Kayak -

Kayak was a Dutch art-pop band that released eight albums between 1973 and 1981 on EMI and Vertigo.

They debuted with See See the Sun (1973), featuring the hit single “Mammoth,” and followed with Kayak II (1974), which expanded their layered keyboard and guitar textures. Royal Bed Bouncer (1975) showcased intricate arrangements and highlighted Max Werner’s expressive vocals, while The Last Encore (1976) refined their symphonic approach. Starlight Dancer (1977) and Phantom of the Night (1978) delivered some of their most enduring tracks, including “Starlight Dancer” and “Ruthless Queen.”

They concluded their original run with Periscope Life (1980) and Merlin (1981), integrating complex keyboard work, tight vocal harmonies, and adventurous compositional shifts that defined their signature sound. After an eighteen-year pause, Kayak reformed and made ten studio albums between 2000 and 2021 with keyboardist/songwriter Ton Scherpenzeel as the constant member.

Members: Ton Scherpenzeel (keyboards, piano, organ, accordion, vocals), Johan Slager (guitar, vocals, 1972-81), Max Werner (vocals, percussion, 1972-81, 1999-2001), Pim Koopman (drums, percussion, vocals, 1972-76, 1999-2009), Cees van Leeuwen (bass, 1972-74), Bert Veldkamp (bass, vocals, 1974-76, 1999-2004), Rob Winter (bass, vocals, 1974-76, 1999-2004), Charles Schouten (drums, 1976-78), Theo de Jong (bass, 1976-78), Peter Scherpenzeel (bass, 1976-78), Edward Reekers (vocals, keyboards, flute, 1978-81, 2004-14), Irene Linders (vocals, 1978-81), Katherine Lapthorn (vocals, 1978-81)

Background

Kayak formed in 1972 in Hilversum, Netherlands, when keyboardist Ton Scherpenzeel (b. August 6, 1952) and drummer Pim Koopman (b. March 11, 1953) met singer/percussionist Max Werner (b. December 29, 1953) while studying at the Hilversum Muziek Lyceum. Scherpenzeel and Koopman had previously played together in the college band High Tide Formation, which issued the single “Fluffy” (b/w “White Walls”) on Omega in 1970.

Guitarist Johan Slager (b. June 8, 1946, Amsterdam) joined the group shortly afterward, bringing experience from local Amsterdam rock circuits. The original lineup was completed by bassist Cees van Leeuwen (b. April 29, 1951, The Hague), whose early music activity included classical training and local ensemble work.

See See the Sun

Kayak released their debut album, See See the Sun, in August 1973 on Dutch EMI. Abroad, the album appeared on EMI’s Harvest division. US copies have an alternate cover with a circular group photo.

The album presents a refined, symphonic approach to progressive rock marked by bright keyboard tones, counterpoint harmonies, and dynamic tempo changes. The interplay between organ, piano, and Mellotron creates a chamber-like texture uncommon among early-’70s Dutch acts.

Keyboardist Ton Scherpenzeel wrote two songs outright and co-wrote six others. Drummer Pim Koopman composed “Lovely Luna” and shared credit on five additional numbers. Bassist Cees van Leeuwen supplied lyrics for “Ballet of the Cripple” and the title track. Guest musicians Giny Bush and Martine Koeman play violins and Ernst Reijseger contributes cello on “Lyrics.” “Mammoth” features a barrel organ recorded outdoors due to its size, with G. Perlee performing the part on the Flamingo instrument in Amsterdam.

Songs alternate between stately, orchestrated passages and brisk ensemble interplay. “Reason for It All” opens with harpsichord and shifting vocal patterns, while “Lovely Luna” expands into an eight-minute, Mellotron-laden suite. “Hope for a Life” intensifies with choral harmonies and dramatic rhythmic turns, and “Mouldy Wood” contrasts with brisk bass figures and guitar stabs. The closing “See See the Sun” balances pastoral calm with a bright, ascending refrain.

A1. “Reason for It All” (6:29)
A2. “Lyrics” (3:42)
A3. “Mouldy Wood” (5:16)
A4. “Lovely Luna” (8:19)

B1. “Hope for a Life” (6:49)
B2. “Ballet of the Cripple” (4:39)
B3. “Forever Is a Lonely Thought” (5:26)
B4. “Mammoth” (2:57)
B5. “See See the Sun” (4:13)

Sessions occurred at EMI Studios in Heemstede between October 1972 and June 1973 with producers Frank Jansen and Gerrit-Jan Leenders, who co-engineered with Pierre Geoffrey Chateau.

EMI promoted See See the Sun with “Lyrics” (b/w “Still Try to Write a Book”) in February 1973, followed by “Mammoth” (b/w “Ballet of the Cripple”) and the title track (b/w “Give It a Name”) later that year. “Mammoth” gained attention for its unusual use of barrel organ, one of few pop singles to feature the instrument.

B. “Give It a Name”
B. “Still Try to Write a Book”

Kayak

Kayak released their self-titled second album in May 1974 on EMI (Netherlands) and Harvest (UK).

The album refines the group’s symphonic-rock template with a tighter rhythmic focus and more concise arrangements. Piano and Mellotron interlace with dynamic vocal layers and dramatic transitions that alternate between folk-tinged passages and keyboard-driven climaxes.

Keyboardist Ton Scherpenzeel wrote three numbers (“Alibi,” “Mountain Too Rough,” “Woe and Alas”) and co-wrote three others with drummer Pim Koopman, who composed “Mireille” and shared credit with bassist Cees van Leeuwen on “Wintertime,” “They Get to Know Me,” and “Trust in the Machine.” The trio co-wrote the closing “His Master’s Noise.” Scherpenzeel also plays accordion, and Koopman adds marimba. Willem Jongbloed arranged the string and brass parts.

Songs range from piano-led narratives to intricate, tempo-shifting suites. “Alibi” opens with assertive piano and guitar interplay. “Mountain Too Rough” builds around a baroque piano motif that swells into Mellotron-lined grandeur. “They Get to Know Me” stretches across nine minutes of segmented movements, alternating sharp, syncopated rhythms with sweeping symphonic bridges. “Mireille” provides a reflective instrumental interlude before the spatial, futuristic “Trust in the Machine.” “His Master’s Noise” closes with a brief, plaintive reprise built on layered harmonies and slow-fading piano.

A1. “Alibi” (3:39)
A2. “Wintertime” (2:51)
A3. “Mountain Too Rough” (3:57)
A4. “They Get to Know Me” (9:18)

B1. “Serenades” (3:33)
B2. “Woe and Alas” (3:01)
B3. “Mireille” (2:13)
B4. “Trust in the Machine” (6:06)
B5. “His Master’s Noise” (1:45)

Sessions occurred at Intertone Studio in Heemstede with producer Gerrit-Jan Leenders and co-engineer Pierre Geoffrey Chateau. Additional mixing and post-production took place at Abbey Road Studios, London, under engineer John Leckie, a subsequent soundman for Be-Bop Deluxe, XTC, and Magazine.

EMI issued “Wintertime” as the album’s lead single (b/w “Serenades”) in mid-1974.

Kayak is also known as Kayak II or Alibi (after the opening track). It marked the final appearance of bassist Cees van Leeuwen, who left afterward and was replaced by ex-Zoo member Bert Veldkamp.

B. “We Are Not Amused”

Royal Bed Bouncer

Kayak released their third album, Royal Bed Bouncer, in September 1975 on EMI (Netherlands) and Janus (US).

The album refines their symphonic approach with concise song structures that balance rock drive and art-pop intricacy. Its tone bridges the elaborate keyboard interplay of Kayak and Kayak II with a sharper, more theatrical sense akin to 10cc and Supertramp.

Ton Scherpenzeel wrote nine of the ten songs, with drummer Pim Koopman contributing the instrumental “Patricia Anglaia.” The quintet features Max Werner (lead vocals, percussion, Mellotron), Johan Slager (guitar), Scherpenzeel (keyboards, double bass), Bert Veldkamp (bass), and Koopman (drums, backing and lead vocals on one track). Guest singer Patricia Paay provides wordless vocals on “Patricia Anglaia.”

The album opens with the brisk “Royal Bed Bouncer,” marked by syncopated piano lines and buoyant rhythm changes. “Life of Gold” and “Moments of Joy” adopt slower, piano-led cadences and rich vocal layers, while “You’re So Bizarre” merges classical phrasing with jazz inflection. “Bury the World” pairs a reflective lyric with shifting harmonic turns and an atmospheric clarinet passage. “Chance for a Lifetime,” the album’s most direct cut, carries anthemic momentum with bright acoustic breaks.

“If This Is Your Welcome” opens Side B with a grand Master of Ceremonies entrance. “Said No Word” delivers its angular tempo shifts with driving intensity. “Patricia Anglaia” serves as a chamber-like interlude, built on Mellotron and a choral refrain, before “My Heart Never Changed” closes the set in subdued, elegiac tone.

A1. “Royal Bed Bouncer” (4:02)
A2. “Life of Gold” (3:25)
A3. “You’re So Bizarre” (3:48)
A4. “Bury the World” (4:21)
A5. “Chance for a Lifetime” (4:15)

B1. “If This Is Your Welcome” (4:56)
B2. “Moments of Joy” (4:00)
B3. “Patricia Anglaia” (2:14)
B4. “Said No Word” (5:15) lyrically contrasts childhood traumas with adult success.
B5. “My Heart Never Changed” (2:33)

Sessions took place at Intertone Studio in Heemstede with Gerrit-Jan Leenders and Kayak producing. Peter van Bruggen handled engineering alongside Jan van Vrijaldenhoven, who later worked with Pussycat.

EMI issued Royal Bed Bouncer in the Netherlands and Janus handled the US edition with alternate sleeve art. The band and label promoted the album with “Chance for a Lifetime,” which entered the Dutch Top 20.

Royal Bed Bouncer was issued with two different covers. On European and Japanese pressings, it shows an oryx running across a brown desert. In North America, where the album was released on Janus, the cover shows a photo of a Gold State Coach enframed in magenta.

The Last Encore

Kayak released their fourth album, The Last Encore, in September 1976 on Vertigo.

The album blends refined symphonic textures with chamber balladry and rock rhythm, emphasizing piano-driven arrangements and close vocal harmonies. It marks drummer Pim Koopman’s final appearance before his two-decade hiatus from the band.

Scherpenzeel wrote six songs, including “Back to the Front,” “Nothingness,” “Relics From a Distant Age,” “Love Me Tonight / Get on Board,” “Raid Your Own House,” and the title track, with Johan Slager co-writing the opener. Koopman contributed the remaining six: “Love of a Victim,” “Land on the Water,” “Do You Care,” “Still My Heart Cries for You,” “Evocation,” and the 50-second closer “Well Done.” Veldkamp plays saxophone and zither on select passages. Ton’s brother, Peter Scherpenzeel, plays recorder on “Relics From a Distant Age.”

Songs alternate between reflective, piano-centered numbers and brisker rock passages. “Nothingness” moves through slow, haunting modulations that culminate in a choral coda, while “Relics From a Distant Age” uses flamenco-inflected piano lines to build a stately progression. “Still My Heart Cries for You” unfolds in orchestral scale with accordion-tinged resolution. The title track and “Back to the Front” mix subdued rhythms with lyrical phrasing, contrasting the shorter “Love of a Victim” and “Land on the Water,” which tighten the album’s pacing. “Love Me Tonight / Get on Board” provides a lighter, playful break before “Raid Your Own House” and the brief “Well Done” close the set.

A1. “Back to the Front” (4:30)
A2. “Nothingness” (3:56)
A3. “Love of a Victim” (2:49)
A4. “Land on the Water” (2:27)
A5. “The Last Encore” (3:59)
A6. “Do You Care” (2:48)

B1. “Still My Heart Cries for You” (4:32)
B2. “Relics From a Distant Age” (4:54)
B3. “Love Me Tonight / Get on Board” (2:40)
B4. “Evocation” (3:49)
B5. “Raid Your Own House” (3:35)
B6. “Well Done” (0:53)

Sessions occurred at Morgan Studios in Brussels between May and July 1976 with the band self-producing.

Vertigo issued The Last Encore with “Still My Heart Cries for You” backed with “Do You Care” as the lead single in the Netherlands. Neither release charted, and Koopman subsequently departed to pursue a production career.

Starlight Dancer

Kayak released their fifth album, Starlight Dancer, in 1977 on Vertigo and Janus.

The album marks the sole Kayak release with bassist Theo de Jong and drummer Charles Louis Schouten, replacing Bert Veldkamp and Pim Koopman from earlier lineups. Its sound maintains the group’s elaborate symphonic pop framework, balancing orchestrated passages with compact arrangements suited to the shorter song format they adopted post-Royal Bed Bouncer.

Keyboardist Ton Scherpenzeel wrote nine of the eleven songs. Drummer–vocalist Max Werner contributed one track (“Golddust”), and “May” was co-written by Scherpenzeel and lyricist D. Ireland. “Golddust” features guest keyboardist Rick van der Linden (Ekseption, Trace).

The material alternates between brisk, rhythmic numbers (“Turn the Tide,” “Sweet Revenge”) and reflective piano-led pieces (“May,” “Where Do We Go from Here”). The title track layers overlapping motifs in an accelerating, symphonic structure, while “Irene” closes the first side as a stately instrumental dominated by interlocking keyboard textures.

Starlight Dancer opens with “Daughter or Son,” propelled by steady percussion and a rhythmic pulse that lifts its lyrical phrasing. The title track, “Starlight Dancer,” moves with brisk momentum, layering piano, vocal lines, and orchestral touches into a tightly structured, adventurous passage. “Want You to Be Mine” features vocal effects over gently flowing instrumentation, while “Irene” unfolds as a reflective instrumental dominated by keyboards and accented by electric guitar, its contours both tender and precise.

“Golddust” serves as a concise interlude, with drum-driven phrasing and an uplifting, forward push. “May” drifts with mellow piano foundations and nuanced vocal delivery, expanding into a subtly complex arrangement. “Turn the Tide” accelerates with taut energy, contrasting the subdued reflection of “Dead Bird Flies Forever,” where elongated phrases and harmonic layering evoke a haunting atmosphere. “Sweet Revenge” drives forward with brisk intensity, keyboards punctuating the momentum, and the closing “Where Do We Go from Here?” returns to a measured pace, weaving contemplative harmonies over soft instrumental textures. Across Starlight Dancer, Kayak balance rhythmic precision, layered keyboards, and expressive vocal lines to create shifts between propulsion and repose.

A1. “Daughter or Son” (3:40)
A2. “Starlight Dancer” (4:56)
A3. “Want You to Be Mine” (3:30)
A4. “Letdown” (2:46)
A5. “Irene” (Instrumental) (4:20)

B1. “Golddust” (2:40) – Werner
B2. “May” (4:25) – Scherpenzeel, D. Ireland
B3. “Turn the Tide” (3:35)
B4. “Dead Bird Flies Forever” (4:15)
B5. “Sweet Revenge” (3:40)
B6. “Where Do We Go from Here?” (4:50)

Sessions took place in 1977 with production handled jointly by Jack Lancaster and Kayak.

Vertigo issued the album across Europe with sleeve art designed for the release, while the North American version on Janus differed entirely — a compilation of material from The Last Encore and Starlight Dancer, packaged under the latter’s title but using the former’s cover design.

Phantom of the Night

Kayak released their sixth album, Phantom of the Night, in December 1978 on Vertigo and Janus.

The album introduced lead singer Edward Reekers and became the band’s highest-profile release, achieving major success in the Netherlands. Its sound blends symphonic pop and refined art rock with chamber-like instrumentation and an emphasis on piano, strings, and layered harmonies.

Keyboardist Ton Scherpenzeel wrote four tracks and co-wrote five with lyricist Irene Linders. Guitarist Johan Slager and drummer Max Werner complete the core quintet with bassist Peter Scherpenzeel, while Linders and Katherine Lapthorn provide backing vocals.

The material alternates between slow-tempo ballads (“Ruthless Queen,” “First Signs of Spring”), ornate narrative pieces (“Phantom of the Night,” “The Poet and the One Man Band”), and brisk, piano-driven numbers (“Winning Ways,” “Keep the Change”). “Crime of Passion” unfolds as a dramatic mini-suite with cinematic pacing and suspense-laden lyrics about guilt and pursuit, while “Daphne (Laurel Tree)” expands from soft piano tones into a full orchestral arrangement with lyrical guitar phrasing.

Phantom of the Night balances ornate songcraft with tightly executed arrangements and subdued romantic tension. “Ruthless Queen” unfolds slowly with soft piano undercurrents and a clear, emotional vocal that rises in measured swells. The title track follows a mournful course, guided by fluid keyboard lines and orchestral shadings that frame its ghostly imagery. “Daphne (Laurel Tree)” shifts from calm, reflective piano figures to a broad, ascending arrangement where guitar and strings heighten its drama. “Journey Through Time” moves with uneasy rhythm and dark, circular phrasing, while “Winning Ways” contrasts with brisk momentum and crisp interplay between piano, drums, and guitar.

“Crime of Passion” builds tension through clipped rhythmic pacing and anguished refrains, capped by a guitar solo that mirrors the lyric’s fatal urgency. “The Poet and the One Man Band” features tonal contrasts between its tuneful vocal passages and a darting synthesizer solo, whereas “First Signs of Spring” closes in subdued reflection with slow cadence and soft instrumental layering. Throughout, Kayak maintain a precise balance between vocal clarity, harmonic detail, and instrumental polish.

A1. “Keep the Change” (3:38)
A2. “Winning Ways” (3:35)
A3. “Daphne (Laurel Tree)” (5:06)
A4. “Journey Through Time” (3:24)
A5. “Phantom of the Night” (5:02)

B1. “Crime of Passion” (3:30) — a dark narrative from the viewpoint of a fugitive who confesses to a fatal act; noted for its tension-building chorus and sharp guitar phrasing that mirrors the theme of pursuit.
B2. “The Poet and the One Man Band” (4:10)
B3. “Ruthless Queen” (4:47)
B4. “No Man’s Land” (4:00)
B5. “First Signs of Spring” (3:39)

Sessions occurred in 1978 with production by Dennis MacKay and Kayak.

Vertigo issued the European edition with a distinct sleeve, while Janus released the U.S. version — also pressed as a limited-edition picture disc of 3,000 copies.

Vertigo promoted the album with “Ruthless Queen” (b/w “By Request”), which reached the Dutch Top 10 and became the group’s best-known song.

B. “Ballad for a Lost Friend”
B. “Ivory Dance”

Periscope Life

Kayak released their seventh album, Periscope Life, in March 1980 on Vertigo and Janus.

The album marks a stylistic shift toward streamlined art-pop with a polished studio sound, recorded in Los Angeles under the co-production of John Tilly and the band. Keyboardist Ton Scherpenzeel wrote six songs and co-wrote five with lyricist Irene Linders and backing vocalist Katherine Lapthorn. Guitarist Johan Slager, bassist Peter Scherpenzeel, drummer Max Werner, and vocalist Edward Reekers comprise the core lineup, joined by American brass players Jim Price (trombone), Lee Thornburg (trumpet, flugelhorn), and Jim Gordon (saxophone, clarinet).

The material alternates between bright, mid-tempo numbers and slow, orchestral ballads. “Astral Aliens” opens with brisk rhythm and layered harmonies, while “Stop That Song” and “What’s in a Name” use brass flourishes to accent the upbeat arrangements. The title track carries a steady pace beneath its reflective lyric on perspective and change. “If You Really Need Me Now,” “Anne,” and “Sad to Say Farewell” temper the mood with restrained tempos, emotive piano figures, and sweeping vocal lines. “Lost Blue of Chartres,” the album’s instrumental centerpiece, unfolds around Scherpenzeel’s classical piano motif and shifting tonal dynamics.

A1. “Astral Aliens” (3:48) — buoyant rhythm and layered harmonies under an airy lyric about distance and illusion
A2. “What’s in a Name” (4:12) — playful vocal phrasing set to bright keyboard accents and syncopated brass punctuation
A3. “Stop That Song” (3:14) — led by flute and guitar in alternating passages of soft and spirited volume, capped by a jubilant trumpet line
A4. “If You Really Need Me Now” (4:15) — slow, piano-centered ballad with rising vocal intensity through the chorus
A5. “Periscope Life” (3:24) — moderate pace with reflective tone, balancing light rhythm guitar and rounded synthesizer textures

B1. “Beggars Can’t Be Choosers” (4:39) — moderate tempo, driven by bass accents and alternating vocal harmonies
B2. “The Sight” (3:59) — tense verses and smooth refrains colored by electric piano shading
B3. “Lost Blue of Chartres” (3:24) — instrumental sequence highlighting dynamic piano phrasing and shifting tempo contrasts
B4. “Anne” (4:19) — ballad of subdued pace and melancholic tone, arranged with orchestral depth and guitar counterlines
B5. “One Way or Another” (3:56) — brisk rhythm and assertive vocal cadence supported by brass interjections
B6. “Sad to Say Farewell” (4:22) — closing ballad of moderate tempo, built on piano resonance and understated string voicing

Sessions occurred between October and November 1979 at The Village Recorder in Los Angeles with Tilly and Kayak handling production.

Vertigo promoted Periscope Life with “Anne” (b/w “Sad to Say Farewell”), which became a domestic hit and highlighted the band’s growing emphasis on polished, orchestral pop textures.

Merlin

Kayak released their eighth album, Merlin, in April 1981 on Vertigo.

The album divides into two halves: a five-part conceptual suite based on the Arthurian legend of Merlin, and a second side of standalone songs. Its sound blends symphonic rock and theatrical pop, marked by orchestral layering, medieval motifs, and dramatic pacing.

Keyboardist Ton Scherpenzeel wrote all ten songs and co-wrote lyrics with Irene Linders. Guitarist Johan Slager, bassist Peter Scherpenzeel, drummer Max Werner, and vocalist Edward Reekers form the core lineup, supported by Linders and Katherine Lapthorn on backing vocals. Guest players include Rein van den Broek on brass and Benny Behr’s ensemble on strings.

The concept suite opens with “Merlin,” an extended, multi-section piece that builds from ominous tones into heavy rock cadences with layered vocals and alternating keyboard–guitar solos. “Tintagel” lowers the tempo with piano-centered phrases that evoke a tranquil medieval mood, followed by “The Sword in the Stone,” whose brisk tempo and firm rhythmic structure create a playful, processional atmosphere. “The King’s Enchanter” maintains the setting’s courtly flair through dance-like motion and clipped accents, while “Niniane (Lady of the Lake)” closes the suite with elegiac piano lines, extended instrumental passages, and a final rise of guitar resonance.

The second half contains five unrelated songs in a lighter art-pop mode. “Seagull” and “Now That We’ve Come This Far” follow a reflective tone at moderate pace, while “Can’t Afford to Lose” employs a fast, dance-tempo rhythm. “Boogie Heart” adds rhythmic bounce and keyboard-led propulsion. “Love’s Aglow,” sung by Scherpenzeel, serves as a romantic finale with gradual tempo shifts and ethereal voicing.

A1. “Merlin” (7:23) — extended suite with alternating soft and forceful passages that narrate the rise of the legendary wizard through shifting instrumental themes
A2. “Tintagel” (2:41) — slow-tempo piano piece conveying a peaceful medieval setting
A3. “The Sword in the Stone” (3:31) — brisk tempo and layered chorus lines over sharp rhythmic accents
A4. “The King’s Enchanter” (2:42) — short, buoyant piece with dance-like motion and light syncopation
A5. “Niniane (Lady of the Lake)” (7:22) — long, emotional composition centered on piano and soaring guitar leads

B1. “Seagull” (4:10) — calm mid-tempo ballad of quiet reflection
B2. “Boogie Heart” (4:11) — upbeat rhythm piece with keyboard drive and brass punctuation
B3. “Now That We’ve Come This Far” (4:29) — tender, mid-paced number of measured intensity
B4. “Can’t Afford to Lose” (3:19) — fast, rhythm-heavy track built on steady percussion and syncopated keyboard lines
B5. “Love’s Aglow” (6:03) — slow-rising finale sung by Scherpenzeel with dreamlike tone and orchestral layering

Sessions occurred at Soundpush Studio in Blaricum with Gerrit-Jan Leenders and Kayak producing.

Vertigo issued Merlin in a gatefold sleeve. The band revisited the concept two decades later on the expanded 2003 reworking Merlin – Bard of the Unseen.

Discography: