Arranger Frans Mijts conducted strings for On the Double and The Motions‘ current album, Electric Baby.

Hay designed the gatefold cover, which features posed group shots (outer gates), and a monochrome photo collage (inner-gates), plus a white-on-black lyrical insert with a photo-negative hippie-style band doodle.

Photographer Ronnie Hertz took the outer-gate photos, which show the elder Earrings standing tall in tight black pants as Hay (crimson-clad) slumps at their knees. The backside photo is a crumpled variant of the front. (Their stripes, haircuts, and red/black scheme foreshadow The Cars by a decade.) Hertz used a similar off-white backdrop in his cover photograph for At Home, the 1969 second album by Shocking Blue.

In November 1968, “Just a Little Bit of Peace in My Heart” appeared as an advance single (b/w “Remember My Friend”) and reached No. 3 on the Dutch Top 40. On the Double reached No. 4 on the Dutch Album Top 100.

This was their final album with Jaap Eggermont, who entered production for the Swinging Soul Machine.

1969 Singles

The Golden Earring hired Sieb Warner, who drummed on The Motions’ 1965–68 output. Between mid-June and November, 1969, they released two non-album singles with all sides credited to Kooymans.

A. “Where Will I Be” (3:52)
B. “It’s Allright, But I Admit It Could Be Better”

A. “Another 45 Miles” (4:45)
B. “I Can’t Get a Hold On Her”

“Where Will I Be” and “Another 45 Miles” reached respective peaks of No. 7 and No. 3 on the Dutch Top 40.

Eight Miles High

The Golden Earring released their fifth album, Eight Miles High, on November 17, 1969, on Polydor.

Apart from Marinus Gerritsen’s “Landing,” George Kooymans wrote Side A and sings lead on “One Huge Road” and the Byrds-lifted title track, a psychedelic jam that spans Side B.

Eight Miles High is their last album with a definite article before the name. The album marks Golden Earring’s shift from pop and psych-pop toward heavier, progressive rock.

The first side moves between intense hard rock and semi-progressive experiments: “Landing” drives with aggressive guitars and organ flourishes, while “Song of a Devil’s Servant” layers acoustic guitar, flute, and tempo shifts over Gerritsen’s propulsive bass. “One Huge Road” adds dense, slanted rhythms, and “Everyday’s Torture” builds a dark, almost doom-laden atmosphere with dramatic vocal peaks and distorted guitar accents.

The second side is dominated by the nineteen-minute rendition of the Byrds’ “Eight Miles High,” which stretches the original into extended solos, tempo changes, and elaborate drum and bass interludes, blending heavy psych, blues-inflected passages, and improvisational detours. Across the album, the band alternates between heavy riffs, intricate instrumental passages, and atmospheric textures, creating a tense, exploratory soundscape that bridges hard rock and early progressive stylings.

A1. “Landing” (4:22)
A2. “Song of a Devil’s Servant” (5:53)
A3. “One Huge Road” (3:03)
A4. “Everyday’s Torture” (5:15)
B. “Eight Miles High” (18:49)

Sessions took place in London at Olympic Studios, where Fred Haayen produced Eight Miles High ahead of the debut album by Earth and Fire.

This was their only album with Sieb Warne, who Golden Earring replaced with Cesar Zuiderwijk, a recent Livin’ Blues member.

Golden Earring

Golden Earring released their sixth album, simply titled Golden Earring, in September 1970 on Polydor.

The album marked the arrival of drummer Cesar Zuiderwijk, completing the quartet’s classic lineup with guitarist George Kooymans, bassist/keyboardist Rinus Gerritsen, and flutist/vocalist Barry Hay. The material bridges their late-60s psychedelia with a heavier, blues-based sound infused with progressive elements. Known to many fans as Wall of Dolls (after its macabre cover image), the album captures Golden Earring’s transition into a more sophisticated hard-rock idiom.

Kooymans wrote six of the nine songs and co-wrote one (“Big Tree, Blue Sea”) with Hay, who also co-wrote “The Wall of Dolls” with Gerritsen and contributed “See See.” The set’s centerpiece, “Big Tree, Blue Sea,” later reappeared in revised form on Moontan.

Across its sequence, Golden Earring alternates taut rockers and shadowed ballads. “Yellow and Blue” opens with acoustic guitar and flute interplay that invokes pastoral psychedelia. “The Loner” rides a taut blues riff, while “This Is the Time of the Year” blends bright choruses with sharp rhythmic turns. “Big Tree, Blue Sea” stretches into multi-sectional form, featuring Hay’s flute in dramatic exchanges with Kooymans’ guitar. “The Wall of Dolls” and “As Long As the Wind Blows” close the album on somber, introspective tones, the latter building to an expansive finale.

A1. “Yellow and Blue” (3:43)
A2. “The Loner” (3:28)
A3. “This Is the Time of the Year” (3:32)
A4. “Big Tree, Blue Sea” (6:09) Hay, Kooymans
A5. “The Wall of Dolls” (3:31) Gerritsen, Hay

B1. “Back Home” (3:50)
B2. “See See” (Hay) (3:10)
B3. “I’m Going to Send My Pigeons to the Sky” (5:57)
B4. “As Long as the Wind Blows” (5:20)

Sessions occurred at Phonogram Studios in Hilversum with producer Fred Haayen and engineer Albert Kos.

Golden Earring features photography by Claude Van Heye, whose front image of voodoo-like dolls inspired the album’s alternate title Wall of Dolls.

Polydor promoted the album with “Back Home” (b/w “This Is the Time of the Year”), a European hit that reached No. 1 in the Netherlands, No. 2 in Belgium, No. 6 in Switzerland, and No. 15 in Germany.

The album established Golden Earring’s enduring lineup and set the stylistic framework for their ensuing early-70s trilogy culminating in Moontan.

Seven Tears

Golden Earring released their seventh album, Seven Tears, in September 1971 on Polydor.

The album continues the band’s transition from late-60s psychedelia to heavier, more ambitious forms of rock. It features seven extended, riff-based tracks that merge hard rock urgency with progressive detail — flute, saxophone, and piano lending color to the guitar-driven framework of the classic lineup: guitarist George Kooymans, bassist–keyboardist Rinus Gerritsen, singer–flutist Barry Hay, and drummer Cesar Zuiderwijk.

Kooymans wrote four songs, while Hay contributed one (“Don’t Worry”) and co-wrote “Hope” with Gerritsen. The group also collaborated on the closing number, “You’re Better Off Free.”

The set opens with the subdued “Silver Ships,” a slow, blues-tinged ballad with acoustic passages and atmospheric flute. “The Road Swallowed Her Name” follows with tight guitar–bass interplay and a brisk pace rooted in the emerging heavy rock sound. “Hope” contrasts soft, acoustic verses with sax-driven surges, while “Don’t Worry” rides an active piano–bass rhythm. Side two’s centerpiece, “She Flies on Strange Wings,” unfolds as a multi-part suite that shifts between gentle verses and dramatic full-band passages, its mood oscillating from reflective to forceful. “This Is the Other Side of Life” employs an offbeat rhythm and warped piano figures, and “You’re Better Off Free” closes the album with a spacious, blues-based arrangement that builds to a fiery guitar climax.

A1. “Silver Ships” (5:41)
A2. “The Road Swallowed Her Name” (4:08)
A3. “Hope” (Gerritsen, Hay) (4:47)
A4. “Don’t Worry” (Hay) (3:21)

B1. “She Flies on Strange Wings” (7:22)
B2. “This Is the Other Side of Life” (3:21)
B3. “You’re Better Off Free” (6:42)

Sessions took place at Phonogram Studios, Hilversum, with longtime producer Fred Haayen overseeing and the band arranging all material collectively.

Polydor lifted “She Flies on Strange Wings” (Parts I & II) as a single in September 1971, reaching No. 4 in the Netherlands. Earlier that year, Golden Earring charted with the non-album single “Holy Holy Life” (b/w “Jessica”), which hit No. 3 in the Netherlands and No. 12 in Belgium.

Seven Tears reinforced Golden Earring’s standing at home as a major progressive hard rock act, foreshadowing the international breakthrough they achieved two years later with Moontan.

Barry Hay – Only Parrots, Frogs and Angels

In April 1972, Barry Hay made his solo debut with Only Parrots, Frogs and Angels, a Dutch-only release on Polydor.

Hay himself contributes vocals, acoustic and electric guitar, flute, vibraphone, and electric saxophone. The album stretches beyond conventional rock forms, emphasizing extended arrangements, varied instrumentation, and occasional orchestral touches.

Hay wrote and produced all tracks, integrating contributions from session players and guest instrumentalists. Strings arranged by Van Hooff appear on selected tracks, and several pieces feature prominent backing vocals and additional instrumental solos from Van Veen, Stips, and Vennink.

Musically, the album alternates between spacious, exploratory rock and structured pop-rock frameworks. The opening track, “Xeña,” extends over eight minutes with layered vocals, electric guitar, and strings creating a slow-building, atmospheric texture. “Sometimes Three Times” emphasizes vocal harmonies with electric violin interludes, while “Oh Lordy I’m Gonna Try” blends acoustic guitar, percussion, and piano for a reflective, mid-tempo narrative.

“Roll Another Rock” and “I Want to Be With You” introduce rhythmic variation, with flute, percussion, and piano adding fluidity. “Did You Really Mean It?” spotlights tenor sax and vibraphone solos, contrasting sharper rhythmic sections. “Once Upon a Time” combines Hammond organ and harpsichord with extended instrumental passages, and the brief “March-Xeña” concludes the album with a chant-like texture and layered vocal effects. Overall, the record presents Hay stepping beyond his Golden Earring persona, exploring diverse timbres and instrument combinations across longer compositions.

A1. “Xeña” (8:41)
A2. “Sometimes Three Times” (6:15) — backing vocals by Gonnie Van Dijk, Herman Van Veen, Jose Van Iersel; electric violin solo by Herman Van Veen
A3. “Oh Lordy I’m Gonna Try” (5:01)

B1. “Roll Another Rock” (4:44)
B2. “I Want to Be With You” (5:43) — acoustic guitar and Fender bass by Frank v.d. Kloot, bongos by Cesar Zuiderwijk, flute by Barry Hay, percussion by Hans, Jan, and Louis Hollestelle, piano by Robert Jan Stips
B3. “Did You Really Mean It?” (4:39) — tenor sax solo by Dick Vennink, vibraphone by Barry Hay
B4. “Once Upon a Time” (6:36) — Hammond organ and harpsichord by Harry Van Hooff
B5. “March-Xeña” (0:46)

The album features Hay performing alongside Jan Hollestelle (Fender bass), Hans Hollestelle (rhythm, lead, and slide guitar), Frank v.d. Kloot (lead guitar, acoustic guitar), Louis Debij (drums), Ron Westerbeek (Hammond organ), Harry Van Hooff (organ, harpsichord), Robert Jan Stips (keyboards, effects), Herman Van Veen (electric violin), Cesar Zuiderwijk (bongos), and Dick Vennink (tenor sax), with backing vocals from Patricia Paay, Gonnie Van Dijk, and Jose Van Iersel.

Sessions occurred at Phonogram Studios in Hilversum, Netherlands, with Hay producing and Pieter Nieboer engineering. Barry Hay and Fred Haayen handled mixing. Strings were arranged by Harry Van Hooff.

The album cover features artwork and animation concepts by Barry Hay, with design and drawings by Bob Lens.

Only Parrots, Frogs and Angels was promoted as a Dutch-only release and did not have commercial singles. The album’s instrumentation and extended song structures anticipated Golden Earring’s subsequent experimentation with longer arrangements and diverse textures.

Together

Golden Earring released their eighth album, Together, in June 1972 on Polydor.

The album marks a transitional moment between the heavy, exploratory sound of Eight Miles High and Seven Tears and the streamlined, song-oriented direction that led to their international breakthrough on Moontan. Together combines compact hard-rock numbers with expansive, rhythmically complex pieces that reveal the quartet’s tightening interplay and sense of arrangement.

Guitarist George Kooymans wrote the majority of the material. Vocalist–flutist Barry Hay co-wrote select numbers and arranged the vocals, while bassist–keyboardist Rinus Gerritsen handled organ and piano passages that deepen the group’s harmonic range.

The album alternates between riff-driven songs (“All Day Watcher,” “Avalanche of Love,” “Cruisin’ Southern Germany”) and extended compositions where tempo and meter shift dynamically (“Brother Wind,” “From Heaven From Hell”). “Buddy Joe” became one of their best-known early-’70s singles, a galloping narrative with an insistent rhythm and vocal refrain. “Jangalene” moves from acoustic reflection to full-band intensity, while closing track “Thousand Feet Below You” ends the record with brisk, straightforward rock pacing.

A1. “All Day Watcher” (4:50)
A2. “Avalanche of Love” (4:15)
A3. “Cruisin’ Southern Germany” (3:02)
A4. “Brother Wind” (7:57)

B1. “Buddy Joe” (3:50)
B2. “Jangalene” (5:10)
B3. “From Heaven From Hell” (6:07)
B4. “Thousand Feet Below You” (4:11)

Sessions occurred at Phonogram Studios in Hilversum with producer Fred Haayen and engineer Frank Owen. Hans Brethouwer mastered the album.

Together features cover photography by Frits van Swoll, depicting a domestic tableau cluttered with plants and paraphernalia.

Polydor issued “Buddy Joe” (b/w “Avalanche of Love”) in May 1972; it reached No. 3 on the Dutch chart. A subsequent non-album single, “Stand By Me” (b/w “All Day Watcher”), appeared in September 1972 and reached No. 8.

“From Heaven From Hell” later reappeared on international compilations and remains a concert staple in the band’s 1970s repertoire.

Moontan

Golden Earring released their ninth album, Moontan, in July 1973 on Polydor.

Moontan is a hard-rock and progressive-leaning album marked by long-form arrangements, rhythmic tension, and ornate instrumentation. It combines Golden Earring’s heavy rhythm section drive with expanding textures of flute, brass, and synthesizer, bridging European symphonic influences with hard rock intensity. The album marked a stylistic culmination for the quartet of Barry Hay (vocals, flute, saxophone), George Kooymans (guitar, vocals), Rinus Gerritsen (bass, keyboards), and Cesar Zuiderwijk (drums), who’d refined their interplay since the late 1960s.

Kooymans and Hay wrote five of the six songs; lyricist John Fenton co-wrote the nine-minute closer “Are You Receiving Me.”

The opening “Candy’s Going Bad” alternates fierce arena-rock drive with a slow, dreamlike instrumental fade. “Are You Receiving Me” passes through brass and saxophone peaks, accordion motifs, and shifting rhythmic phases. “Suzy Lunacy (Mental Rock)” lightens the tone with compact rock energy, while “Just Like Vince Taylor” serves as a nostalgic tribute to the British rock idol. “Radar Love” builds through galloping basslines and snare accents into a midsection with saxophone and slide guitar—one of rock’s most recognizable rhythmic surges. “Vanilla Queen” stretches from ambient synthesizer sections and female vocal fragments to dense, symphonic layers and cinematic samples of Marilyn Monroe from There’s No Business Like Show Business.

A1. “Candy’s Going Bad” (6:12)
A2. “Are You Receiving Me” (9:31) Kooymans, Hay, Fenton
A3. “Suzy Lunacy (Mental Rock)” (4:24)

B1. “Radar Love” (6:26) — written by Kooymans and Hay, the song follows a man driving toward his lover through an almost telepathic connection (“Radar Love”), culminating in a fatal crash but spiritual reunion.
B2. “Just Like Vince Taylor” (4:33) — homage to UK rock figure Vince Taylor.
B3. “Vanilla Queen” (9:16) — includes sampled dialogue of Marilyn Monroe (“Well, in simple English I’m…,” “What’s your name, Honey?”) and juxtaposes electronic textures with brass and string passages.

Sessions occurred at Phonogram Studios in Hilversum with the band producing and Pieter Nieboer engineering. Damon Lyon-Shaw mixed the album at IBC Studios in London.

Polydor issued Moontan in July 1973, followed by Track (UK) and MCA (US) editions with altered running orders that inserted “Big Tree, Blue Sea” (8:13) from earlier sessions.

Polydor promoted Moontan with “Radar Love” (b/w “The Song Is Over”), which reached No. 13 on the US Billboard Hot 100, No. 7 in the UK, and topped the Dutch chart. “Candy’s Going Bad” (b/w “Just Like Vince Taylor”) followed in October 1974 in the US.

The album reached No. 12 on the Billboard 200 and No. 1 in the Netherlands, earning RIAA Gold certification. “Radar Love” has since been covered by White Lion, U2, Ministry, and Carlos Santana’s touring band.

Switch

Golden Earring released their tenth album, Switch, in March 1975 on Polydor.

The album expands the quartet to a quintet with the addition of keyboardist Robert Jan Stips (ex-Supersister), whose synthesizer and organ textures lend a more progressive atmosphere to their established hard rock foundation. Saxophonist Bertus Borgers and guitarist Eelco Gelling also appear, giving certain tracks a fuller, more layered sound.

Guitarist George Kooymans and vocalist Barry Hay wrote most of the album’s eight songs, co-writing one number (“Kill Me [Ce Soir]”) with lyricist John Fenton. Stips arranged the strings, and the band produced the record themselves.

Switch divides between a conceptual, progressive first half and a concise, song-based second. The opening “Intro: Plus Minus Absurdio” moves from ambient synthesizer tones to a driving rock passage, while “Love Is a Rodeo” and “The Switch” contrast taut rhythmic figures with flowing vocal lines. “Kill Me (Ce Soir)” serves as the centerpiece, combining shadowed lyrics with dramatic crescendos and saxophone accents. Side two opens with “Tons of Time,” built on a steady backbeat and lilting rhythm, while “Daddy’s Gonna Save My Soul,” “Troubles and Hassles,” and “Lonesome D.J.” present leaner rock structures with alternating keyboard and guitar emphasis.

A1. “Intro: Plus Minus Absurdio” (3:08)
A2. “Love Is a Rodeo” (3:37)
A3. “The Switch” (5:27)
A4. “Kill Me (Ce Soir)” (6:22) Kooymans, Hay, Fenton

B1. “Tons of Time” (4:20)
B2. “Daddy’s Gonna Save My Soul” (4:15)
B3. “Troubles and Hassles” (4:20)
B4. “Lonesome D.J.” (4:36)

Sessions occurred at Soundpush Studios in Blaricum with producers Golden Earring and executive producer Fred Haayen. Engineering and mixing were handled by Andy Knight, John Kriek, and Jan Schuurman.

Switch features concept and art direction by Barry Hay and George Osaki, with photography by Paul Gerritsma and Graham Hughes. The sleeve’s mannequin imagery reflects the album’s theme of control and transformation.

Polydor promoted Switch with “Ce Soir” (b/w “Lucky Number”) in February 1975, followed by “Tons of Time” in May and “The Switch” in June for the US market. “Ce Soir” reached No. 6 on the Dutch singles chart while the album went to No. 1 on the Top 100.

Iron Maiden later covered “Kill Me (Ce Soir)” as the B-side of their 1990 single “Holy Smoke.”

To the Hilt

Golden Earring released their eleventh album, To the Hilt, in January 1976 on Polydor.

The album continues the lineup expansion that began on Switch, retaining keyboardist Robert Jan Stips (formerly of Supersister) and adding saxophonists Bertus Borgers and Chris Mercer with guitarist Eelco Gelling. The result is a denser, more progressive record that blends hard rock with elements of funk and art rock, framed by longer arrangements and alternating moods of tension and release.

Guitarist George Kooymans and vocalist Barry Hay wrote six of the seven songs, with lyricist John Fenton co-writing the opener, “Why Me.” Stips contributed string arrangements and textural keyboard passages that connect the album’s exploratory sections.

The material alternates between sprawling, rhythm-driven tracks and concise rock numbers. “Why Me” opens with a syncopated rhythm and funk undertones, while “Facedancer” centers on acoustic interplay with fluid synthesizer accents. The brief title track contrasts those expansive pieces with brisk, country-tinged pacing. “Nomad” stretches across seven minutes, shifting from a swinging rhythm to a psychedelic instrumental sequence marked by keyboard and guitar exchanges. On side two, “Sleepwalkin’” maintains steady propulsion with bursts of saxophone, and “Latin Lightning” pushes further into fusion territory with sharp rhythmic changes. The closing ten-minute “Violins” fuses electric rock and symphonic layers, culminating in a climactic string section arranged by Stips.

A1. “Why Me?” (7:13) Fenton, Hay, Kooymans
A2. “Facedancer” (4:09)
A3. “To the Hilt” (3:07)
A4. “Nomad” (7:06)

B1. “Sleepwalkin’” (5:00)
B2. “Latin Lightning” (7:15)
B3. “Violins” (10:21)

Sessions occurred at Soundpush Studios in Blaricum with producer Golden Earring, executive producer Fred Haayen, and engineer John Kriek, assisted by Robert Ash. Stips arranged the string parts.

To the Hilt features cover art and concept by George Hardie with photography by Richard Manning. The image depicts a surreal workplace assassination scene in the classic Hipgnosis style.

Polydor issued “Sleepwalkin’” (b/w “Babylon”) in January 1976; it reached No. 7 in the Netherlands. “To the Hilt” followed in June (b/w “Violins”).

The album peaked at No. 3 on the Dutch Album Top 100 and remains noted for the extended compositions “Nomad” and “Violins,” which showcase Golden Earring’s brief mid-1970s progressive phase with Stips in the lineup.

Contraband

Golden Earring released their twelfth album, Contraband, in late 1976 on Polydor.

The album marked the end of the band’s mid-1970s progressive phase, blending hard rock with hints of funk and symphonic texture. While shorter and more direct than its predecessor To the Hilt, it preserves the ensemble’s detailed arrangements and rhythmic interplay. Guitarist Eelco Gelling expands the band’s tone with slide and secondary lead guitar, while ex-Supersister keyboardist Robert Jan Stips appears on select tracks with piano and Minimoog.

Guitarist George Kooymans and vocalist Barry Hay wrote all seven songs. Stips arranged the string parts and added synthesizer textures to two pieces.

The first half features the bright, compact rocker “Bombay,” followed by “Sueleen,” built around an acoustic pulse and extended slide solo. “Con Man” and “Mad Love’s Comin’” both stretch past seven minutes; the latter develops from hypnotic repetition into a dense, ascending finale. On side two, “Fightin’ Windmills” uses shifting pace and Eastern-tinged synthesizer to evoke its title imagery, while “Faded Jeans” and “Time’s Up” close the record with a more grounded, guitar-driven focus.

A1. “Bombay” (3:52) — brisk rock opener with brass-like accents and harmonized chorus.
A2. “Sueleen” (5:40) — features slide guitar passages by Eelco Gelling.
A3. “Con Man” (7:10) — alternating vocal sections and intricate instrumental interplay.
A4. “Mad Love’s Comin’” (7:45) — cyclical rhythm and building arrangement recalling the tension of “Radar Love.”

B1. “Fightin’ Windmills” (4:38) — slower-paced, quasi-symphonic rock piece with Eastern motifs.
B2. “Faded Jeans” (5:07) — mid-tempo number with piano and vocal contrast.
B3. “Time’s Up” (3:52) — concise closing rocker.

Sessions occurred at Soundpush Studios in Blaricum with producers Golden Earring, John Kriek, and Damon Lyon-Shaw. Robin Freeman engineered, assisted by Steve Lillywhite, who also handled mixing with Kriek and Lyon-Shaw. Robert Jan Stips arranged the strings.

Contraband features artwork and design by Koos van Oostrom, depicting a stylized, clown-like group portrait in subdued tones.

Polydor promoted the album with “Bombay” (b/w “Faded Jeans”) in November 1976; the single reached No. 7 in the Netherlands.

For the US market, the album was retitled Mad Love and issued in May 1977 on MCA with altered sequencing that replaced “Faded Jeans” with “I Need Love.” Contraband reached No. 10 on the Dutch Album Top 100 and No. 182 on the Billboard 200, closing Golden Earring’s progressive period ahead of their 1977 double-live breakthrough.

Live

In August 1977, Polydor issued the double-album Live, culled from a Golden Earring performance at London’s Rainbow Theatre on March 25, 1977.

A1. “Candy’s Going Bad” (5:00)
A2. “She Flies on Strange Wings” (7:13)
A3. “Mad Love’s Comin'” (9:45)

B1. “Eight Miles High” (10:00)
B2. “Vanilla Queen” (12:40)

C1. “To the Hilt” (6:40)
C2. “Fightin’ Windmills” (8:00)
C3. “Con Man” (10:00)

D1. “Radar Love” (12:00)
D2. “Just Like Vince Taylor” (7:00)

Grab It for a Second

Golden Earring released their thirteenth studio album, Grab It for a Second, on September 22, 1978, on Polydor.

The album presents a direct, hard-edged rock sound shaped by American producer Jimmy Iovine, who brought a brisk, live-in-studio aesthetic to the Dutch band’s performances. It emphasizes stripped-down arrangements and rhythmic tension over the expansive textures of To the Hilt and Contraband, aligning the group’s sound with the transatlantic rock mainstream of the late 1970s.

Guitarist George Kooymans and vocalist Barry Hay wrote all eight songs. Keyboardist Kevin Nance and percussionist Jimmy Maelen add textural detail, with Lani Groves contributing background vocals and John Zangrando supplying saxophone on one track.

The songs divide between terse, riff-driven pieces and slower, blues-inflected numbers. “Roxanne” and the title track move at high pace with brash vocal phrasing, while “Leather” and “Against the Grain” lean toward heavier, deliberate tempos with layered guitar lines. “Tempting” introduces a funk-like rhythm uncommon for the band, and “Cell-29” closes the record with an extended minor-key buildup and lyrical despair.

A1. “Roxanne” (3:39) — taut opener centered on clipped vocal phrasing and rhythmic guitar interplay.
A2. “Leather” (5:01) — mid-tempo blues rocker emphasizing Kooymans’s slide guitar phrasing.
A3. “Tempting” (3:43) — introduces a syncopated rhythm and percussive pulse.
A4. “U-Turn Time” (3:25) — compact rock number built on alternating guitar figures.

B1. “Movin’ Down Life” (3:31) — steady rhythm anchored by Rinus Gerritsen’s Moog bass; lyrics suggest restless momentum and escape.
B2. “Against the Grain” (4:35) — slower, introspective track featuring saxophone accents by John Zangrando.
B3. “Grab It for a Second” (4:10) — uptempo title track with driving repetition and clipped refrains.
B4. “Cell-29” (6:39) — closes the record with a darkly paced progression and lyrical isolation theme.

Sessions occurred at DMC Studios in Baarn, Netherlands, and the Record Plant in New York City with producer Jimmy Iovine and engineer Shelly Yakus. Assistant engineers were John Kriek and Thom Panunzio; Greg Calbi mastered the album, and Kenny Ascher arranged the string parts.

Grab It for a Second features cover design by Barry Hay, Mick Rock, and Ernst Thormahlen, with photography by Anton Corbijn and Rock. The sleeve image captures the album’s stark, urban tension.

Polydor promoted the album with “Movin’ Down Life” (b/w “Can’t Talk Now”), issued in October 1978, which reached No. 20 on the Dutch singles chart.

Grab It for a Second peaked at No. 13 on the Dutch Album Top 100 and marked the end of Golden Earring’s collaboration with producer Jimmy Iovine before the band self-produced their next phase of recordings.

No Promises … No Debts

Golden Earring released their fourteenth album, No Promises … No Debts, in July 1979 on Polydor.

The album captures the band’s shift from symphonic hard rock toward a leaner, guitar-driven sound rooted in tight, concise arrangements. The four-piece lineup of George Kooymans (guitar, vocals), Barry Hay (flute, vocals, guitar), Rinus Gerritsen (bass, keyboards), and Cesar Zuiderwijk (drums) handled all instrumentation following the departure of keyboardist Robert Jan Stips. Their interplay emphasizes rhythmic directness and alternating vocal leads between Hay and Kooymans.

Kooymans produced the album and co-wrote all eleven tracks with Hay, Gerritsen, and Zuiderwijk. It was their first record credited collectively to all four members.

Most songs run near the three-minute mark, reflecting a renewed focus on structure and pace. The album opens with the taut “Heart Beat” and the brisk “Need Her,” followed by “Sellin’ Out,” where Kooymans’s sharp phrasing contrasts Hay’s rhythm guitar. “Snot Love in Spain” adds harmonica by John Legrand, while “Save Your Skin” extends to nearly seven minutes with alternating tempo changes and a midsection flute interlude. The second side mixes high-energy rockers (“D Light,” “Tiger Bay,” “Don’t Stop the Show”) with the melodic “Weekend Love” and the reflective “Don’t Close the Door.” The closing instrumental “By Routes” revisits their earlier compositional flair.

A1. “Heart Beat” (3:00) — compact opener with twin-guitar interplay and vocal unison.
A2. “Need Her” (3:07) — alternating acoustic and electric layers under Hay’s vocal.
A3. “Sellin’ Out” (3:46) — Kooymans leads with rasped phrasing and extended coda.
A4. “Snot Love in Spain” (3:50) — features John Legrand on harmonica; bluesy phrasing and sardonic tone.
A5. “Save Your Skin” (6:42) — multi-part suite with rhythmic breaks and flute section by Hay.

B1. “D Light” (3:34) — straightforward rocker with central guitar solo.
B2. “Tiger Bay” (3:12) — heavy, syncopated rhythm and dual lead vocals.
B3. “Weekend Love” (4:14) — acoustic-electric blend and alternating Hay–Kooymans vocal lines.
B4. “Don’t Close the Door” (3:29) — mid-paced number with blues inflection.
B5. “Don’t Stop the Show” (2:41) — rousing stage-style anthem.
B6. “By Routes” (2:53) — short instrumental coda with thematic guitar line.

Sessions occurred at Soundpush Studios in Blaricum with George Kooymans producing and John Kriek engineering. Kooymans, Kriek, and Arnold Muhren mixed the material; Jan Rietman arranged the horn parts.

No Promises… No Debts features cover design by Jeep Bunt. The European sleeve shows the band in a stark studio pose, while the US edition uses an alternate outdoor photo.

Polydor issued “Weekend Love” (b/w “Only a Matter of Time”) in May 1979; it reached No. 4 in the Netherlands and No. 10 in Belgium. A second single, the non-album “I Do Rock ’n Roll” (b/w “Sellin’ Out”), appeared that December and peaked at No. 18 in the Netherlands.

The album reached No. 2 on the Dutch Album Top 100, extending Golden Earring’s late-1970s resurgence ahead of their 1980 release Prisoner of the Night.

Prisoner of the Night

Golden Earring released their fifteenth album, Prisoner of the Night, in October 1980 on Polydor.

Prisoner of the Night is a hard rock album that marked Golden Earring’s transition into the 1980s with a tighter, streamlined sound after their looser 1970s experimentation. The record retains their quartet core — guitarist George Kooymans, bassist–keyboardist Rinus Gerritsen, vocalist–flutist Barry Hay, and drummer Cesar Zuiderwijk — augmented by saxophonist Tony Britnel and returning keyboardist Robert Jan Stips, whose earlier work with the band and Supersister added continuity amid their stylistic update.

Kooymans and Hay co-wrote eight of the nine songs, continuing their longstanding writing partnership. Gerritsen and Zuiderwijk co-composed one track with them (“Cut ’Em Down to Size”).

The album balances taut rockers and reflective pieces. “Long Blond Animal” opens with punchy, percussive force and tongue-in-cheek humor that became a setlist staple. “No for an Answer” sustains the brisk pace with terse guitar breaks. “My Town” paints an unvarnished portrait of city life, while the title track slows the tempo into bluesier territory. “I Don’t Wanna Be Nobody Else” and “Will and Mercy” bring mid-tempo tension, the latter led by Kooymans’ keening vocal line. “Come in Outerspace” adds spacey flourishes from Stips, and closer “Going Crazy Again” layers atmospheric keyboards over a slow-building rhythm that bridges their 1970s textures with early-1980s modernism.

A1. “Long Blond Animal” (3:36)
A2. “No for an Answer” (4:13)
A3. “My Town” (3:06)
A4. “Prisoner of the Night” (4:50)
A5. “I Don’t Wanna Be Nobody Else” (4:41)

B1. “Cut ’Em Down to Size” (3:23)
B2. “Will and Mercy” (3:36)
B3. “Come in Outerspace” (4:24)
B4. “Going Crazy Again” (4:59)

Sessions occurred at Soundpush Studios in Blaricum with Kooymans producing and John Kriek engineering.

Polydor issued Prisoner of the Night with “Long Blond Animal” (b/w “Triple Treat”) in September 1980, which reached No. 15 in the Netherlands and No. 20 in Belgium. “No for an Answer” followed that November (b/w “Annie”).

In the US, the album appeared under the alternate title Long Blond Animal with a modified cover photo.

Cut

Golden Earring released their sixteenth album, Cut, on September 10, 1982, on Polygram and Mercury.

The album blends pop rock with the band’s signature hard-edged guitar work, layered vocals, and occasional synth textures, featuring the classic lineup of George Kooymans (guitar, co-lead vocals), Barry Hay (guitar, co-lead vocals, spoken lines), Rinus Gerritsen (bass, keyboards), and Cesar Zuiderwijk (drums). Additional synthesizer textures are supplied by Robert Jan Stips, and street-choir backing appears on “Twilight Zone” and “The Devil Made Me Do It.”

Kooymans and Hay wrote the majority of the eight tracks, with Kooymans also credited individually on “Future” and Hay on “Baby Dynamite.” Gerritsen co-wrote “Lost and Found” with Hay. No cover songs appear on the original LP.

Musically, the album alternates between upbeat rockers, such as “The Devil Made Me Do It,” and more moderate tracks like “Future” and “Baby Dynamite,” where Stips’ synthesizer shapes the sonic landscape. “Last of the Mochicans” and “Lost and Found” feature driving guitar riffs and dual vocals, while the eight-minute “Twilight Zone” builds a cinematic tension with shifting rhythms, alternating lead vocals, and a sustained instrumental section. The closing track “Secrets” concludes with experimental flourishes.

A1. “The Devil Made Me Do It” (3:25) — opens with horns and gang vocals; Barry Hay and George Kooymans share vocal duties.
A2. “Future” (5:25) — Kooymans solo writing credit; blues-tinged rock with a sneaky rhythmic motif.
A3. “Baby Dynamite” (5:15) — Hay solo credit; synth textures from Robert Jan Stips complement guitar lines.
A4. “Last of the Mochicans” (4:09) — guitar-driven rocker with layered vocals and extended coda.

B1. “Lost and Found” (4:00) — co-written by Gerritsen and Hay; mirrors the riff structure of “Twilight Zone.”
B2. “Twilight Zone” (7:58) — Kooymans solo credit; alternating lead vocals, extended instrumental break, street-choir backing, cinematic tension across eight minutes.
B3. “Chargin’ Up My Batteries” (4:17) — lighter rock with synthesizer accents.
B4. “Secrets” (4:04) — closing track with experimental and textural elements.

Sessions occurred at [studio info not provided] with Shell Schellekens producing and John Kriek engineering. Dick Van Leeuwen handled digital mastering. Horn arrangements were by Hans Hollestelle.

Cut features cover artwork based on Harold Edgerton’s 1964 photo Cutting the Card Quickly, depicting a jack of diamonds shredded by a bullet.

Record label promoted Cut with “Twilight Zone” (b/w “King Dark”), which reached No. 1 on the US Billboard Mainstream Rock chart, No. 10 on the Hot 100, and No. 1 in the Netherlands. “The Devil Made Me Do It” followed as a second single (b/w “Shadow Avenue”) and peaked at No. 15 in the Netherlands. The video for “Twilight Zone” dramatizes espionage with repeated imagery of the bullet-pierced card.

N.E.W.S.

Golden Earring released their seventeenth album, N.E.W.S., on February 24, 1984, on Polygram and Mercury.

The album presents the band’s hard-rock foundation infused with new wave touches, combining slick synthesizer lines with driving guitar riffs. Kooymans and Hay maintain their long-standing writing partnership, producing tight arrangements that range from dynamic rockers to more experimental, keyboard-heavy tracks.

Guitarist George Kooymans wrote six of the album’s songs, with Barry Hay co-writing two; the tracks “Clear Night Moonlight” and “When the Lady Smiles” feature Hay’s input, while all other material is solely by Kooymans.

Musically, the album balances energetic rockers with experimentation: “Clear Night Moonlight” opens with horns and gang vocals, “When the Lady Smiles” extends into a long, intricate guitar solo and coda, “Enough Is Enough” offers sharp, new wave-tinged rhythms, and “Fist in Glove” explores funk-tinged textures. The title track “N.E.W.S.” incorporates dense keyboards over a uniform beat, while “I’ll Make It All Up to You” and “Mission Impossible” return to tighter, guitar-driven rock forms. “It’s Over Now” closes the album with contoured vocals and a straightforward rock pulse.

A1. “Clear Night Moonlight” (3:25)
A2. “When the Lady Smiles” (5:12)
A3. “Enough Is Enough” (3:43)
A4. “Fist in Glove” (3:27)

B1. “Mission Impossible” (5:57)
B2. “I’ll Make It All Up to You” (5:22)
B3. “N.E.W.S.” (5:18)
B4. “It’s Over Now” (4:03)

Sessions occurred at a studio in the Netherlands with producer Shell Schellekens and engineer John Kriek; digital mastering was completed by Greg Calbi. Horn arrangements were by Cees Stolk.

The album features artwork by Max Crace, complemented by photography from James N. McJunkin and Kees Tabak.

21 Records promoted N.E.W.S. with the lead single “When the Lady Smiles” (b/w “Orwell’s Year”), which reached No. 1 in the Netherlands and entered the US Hot 100 at No. 76; “Clear Night Moonlight” followed in April 1984 (b/w “Fist in Glove”), reaching No. 6 in the Netherlands; “N.E.W.S.” appeared in June 1984 (b/w “It’s Over Now”). The “When the Lady Smiles” video, featuring Barry Hay in a controversial scene with a nun, was banned on MTV, limiting US chart performance.

In the Netherlands, the album topped the Album Top 100, while in Canada it peaked at No. 91.

Something Heavy Going Down

In November 1984, Golden Earring released Something Heavy Going Down, their third live album. It captures performances from June 1984 and highlighting the band’s hard rock energy. Most tracks come from their recent studio albums: four from N.E.W.S. (“When the Lady Smiles,” “Enough Is Enough,” “Mission Impossible,” “Clear Night Moonlight”), two from Cut (“Twilight Zone,” “Future”), one from Prisoner of the Night (“Long Blond Animal”), and the perrenial “Radar Love.”

The album also introduces a new studio recording, “Something Heavy Going Down,” which served as the exclusive single from this release and was backed with “I’ll Make It All Up to You.” “Clear Night Moonlight” appears as a bonus track on the CD edition. The album reached No. 26 on the Dutch Albums chart, while the single peaked at No. 22.

The Hole

Golden Earring released their eighteenth album, The Hole, in May 1986 on Twenty One.

The album continues the band’s hard-rock framework, layering sharp guitar riffs and driving rhythms with prominent brass and saxophone sections. Kooymans and Hay maintain their primary songwriting roles, while keyboardist Robert Jan Stips and horn arranger Rudi Van Dijk expand the textural palette with synthesizers and wind arrangements.

Guitarist George Kooymans wrote one track independently (“Jump and Run”), while all other material was co-written with vocalist Barry Hay.

Musically, the album juxtaposes energetic rockers with disco-rock influences and textured brass arrangements: “They Dance” opens with a dynamic rhythm undercut by a four-piece wind section, “Save the Best for Later” features tight rhythmic interplay and strong vocal delivery, “Jane Jane” revisits disco-rock motifs from prior recordings, and “A Shout in the Dark” closes with a Stones-inspired rock pulse. Tracks such as “Quiet Eyes” and “Love in Motion” incorporate dense brass and synth accents that shape the album’s sonic character.

A1. “They Dance” (5:20)
A2. “Quiet Eyes” (4:12)
A3. “Save the Best for Later” (5:23)
A4. “Have a Heart” (4:06)
A5. “Love in Motion” (3:50)

B1. “Jane Jane” (5:00)
B2. “Jump and Run” (6:30)
B3. “Why Do I” (5:20)
B4. “A Shout in the Dark” (5:36)

Sessions occurred at studios in the Netherlands with producer Shell Schellekens and engineer Kees Van Gool; mixing was completed by Robin Freeman and Jan Schuurman, and mastering by Greg Calbi.

The album features art direction and photography by Anton Corbijn.

Twenty One promoted The Hole with the single “Quiet Eyes” (b/w “Gimme a Break”), which reached No. 9 in the Netherlands; “Why Do I” followed in July 1986 (b/w “Gimme a Break,” Rock Version), and “They Dance” appeared in December 1986 (b/w “Love in Motion”). The “Quiet Eyes” video, directed by Corbijn, was shot in black-and-white and echoes the album’s inner-sleeve photography.

In the Netherlands, the album peaked at No. 5 on the Album Top 100.

Keeper of the Flame

Golden Earring released their nineteenth album, Keeper of the Flame, on May 8, 1989, on Batabak.

The album blends arena rock energy with progressive structures, featuring angular guitar lines, layered keyboards, and driving rhythms. Barry Hay and George Kooymans remain the primary creative force, with bassist/keyboardist Rinus Gerritsen and drummer Cesar Zuiderwijk completing the core lineup, supported by additional keyboardist Tijn Smit and backing vocalist Jantien de Laaf.

Kooymans and Hay wrote seven tracks together, while Gerritsen co-wrote “Keeper of the Flame” with Hay and contributed the sole composition “Distant Love.”

Musically, the album alternates between uptempo rockers and expansive tracks: “Can Do That” and “Too Much Woman (Not Enough Girl)” move with precise rhythmic drive, “Keeper of the Flame” unfolds with layered instrumentation and extended phrasing, “Turn the World Around” and “Circles” showcase keyboard textures, and “My Killer My Shadow” closes with a tense, contoured guitar motif.

A1. “Can Do That” (4:23)
A2. “Too Much Woman (Not Enough Girl)” (3:47)
A3. “One Word” (4:27)
A4. “Keeper of the Flame” (6:01) Gerritsen/Hay
A5. “Turn the World Around” (5:32)

B1. “Circles” (4:08)
B2. “Say My Prayer” (4:14)
B3. “Distant Love” (5:11) Gerritsen
B4. “Nighthawks” (3:35)
B5. “My Killer My Shadow” (6:09)

Sessions occurred in the Netherlands with Golden Earring producing, and John Sonneveld handling mixing.

Art direction and design were managed by Richard Ottema, with photography by Rick Arnold.

Batabak promoted the album with the single “Turn the World Around” (b/w “You Gun My Love”), which reached No. 8 in the Netherlands, followed by “My Killer My Shadow” (b/w alternative version), also in the Netherlands.

The album peaked at No. 11 on the Dutch Album Top 100.

Bloody Buccaneers

Golden Earring released their twentieth album, Bloody Buccaneers, on April 19, 1991, on First Quake.

The album delivers hard rock with tight, driving rhythms and sharply contoured guitar lines, maintaining the band’s signature energy. The core lineup—Barry Hay (vocals), George Kooymans (guitar, vocals), Rinus Gerritsen (bass, keyboard), and Cesar Zuiderwijk (drums)—is augmented by no additional session players.

Hay and Kooymans wrote eight of the ten tracks together, with Kooymans and Gerritsen contributing on “Making Love to Yourself,” and Gerritsen composing “One Shot Away from Paradise” and “When Love Turns to Pain.”

Musically, the album mixes uptempo rockers and dramatic narratives: “Making Love to Yourself” and “In a Bad Mood” unfold with relentless pacing and layered guitar, “Going to the Run” carries a contemplative story about a friend lost in a motorcycle accident, “Planet Blue” conveys space-themed imagery through angular instrumentation, and the title track propels forward with forceful, contoured rhythms.

A1. “Making Love to Yourself” (4:52) Hay, Kooymans, Zuiderwijk
A2. “Temporary Madness” (3:33)
A3. “Going to the Run” (3:53) — narrative reflects a friend lost in a motorcycle accident
A4. “Joe” (4:37)
A5. “Planet Blue” (4:21)

B1. “Bloody Buccaneers” (4:49)
B2. “One Shot Away from Paradise” (3:45) Gerritsen
B3. “When Love Turns to Pain” (4:47) Gerritsen
B4. “In a Bad Mood” (5:23)
B5. “Pourin’ My Heart Out Again” (3:59)

Sessions occurred in the Netherlands with Golden Earring and John Sonneveld producing, and Sonneveld engineering.

The album features artwork and illustrations by Koos O. and Sander F. Van Hest, with cover design by the same and photography by Kees Tabak.

Singles include “Making Love to Yourself” and “Going to the Run.” Russian heavy metal band Aria later covered “Going to the Run” in Russian as “Беспечный ангел.”

Bloody Buccaneers peaked at No. 3 on the Dutch Album Top 100, marking a high point in Golden Earring’s late-era discography.

Discography: