Posts tagged Ton Scherpenzeel

(Review from dprp.net, progarchives.com)

After two concept albums Kayak returns to a song based album in the manner of Night Vision.

The opening simply blows you away. The keyboard melodies of Ton Scherpenzeel is overwhelming. Immediately pulling for attention is the fantastic voice of Cindy Oudshoorn – her singing was great on previous Kayak albums, but on this one she even turns it up a notch.

“Man In The Cocoon” is a short song but it doesn’t feel like that at all and when the song is over, it is hard not to be amazed that so many things can be put within a time frame of barely three minutes. The opening of the song for instance takes only eight seconds, any other band would have stretched it. It’s an aggressive song and heavy for a band like Kayak.

“Freezing” opens the section containing three ballads in a row. Starting very mellow with piano, halfway through this song changes into a somewhat heavy power ballad. The energy level increases on “Selfmade Castle”. A heavy rock song containing plenty of melodies. The title track is the only song that surpasses the time limit of six minutes. It has a Bodin-like circus melody, a typical Kayak song.

Cindy Oudshoorn is the true revelation on this album, she steals the show with her classy and passionate sound.

Line-up:
- Ton Scherpenzeel / keyboards, vocals
- Pim Koopman / drums, vocals, keybaords, guitars
- Cindy Oudshoorn / (lead) vocals
- Edward Reekers / (lead) vocals
- Rob Vunderink / (lead) vocals, electric guitar
- Joost Vergoossen / electric & acoustic guitar
- Jan van Olffen / bass

Track List:
01. Alienation – 3:54
02. Man In The Cocoon – 2:53
03. Time Stand Still – 3:21
04. Freezing – 3:50
05. Medea – 3:47
06. Daughter Of The Moon – 3:41
07. Undecided – 4:09
08. Sad State Of Affairs – 4:22
09. About You Without You – 3:16
10. The Mask And The Mirror – 4:45
11. Selfmade Castle – 3:33
12. What I’m About To Say – 4:24
13. Wonderful Day – 3:41
14. Broken White – 4:22
15. Coming Up For Air – 6:12

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Edward Reekers, Kayak, Ton Scherpenzeel

Kayak – Kayakoustic (Live 2007) (@192)

08 Sep 2008

(Review from musicbymail.dk, kayakonline.nl)

The Dutch progressive outfit is back with a live album recorded in Hoogezand-Sappemeer (Nov 23rd 2006, Theater ‘t Kielzog) and Ermelo (Jan 31st 2007, Theater De Dialoog). The concerts are unique, inspiring, energetic and they have a great vibe.

The acoustic set is the essence of this album, only four songs are from the “electrical” second set : ‘Royal Bed Bouncer’, ‘When Hearts Grow Cold’, ‘Act of Despair’ and ‘Chance for a Lifetime’.

Line-up:
- Ton Scherpenzeel / keyboards, back vocals
- Pim Koopman / drums, percussions, back vocals
- Rob Vunderink / guitars, lead and back vocals
- Joost Vergoossen / guitars, back vocals
- Edward Reekers / lead and back vocals, keyboards
- Jan Van Olffen / bass

Track List:
01. See See The Sun – Introduction – 0:40
02. What’s In A Name – 5:45
03. Only You And I Know – 3:26
04. Anne – 4:32
05. Threesome – 1:26
06. Hold Me Forever – 4:13
07. You’re So Bizarre – 3:56
08. Land On The Water – 2:38
09. First Signs Of Spring – 3:48
10. Daughter Or Son – 3:59
11. Want You To Be Mine – 3:54
12. Ivory Dance – 2:55
13. The Fate Of Man – 2:09
14. See See The Sun – 4:52
15. Royal Bed Bouncer – 4:22
16. When Hearts Grow Cold – 4:09
17. Act Of Despair – 4:16
18. Chance For A Lifetime – 4:56

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Edward Reekers, Kayak, Live, Ton Scherpenzeel

Kayak – Nostradamus (2005) (@256)

07 Sep 2008

(Review from progarchives.com)

Another concept album from Kayak but slightly different from Merlin, their previous album. This is more kind of a musical. This double album has a whole range of vocalists who sing like actors in a play with former singer Edward Reekers in the role of narrator.

Before the lyrics were written for this album, there was a study on the life of Nostradamus to find out what part of the myth was real. That’s why the lyrics hold some alternative views on his life. Although it’s interesting, the lyrics sometimes lose their natural form in order to keep the story complete. A lot of vocal harmonies are used to emphasis some of the main idea’s and are delightful to listen to though the atmophere tends to be quite swinging every now and then. So it’s obvious the vocals are the dominant element which is new for the band especially when compared to early Kayak albums. The vocals are great no matter who does the singing.

In many ways this project goes on where “Merlin” stopped. It’s bigger, longer, more ambitious and there’re more people involved but the songs are more accessible and conventional. This is progressive rock like one could call the music of Alan Parsons Project progressive on which it is reminding quite a lot. There is a fair amount of progressive rock in the traditional vein with wonderful orchestral sections, massive keyboard sounds or church organs. But “Nostradamus” includes also lots of other musical styles like classical, folk, Gregorian, pop or mediaeval music. There’s even some seventies disco on “a man with remarkable talents”, remarkable indeed. It’s hard to believe this album has just been released, it sounds as it came out somewhere in the late seventies.

It’s hard to make a selection of the strongest moments on this album as each track has it’s own unique flavour. “Dance of the death” has a dark sinister atmosphere and the folky keyboards on “Dance of mirror’s” are uplifting. The Parsons/Powell influence is most noticeable on “The tournament” and “The centuries” is an enjoyable bolero.

“The inquisition” is one of the symphonic pop highlights and illustrates Ton Scherpenzeel’s commitment to some Camel albums. “Fresh air, running water, rose pills” is a great progressive rock hymn and “A cruel death” could have ended up on “Merlin”. This album has a huge amount of pathos and this may be too much at some point like on “you won’t find me alive at sunrise” or the title track. This is a trademark of concept albums and especially musicals. Some melodies that return every once in a while, are another trademark — which reminds of Andrew Lloyd Webber’s music. It maybe pastoral at some points and there definitely is a lot of emotion involved but only a minor part is cheesy.

Compared with Merlin, it surely is less progressive but the level of quality is high on the whole album. The quality of the song writing is top notch, the melodies are awesome! It makes you forget this album lasts over 100 minutes. The instrumental excerpts are most exciting on the interludes between the real songs. Songs are short and most of them only make sense when playing the whole thing from start to finish.

Line-up:
- Ton Scherpenzeel / music, lyrics, keyboards, backing vocals, bass guitar, accordeon
- Pim Koopman / music, drums, backing vocals, keyboards, guitar, percussion, Tama drums & Zyldian cymbals
- Irene Linders / lyrics, script
- Bert Heerink / lead vocals (The Astrologer)
- Rob Vunderink / lead vocals, guitar (The Opponent)
- Monique v.d. Ster / lead & backing vocals (The Queen)
- Edward Reekers / lead & backing vocals, voice-over (The Monk)
- Sibbe v.d. Ploeg / lead & backing vocals (The Scientist)
- Cindy Oldshoorn / lead & backing vocals (The Astrologers Second Wife)
- Joost Vergoossen / electric & acoustic guitar (Yamaha) and strings
- Marjolein Teepen / vocals on track The Flying Squadron
- Eddy Koopman / percussion
- Rens v.d. Zalm / fiddle
- The Nostradamus Choir / vocals (The People)
- Valentijn Achterberg / voice (The Boy)

Track List:
CD1
01. The Secret Study – 1:50
02. A Strange And Cryptic Tale – 3:06
03. Friend Of The Stars – 4:20
04. Celestial Science – 3:53
05. The Student – 1:25
06. Dance Of Death – 3:27
07. Fresh Air, Running Water, Rose Pills – 4:12
08. The Monk’s Comment 1 – 0:46
09. Seekers Of Truth 1 – 4:16
10. Dance Of Death 2 – 1:42
11. Save My Wife – 5:27
12. The Monk’s Comment 2 – 0:33
13. Pagan’s Paradise – 4:26
14. The Inquisition – 5:34
15. The Wandering Years – 4:43
16. The Monk’s Comment 3 – 0:51
17. If History Was Mine Alone – 3:00
18. Friend Of The Stars 2 – 0:37
CD2
01. A Man With Remarkable Talents – 3:33
02. Settle Down – 4:24
03. The Monk’s Comment 4 – 0:44
04. The Flying Squadron – 4:17
05. Dance Of Mirrors – 3:25
06. A Royal Invitation – 1:17
07. A Cruel Death + The Monk’s Comment 5 – 4:00
08. Tell Me All – 3:30
09. The Tournament – 4:15
10. The Golden Cage – 2:11
11. Seekers Of Truth – 2:03
12. Living In Two Realities – 4:14
13. Act Of Despair – 4:25
14. The Secret Study – 1:43
15. The Centuries – 5:05
16. (You Won’t Find Me) Alive At Sunrise – 3:21
17. Friend Of The Stars – 1:16
18. Epilogue – The Fate Of Man – 2:57

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Edward Reekers, Kayak, Ton Scherpenzeel

Kayak – Merlin : Bard of the Unseen (2003) (@256)

28 Aug 2008

(Review from progressiveworld.net, progarchives.com)

They say that life doesn’t offer you second chances, but in one of the most surprising moves ever pulled by a progressive rock band, Kayak make good on some unfulfilled promises. A full 22 years after botching their first attempt at Merlin, the band takes a second shot at it.

This album builds on the five earlier tracks (Merlin, Tintagel, The Sword In The Stone, The King’s Enchanter and Niniane (Lady Of The Lake)) with eight newly composed tracks that fit in seamlessly to create a good neo-progressive rock opera. “Merlin” is re-invented and re-arranged.

As in true Ayreon fashion, the Merlin saga this time is based on no fewer than five main characters. Merlin and Lancelot are taken care of by singer Bert Heerink. Morgan Lefay and Guinevere are the task for Cindy Oudshoorn, whilst Rob Vunderink takes care of Mordred. Recorded with the New Philharmonic Orchestra, needless to say Scherpenzeel’s fantastic arrangements are finally exploited to the fullest, resulting in a breathtaking album.

The album has kind of a musical feel. For sure this entire Merlin saga would be ideal for being performed as a musical because the subject ideally suited to being given the full treatment including costumes, backdrops, props, lighting –the works!

With “Merlin – Bard Of The Unseen”, Ton Scherpenzeel has finally realised his all-time dream. By using a real orchestra and some outstanding vocalists he has turned his Merlin into something of outstanding quality and emotion.

Line-up:
- Ton Scherpenzeel / keyboards, backing vocals
- Pim Koopman / drums, backing vocals
- Bert Heerink / lead & backing vocals
- Rob Vunderink / guitars, lead & backing vocals
- Bert Veldkamp / bass guitar
- Joost Vergoossen / electric & acoustic guitars
- Cindy Oudshoorn / lead & backing vocals

Track List:
01. Merlin – 7:51
02. Tintagel – 2:50
03. The Future King – 3:00
04. The Sword In The Stone – 3:44
05. When The Seer Looks Away – 4:18
06. Branded – 3:52
07. At Arthur’s Court – 3:17
08. The Otherworld – 7:59
09. The Purest Of Knights – 5:49
10. Friendship And Love – 5:13
11. The King’s Enchanter – 2:33
12. Niniane (Lady Of The Lake) – 7:08
13. The Last Battle – 8:11
14. Avalon – 3:44

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Kayak, Ton Scherpenzeel

Kayak – Nightvision (2001) (@256)

28 Aug 2008

1 comment

(Review from amazon)

Nightvision is Kayak’s second studio album after the reunion, and the first to feature Bert Heerink on the vocals and Rob Vunderink on the guitars. These to new guys really added a new sound to this Kayak-album.

Ton and Pim’s musical talent with Irene Linders’ lyrics are just as strong as any past project. “Night Vision” has definitely been pumped with a lot of musical energy, with great guitar work from the dueling Robs, ever brilliant keyboarding from Ton Scherpenzeel and the addition of strings and awesome brass on a few of the tracks.

Highlights include the opening is an 8-minute plus epic about Icarus; beautiful, and Heerink sings it very emotionally. ‘Miracle Man’ gets you going with a fast tempo. ‘Water For Guns’ and ‘How’ are classic Kayak. ‘Carry On Boy’ is a great ballad.

It may take time for long time Kayak fans to get used to a new vocalist. In spite of the absence of Max Werner’s haunting vocals, the blending harmonies are pretty nice.

Line-up:
- Ton Scherpenzeel / keyboards, accordeon, vocals
- Pim Koopman / drums, vocals
- Bert Veldkamp / bass
- Rob Winter / guitar (electric & acoustic), mandoline
- Bert Heerink / vocals, percussion
- Rob Vunderink / guitar, vocals

Track List:
01. Icarus – 8:24
02. Miracle Man – 4:54
03. Cassandra – 4:25
04. A Million Years – 4:37
05. Water for Guns – 4:08
06. The Way of the World – 4:35
07. Hold Me Forever – 3:28
08. Tradition – 8:00
09. All Over Again – 5:06
10. Life without Parole – 4:12
11. How – 4:57
12. Carry On Boy – 4:04
13. Good Riddance – 4:14
14. Rings of Saturn – 4:04

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Kayak, Ton Scherpenzeel

Kayak – Chance For A Live Time (2001) (@VBR 232-245)

26 Aug 2008

(Review from progarchives.com, dprp.net)

This is Kayak’s first true live album because it has everything: there were gigs performed and recorded, and there were audience involved. Yes, you are right, “Eyewitness” was the band’s first live recording but it missed the essential elements of “true” live records: the gig and the audience.

This album was recorded live from a set of “Close To The Fire” Tour in 2000: Rotterdam, Utrecht, Leeuwarden, Hrdenberg and Enschede, Holland. At their comeback gig in Amsterdam, they had two lead singers, Max Werner and Bert Heerink. Unfortunately, Max Werner is not present on this album as he left the band during the tour.

All the vocals on this new album are done by newcomer Bert Heerink, and he’s doing a fine job. His voice is powerful, high, clear and surprisingly “proggy”. His singing sounds best on tracks from the Reekers-era of the band.

The live act is really an excellent performance for those who like Kayak’s music. You don’t need to love the band’s music, just like it – and you would enjoy their music.

7 tracks that come from “Close To The Fire” album are performed excellently by the band. The live versions are much more dynamic and more rocking than the studio ones. Despite the new album, their performance of classic hits like “Mammoth”,”Periscope of Life”, and “Wintertime” is great.

“Chance For A Live Time” is a good and energetic live album, with a perfect selection of songs.

Line-up:
- Ton Scherpenzeel / keyboards, accordion, vocals
- Pim Koopman / drums, accoustic guitar, vocals
- Bert Heerink / lead vocals, percussion
- Bert Veldkamp / electric & accoustic bass, guitar, vocals
- Rob Vunderink / electric & accoustic guitar, vocals
- Rob Winter / electric & accoustic guitar, vocals

Track List:
CD1
01. Close To The Fire (8:03)
02. Crusader (3:47)
03. When Hearts Grow Cold (3:55)
04. Mammoth (3:07)
05. Wintertime (3:00)
06. Periscope Life (3:47)
07. Sweet Revenge (3:47)
08. See See the Sun (4:36)
09. Anne (3:34)
10. Anybody’s Child (4:16)
CD2
01. Two Wrongs (4:54)
02. Forever (4:30)
03. Merlin (7:38)
04. Niniane (5:52)
05. Chance For a Lifetime (4:30)
06. Starlight Dancer (5:09)
07. Ruthless Queen (5:47)
08. Full Circle (5:41)

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Kayak, Live, Ton Scherpenzeel

Kayak – Close to the Fire (2000) (@256)

25 Aug 2008

(Review from progarchives.com)

Kayak disbanded for good in early 1982, shortly after the release of “Eyewitness” live recording album. 17 years passed before they got back together. The founding fathers of the band: Ton Scherpenzeel, Pim Koopman and Max Werner are back with a new album. The band picks up where they left off many years ago as if they have never been away.

The title track is a powerfully written track combining a rather complex arrangement with excellent (and memorable!) melody. Annet Visser (of Flairck fame) guests on this one, enriching the textures and nuances of the song with her wonderous flute.

“When Hearts Grow Old” is a sad, short melodic track, reminiscent of classic Kayak. A ballad follows, “Dream Child” flows nicely from beginning to end with the addition of backing vocals, accentuated with percussion work and vibraphone. “Frozen Flame” is bombastic and emotional. “Forever” has a happy mood, reminding the band’s previous studio album, Merlin. “World Aparts” features electric guitar softly combined with the piano, telling a sad story of a relationship.

“Crusader” has a nice flute work that makes this track attractive – it creates a classical feel during interlude and at the background of voice line. “Two Wrongs” starts of like a classic rock ‘n’ roll song, but later on it proves to be a real oldschool Kayak composition. “Anybody’s Child” brings back the classic style of Kayak music with great piano work, powerful vocals, orchestration and guitar interlude. “Here Today” is an enjoyable, accessible mellow track with a symphonic feel.

“Full Circle” has many tricks up in the sleeve — ambient keyboard exploration, traditional Celtic influence, violin and cello works, you name it. It even has Andy Latimer (of Camel) on guitar! The album closes with the re-recording of an early work, “Ruthless Queen” with Syb vd Ploeg singing as a guest.

Well, it’s great to see the guys are back.

Line-up:
- Pim Koopman / drums, percussion, backing vocals
- Ton Scherpenzeel / keyboards, backing vocals
- Bert Veldkamp / bass, backing vocals
- Max Werner / lead vocals, percussion
- Rob Winter / guitars, backing vocals

Track List:
01. Close To The Fire – 8:14
02. When Hearts Grow Cold – 3:10
03. Dream Child – 3:32
04. Frozen Flame – 6:36
05. Forever – 4:40
06. Worlds Apart – 5:14
07. Crusader – 4:41
08. Two Wrongs (Don’t Make A Right) – 3:37
09. Anybody’s Child – 5:03
10. Here Today – 3:38
11. Just A Matter Of Time – 3:36
12. Full Circle – 5:59
13. Ruthless Queen (Bonus) – 5:00

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Kayak – Merlin (1981) (@256)

24 Aug 2008

(Review from amazon)

“Merlin” is a semi-concept album. Its first five tracks are part of Kayak’s masterful musical interpretation of the Arthurian legend. The early medieval atmosphere is captured perfectly, partly due to the use of additional stringed and brass instruments – such as flute and banjo. On the whole the balance tips over decisively in favor of ballad oriented material, giving Edward Reekers and Ton Scherpenzeel every chance to show off their preeminence on vocals and piano.

Still there is many a moment when Kayak prove they are very much a (high calibre) rock outfit, who know how to cut loose. Check out epic opener “Merlin” for instance, the dramatic buildup to its chorus featuring a plenitude of soaring guitars and pompous keyboards, rockers like “The sword in the stone” and “Can’t afford to lose” or the gorgeous guitar solo toward the end of the infinitely delicate ballad “Niniane (Lady of the lake)”. “Seagull” was a single release and, deservedly, a hit in the Netherlands. “Now that we’ve come this far” is another fantastic track, the lead vocals to this heartbreaking ballad are delivered with great pathos (in the best sense of the word). On “Love’s Aglow” Edward Reekers yielded his place behind the mike to Kayak’s helmsman Ton Scherpenzeel, resulting in a rather long-winded, dreamy song extremely reminiscent of Camel circa “Snow Goose”. Odd one out is the cheerful “Boogie heart”, a fair composition not lacking in merit, but not quite able to hold its own in this company of excessive overachievers.

Merlin showcases superior artistry, dazzling skill, awardwinning melodies, intelligent lyrics and unforgettable songs

Line-up:
- Edward Reekers / vocals
- Peter Scherpenzeel / bass
- Ton Scherpenzeel / keyboards, backing vocals
- Johan Slager / guitars, backing vocals
- Max Werneer / drums, percussion, vocals
with
- Katherine Lapthorn / backing vocals
- Irene Lindner / backing vocals

Track List:
01. Merlin – 7:23
02. Tintagel – 2:41
03. The Sword In The Stone – 3:30
04. The King’s Enchanter – 2:41
05. Niniane (Lady Of The Lake) – 7:24
06. Seagull – 4:11
07. Boogie Heart – 4:12
08. Now That We’ve Come This Far – 4:30
09. Can’t Afford To Lose – 3:20
10. Love’s Aglow – 6:03

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Edward Reekers, Kayak, Max Werner, Ton Scherpenzeel

Kayak – Periscope of Life (1980) (@256)

23 Aug 2008

(Review from progarchives.com)

“Periscope life” is another competent collection of pop based songs, with simplistic structures, and straight forward instrumentation. The diversity of previous albums is maintained, perhaps even enhanced, although the 10CC/City Boy similarities are still very much to the fore.

There’s a bit more emphasis on funkier sounds this time, especially on the Jim Capaldi like “Stop that song”, the prosaic “Beggars can’t be choosers”, and the Billy Joel pop of the title track. The album improves substantially towards the end, the final four tracks being the most notable.

The instrumental “Lost blue of Chartres” has some fine Tony Banks like piano, while “Anne” moves through various atmospheres including medieval, stage show, and a sing-along 60’s sad ballad sound. “One way or another” is reminiscent of “Stackridge”, leading to the Bees Gees/Hollies influenced closing ballad “Sad to say farewell”. The orchestration and simple guitar solo on this track serve to enhance the retro pop atmosphere.

The overall feel is of a band playing so far within themselves, they redefine the meaning of the word introvert.

Line-up:
- Edward Reekers / lead vocals
- Peter Scherpenzeel / bass
- Ton Scherpenzeel / keyboards, backing vocals
- Johan Slager / guitars, backing vocals
- Max Werneer / drums, percussion, backing vocals
with
- Jim Gordon / saxophone
- Jim Price / horns
- Peggy Sandwig / backing vocals
- Katherine Lapthorn / backing vocals
- Irene Linders / backing vocals

Track List:
01. Astral Aliens – 3:40
02. What’s in a Name – 4:10
03. Stopthatsong – 3:16
04. If You Really Need Me Now – 4:16
05. Periscope Life – 3:26
06. Beggars Can’t Be Choosers – 4:40
07. The Sight – 4:01
08. Lost Blue of Chartres – 3:36
09. Anne – 4:20
10. Oneway or Another – 3:21
11. Sad to Say Farewell – 4:26
12. Theme from Spelters (Part II) (Bonus) – 2:20
13. Ivory Dance (Bonus) – 1:56

Link in comments.

Edward Reekers, Jim Capaldi, Jim Gordon, Kayak, Max Werner, Ton Scherpenzeel

Kayak – Phantom of the Night (1979) (@256)

22 Aug 2008

(Review from progarchives.com)

This follow up album to “Starlight Dancer” is very much a case of more of the same. Indeed, when heard back-to-back, the tracks flow seamlessly from one album to the next.

Once again, here we have short pop rock tracks, the longest lasting a mere 5 minutes. That of course does not in itself imply that there is a complete absence of anything progressive but the fact is that the tracks on “Phantom of the Night” are all based on simple pop structures and strong melodies.

Once again we have a mixture of 10cc influenced melodic pop rock, 60s style Beatlesque numbers and Alan Parsons Project like ballads. Vocally, there are similarities with America (of “Horse With No Name” fame). It is the ballads which appear to work best here, “Ruthless Queen” and “Phantom of the Night” both having slightly more to them compositionally than the majority of the faster paced pop rock songs.

A great album with big symphonic boundaries to cross.

Line-up:
- Ton Scherpenzel / keyboards
- Edward Reekers / lead vocals
- Max Werner / drums, percussion, lead vocal on “No man’s Land”
- Katherine Lapthorn / backing vocals
- Peter Scherpenzeel / bass guitar
- Irene Linders / backing vocals
- Johan Slager/ guitar

Track List:
01. Winning Ways – 3:35
02. Keep the Change – 3:35
03. Ruthless Queen – 4:49
04. Crime of Passion – 3:33
05. First Signs of Spring – 3:42
06. Daphne – 5:09
07. The Poet and the One Man Band – 4:13
08. No Man’s Land – 4:04
09. Journey Through Time – 3:22
10. Phantom of the Night – 5:04
11. Ballad for a Lost Friend – 3:53

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Edward Reekers, Kayak, Max Werner, Ton Scherpenzeel

Kayak – Starlight Dancer (1977) (@256)

21 Aug 2008

5 comments

(Review from connollyco.com, progarchives.com)

“Starlight Dancer” is a charmer, chocked full of clever arrangements and interesting musical themes. Elements of Genesis, Queen, Alan Parsons Project and Camel appear throughout without being derivative of those bands, and yet the most similar band is late 70s era Renaissance. Both bands fell to the left or right of progressive’s front echelon but will be remembered for carrying the standard when the front-rank fellers were fallen (or fiddling around). And both had a facility for incorporating orchestral arrangements into appealing melodies and making use of classical themes without sounding overly pretentious.

There is certainly a diversity of styles here, including The Beatles / Paul McCartney (“Daughter or Son”, “Golddust”), 10CC (“Let down”), and City Boy (“Turn the tide”). Ballads such as “Where do we go from here” and “ May” work well, often sounding similar to those of the Alan Parsons Project. The occasional instrumental interlude or even entire track (the beautiful, cascading “Irene” featuring some fine sax) show the band to be competent in that field, although they never appear to push themselves into anything which might be described as adventurous.

Line-up:
- Ton Scherpenzeel / pianos, synthesizer, organ, harpsichord, vocals
- Charles Louis Schouten / drums, percussion, marimba, vocals
- Johan Slager / guitars, vocals
- Max Werner / Mellotrons, percussion, vocals
- Theo de Jong / bass guitar
with
- Fred Leeflang / soprano saxophone (5)
- Rick van der Linden / Yamaha GX1 synthesizer (6)

Track List:
01. Daughter or Son – 3:36
02. Starlight Dancer – 4:59
03. Want You To Be Mine – 3:37
04. Letdown – 2:48
05. Irene – 4:24
06. Golddust – 2:38
07. May – 4:21
08. Turn The Tide – 3:36
09. Dead Bird Flies Forever – 4:18
10. Sweet Revenge – 3:33
11. Where Do We Go From Here – 4:39
12. I Want You To Be Mine (Bonus) – 5:13
13. Irene (Bonus USA version) – 4:22

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Kayak, Max Werner, Rick van der Linden, Ton Scherpenzeel

Kayak – Royal Red Bouncer (1975) (@256)

20 Aug 2008

5 comments

(Review from vintageprog.com)

Their third album also proved to be their most popular one.

The band moved into a more Supertramp-influenced pop-progressive style but better, tighter, more progressive and energetic. The songwriting and playing is of a very high class and the production is as good as it can get for an album from 1975. Catchy up-tempo tracks like “Chance for a Lifetime” and the title-track features complex arrangements and breaks, despite their obvious pop-leanings. There’s also some excellent woodwind-work on several of the songs. “Bury the World” and “Said No Word” are the most progressive and complex tracks of the bunch. There are also some truly wonderful ballads here, like “Life of Gold” and “Patricia Anglaia”. The latter is an instrumental-number with some word-less female vocals. “(You’re So) Bizarre” is pure pop, but not without the progressive quirkiness in the arrangement. “If this is Your Welcome” is a very tight and wonderfully constructed song that perfectly demonstrates Kayak’s talent for writing catchy, pop-progressive music.

This album is a tad less progressive and more pop orientated than their previous albums but it’s just as good in terms of musical quality.

Line-up:
- Ton Scherpenzeel / keyboards, vocal
- Johan Slager / guitars, vocals
- Bert Veldkamp / bass, vocal
- Max Werneer / lead vocals, mellotron
- Pim Koopman / drums, vocals

Track List:
01. Royal Bed Bouncer – 4:00
02. Life Of Gold – 3:25
03. You’re So Bizarre – 3:48
04. Bury The World – 4:21
05. Chance For A Lifetime – 4:14
06. If This Is Your Welcome – 4:55
07. Moments Of Joy – 3:59
08. Patricia Anglaia – 2:14
09. Said No Word – 5:15
10. My Heart Never Changed – 2:32
11. Alibi – 3:39
12. Mountain Too Rough – 3:56
13. Woe And Alas – 3:00
14. Mouldy Wood – 5:14
15. Lovely Luna – 8:19
16. Forever Is A Lonely Thought – 5:26
17. Still Try To Write A Book – 2:01
18. Give It A Name – 2:43
19. Bulldozer (demo) – 2:22

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Kayak – II (1974) (@256)

19 Aug 2008

(Review from progarchives.com)

Kayak II is the perfect marriage of the band’s hard rock tendencies, their dazzling symphonic edges and the adventurous middle ground between the two. The songs are top-notch slices of upbeat, exciting progressive.

“Alibi” opens the album with an addictive dose of high energy, but it’s the second song, “Wintertime”, that really sets the tone. Somewhat melancholic in the verses, the chorus becomes almost Supertramp-ish in its brightness. Side 1 is rounded out by two very different songs: “Mountain Too Rough”, a mostly-mellow trip into folky atmospheres with some deliberately disruptive sound effects occurring. “They Get To Know Me” offers a killer momentum, symphonic and Genesis-like in spots, with a healthy bit of aggression, especially when guitarist Johan Slager takes over. It’s always so enjoyable to witness this song unfolding.

Side two is even more diverse in scope than side 1. “Serenades” is a bouncy number, hinting at the sound they’d perfect on the ‘Starlight Dancer’ album. “Woe And Alas” offers slightly tricky timing and an impassioned Max Werner vocal. Some gorgeous layers are built up as the song moves along. We get the more gentle side of Kayak with the caress of “Mireille”, a short, to-the-point instrumental that provides a good balance to the more involved stuff here. The album’s final moments couldn’t be better: “Trust In The Machine” has a demented bit of vocal from Werner and swirling keyboard sounds that envelop the rest of the music, that music being kinetic stuff that’s wild but never out of control. Almost Fripp-ish guitar squeaks by Slager rear their head in here. There’s even a fair bit of noise in the middle, making you feel like you’re visiting “The Waiting Room” again. This gives yet another facet to the song, a well-rounded journey, a song full of paranoia and triumph that is perfect in its completeness. “His Master’s Noise” ends things nicely, with vocals that almost sound like Paul McCartney (with a Dutch accent, of course). A simple track that is all vocal layers and straight piano. It offers a cooling off period that brings this eventful album to a satisfying close.

Line-up:
- Ton Scherpenzeel / keyboards, vocal, accordion
- Pim Koopman / percussion, vocals
- Johan Slager / electric and acoustic guitars, vocals
- Max Werner / mellotrons, percussion, vocals
- Cees van Leeuwen / bass guitar, harmonica

Track List:
01. Alibi – 3:41
02. Wintertime – 2:52
03. Mountain Too Rough – 3:58
04. They Get To Know Me – 9:19
05. Serenades – 3:34
06. Woe And Alas – 3:02
07. Mireille – 2:12
08. Trust In The Machine – 6:07
09. His Master’s Noise – 1:46
10. We Are Not Amused – 3:01

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Kayak – Last Encore (1976) (@192)

27 Jun 2007

(Review from amazon)

One of Kayak’s typical hallmarks was that they managed a good balance between 70′s pop sounds and progressive elements. “The last encore” from 1976 is the last one with Pim Koopman on drums. It’s also a special one because it contains an unusual large amount of Pim’s songs. Although main Kayak composer Ton Scherpenzeel and Pim are quite different songwriters, their songs integrate very nicely on this album.

Opening song “Back to the Front”, immediately sets the mood for this album. Here the listener is captivated by a stocato 2 fingered piano fill, and a soft whistle, and a varied assortment of keyboards, percussions (listen for a soft miramba) and both electric and acoustic guitars. It is this type of musicianship that makes each song on this album so unique. Keyboardist, vocalist, and principal songwriter Ton Scherpenzeel is a master of adding the unexplained to each song. Layering their songs with rich, overdubbed, and orchestral imagery. Take “Nothingness”, for example, for what may be random, we hear what seems to be Bendatictine Monks Choir adding a lush vocal arpeggio of fluctating high to low choral additions. But what makes it work, is that I can’t imagine the song without having that interlude in this particular song. And so it goes throughout. Instruments as varied as the accordion, clavinet, mellatron, zither, recorder and a marimba, that one wouldn’t generally hear being used, in these songs to not have them, the song wouldn’t be complete.

“Relics From a Distant Age” features piano mastery, with the soft sounds of a clavinet and a bass line by Johah Slager, this is as good as it gets. The sounds of birds open “Love Me Tonight/Get on Board” and at the same time you hear what sounds like an old victrola playing a old time vocal arrangement. Then suddenly you hear the band in the fashion of a 1920s carnival group. After a short interlude of silence, the songs starts up again, and the victrola sounds up again, and you can imagine yourself sitting on the open porch of a vintage Victorian Mansion on a warm summer evening.

After “Last Encore”, Pim Koopman decided to leave the band. This was due to health problems/stage fright, but it also helped that he was offered a job as a full-time producer. As a producer he was quite successful with Dutch artists.

Line-up:
- Pim Koopman / drums, percussion, piano, backing vocals
- Ton Scherpenzeel / keyboards, mellotron, accordion, double bass, backing vocals
- Johan Slager / guitars, backing vocals
- Bert Veldkamp / bass, double bass, saxophone, zither, backing vocals
- Max Werneer / lead & backing vocals, percussion, mellotrons

Track List:
01. Back to the Front (4:31)
02. Nothingness (3:57)
03. Love Of A Victim (2:50)
04. Land On The Water (2:27)
05. The Last Encore (3:59)
06. Do You Care (2:49)
07. Still My Heart Cries For You (4:32)
08. Relics from a Distant Age (4:54)
09. Love me tonight / Get On Board (2:40)
10. Evocation (3:50)
11. Raid Your Own House (3:35)
12. Well Done (0:52)

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Camel – Rajaz (1999) (@256)

13 Jun 2007

17 comments

(Review from progarchives.com)

“The music of poets once carried caravans across great deserts. Sung to a simple metre of the animal’s footsteps, it transfixed weary travellers on their sole objective journey’s end. This poetry is called ‘rajaz’. It is the rhythm of the camel.”

And this is exactly the way you feel while listening to this album; like you are riding on the back of a camel in a caravan from one point in the deserted Saudi-Arabian desert to another, far far away.

Andrew Latimer plays most instruments on this album and they all have an “Arabian touch” to them, just as Ton Scherpenzeel’s keyboards. It really makes you feel like being on an Arabian journey on the back of a camel yourself. Camel singing about the rhythm of the camel. Makes sense doesn’t it?

Most of the tracks are also quite lenghty for which I cannot complain about. The whole album is pure magic, melody, tranquility and emotion. I just love this album since the very first time I spun it. It is just great.

Line-up:
- Andy Latimer / guitars, vocals, flute, keyboards, percussion
- Colin Bass / bass
- Ton Scherpenzeel / keyboards
- Dave Stewart / drums, percussion
- Barry Phillips / cello

Track List:
01. Three Wishes (6:58)
02. Lost And Found (5:38)
03. The Final Encore (8:07)
04. Rajaz (8:15)
05. Shout (5:15)
06. Straight To My Heart (6:23)
07. Sahara (6:44)
08. Lawrence (10:46)

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Camel, Colin Bass, Ton Scherpenzeel

Camel – Dust and Dreams (1991) (@256)

09 Jun 2007

(Review from progarchives.com)

During a six year hiatus, Latimer was fighting with lawyers to get some due royalties and to evacuate the problems with their former manager.
Changes in their record company (Decca) made it clear that Camel had to try and put an end to their contract. Both amically agreed to do so on April tenth, 1985. Latimer, who had already started a new project (which will become “Dust & Dreams”) was free to sign with another label. He got contacts with EG but after six months of useless talks Latimer put an end to the negotiations when he was asked why Peter Frampton had left the band.

Latimer decided to sell his London house and he settled to the US in 1988. At this time, he decided to re-write the second half of “Dust and Dreams”. He used the money from the sales of his house to build a small studio where “Dust and Dreams” was recorded and produced. After an improductive attempt with Virgin, Latimer used the money which was left to setup his own production firm : Camel Productions. With sales that took off, the company organized a world tour and got the license to release old Camel works to CD. Their first album reaching the bins at the same time as “Dust and Dreams” on a CD format.

The largely instrumental “Dust and Dreams” marked the revival of Camel. Latimer with Bass, Burgess, Scherpenzeel and seven guests recorded a musical evocation of John Steinbeck’s classic novel The Grapes of Wrath.

It starts with the prying wind theme “The Dust Bowl” that turns into a vocal manifesto of the family’s unrelenting hope “Go West”. Then we have a short symphonic masterpiece “Dusted Out” whose dramatic performance shows the drama of the Okies being kicked out of their homes. “Mother Road” brings another important message namely that you and the road you are traveling along are the one thing. The next instrumental piece is “Needles”, the city on the Joads’ way to the milk ‘n’ honey land, a quite nice transition to a beautiful and heartfelt song “Rose Of Sharon” which is even more sentimental in pitch than the book itself. The last vocal number is called “End Of The Line” which touches the problem of loneliness and helplessness among the trackers whose desperation increases steadily to the point of unutterable anger masterly expressed by the one of the final tracks “Hopeless Anger” in which Latimer`s guitar solo tears your heart apart. And at last the Joads are free to decide which way to go and what they left behind belongs to the past now, and the heavy rain drops bring relief and hope for a change.

“Dust and Dreams” is a great concept album from Camel, with nice melodies and good compositions. Celestial and emotional moments : we are brought back to the early Camel. What a nice comeback!

Line-up:
- Andrew Latimer / guitars, flute, vocals, keyboards
- Colin Bass / bass
- Ton Scherpenzeel / keyboards
- Don Harriss / keyboards
- Paul Burgess / drums
- Christopher Bock / drums
- Neil Panton / oboe
- Kim Venaas / timpani, harmonica
- John Burton / french horn
- David Paton / vocals
- Mae McKenna / vocals

Track List:
01. Dust Bowl (1:54)
02. Go West (3:42)
03. Dusted Out (1:35)
04. Mother Road (4:15)
05. Needles (2:34)
06. Rose of Sharon (4:48)
07. Milk n’ Honey (3:30)
08. End Of The Line (6:52)
09. Storm Clouds (2:06)
10. Cotton Camp (2:55)
11. Broken Banks (0:34)
12. Sheet Rain (2:14)
13. Whispers (0:52)
14. Little Rivers And Little Rose (1:56)
15. Hopeless Anger (4:57)
16. Whispers in the Rain (2:54)

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Camel, Colin Bass, David Paton, Ton Scherpenzeel

Camel – Pressure Points : Live in Concert (1984) (@256)

08 Jun 2007

(Review from progarchives.com, progreviews.com, wikipedia)

“Pressure Points : Live in Concert” was recorded at the Hammersmith Odeon on May 11th, 1984; weeks after the release of “Stationary Traveller”.

There’s a soaring, yet subtle gentleness about much of the concert, dotted with moments of energy, led by Andy Latimer’s guitar and/or Tom Scherpenzeel’s keyboards. It’s slick and inoffensive in almost every possible way. It’s a reflection of the “Stationary Traveller” era. As bonuses, we get guest solos from Mel Collins on “Fingertips” and Peter Bardens on the “Rhayader Goes to Town”.

After the release of the live Pressure Points in late 1984, Camel disappeared without trace as far as the public was concerned. Finishing the contract with Decca, Latimer was unable to interest other British record companies and eventually moved to California when the lawsuit ended (successfully for him).

Line-up:
- Andy Latimer / guitar, flute, vocal
- Colin Bass / bass, vocal
- Ton Scherpenzeel / lead keyboards
- Christopher Rainbow / vocal, keyboards
- Richie Close / keyboards
- Paul Burgess / drums, percussion
with:
- Mel Collins / sax
- Pete Bardens / organ

Track List:
01. Pressure Points (7:17)
02. Drafted (3:51)
03. Captured (3:02)
04. Lies (5:16)
05. Sasquatch (4:09)
06. West Berlin (5:19)
07. Fingertips (4:48)
08. Wait (4:28)
09. Rhayader (2:29)
10. Rhayader Goes To Town (6:05)

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Camel, Chris Rainbow, Colin Bass, Live, Mel Collins, Ton Scherpenzeel

Camel – Stationary Traveller (1984) (@256)

06 Jun 2007

(Review from progarchives.com)

This version of Camel sounds slightly different than the band of the seventies. Since the release of Nude the songs are mainly built on the splendid guitar melodies of Latimer. He uses his position as de facto leader to showcase his guitar prowess. Kayak’s Ton Scherpenzeel joins Camel on keyboards. Throughout the album the influence of Scherpenzeel is noticeable as he puts some colour to the music. He even wrote one little instrumental which fits in perfectly. Chris Rainbow takes lead vocals on a couple of the tracks.

The cover art of this album takes you back to Berlin at the time when the wall was built. Stationary traveller may be a concept album but its concept isn’t dominating the music. You can easily listen to the fine songs separately without digging deep into the lyrics, although the lyrics explain why there isn?t an uplifting mood.

The result is an excellent album by any standards. Once again, we have one of Camel’s striking opening themes, with a brief but dramatic lead guitar piece instantly grabbing the listeners attention and setting the mood for the rest of album.

Stationary Traveller is probably one of the most underrated albums of the eighties. Unfortunately it would be the last Camel album for the decade.

Line-up:
- Andy Latimer / flute, guitar, vocals
- Ton Scherpenzeel / organ, synthesizer, piano, keyboards, mellophonium, vocals
- David Paton / bass, vocals
- Paul Burgess / percussion, drums
- Mel Collins / sax
- Chris Rainbow / vocals

Track List:
01. Pressure Points (instrumental) (2:10)
02. Refugee (3:47)
03. Vopos (5:32)
04. Cloak and Dagger Man (3:55)
05. Stationary Traveller (instrumental) (5:34)
06. West Berlin (5:10)
07. Fingertips (4:29)
08. Missing (instrumental) (4:22)
09. After Words (instrumental) (2:01)
10. Long Goodbyes (5:14)

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Camel, Chris Rainbow, David Paton, Mel Collins, Sakalli's Pick, Ton Scherpenzeel

Kayak – Eyewitness (1981) (@256)

04 Apr 2007

For Salty Dog, sorry I forgot it :)

(Review from progressiveworld.net)

Originally recorded as a live album containing most of their “hits”, Eyewitness was in fact conceived in the studio! In fact, the band recorded the entire album with a live feel, but without an audience! All of the tracks were recorded in the famous Wisseloord studios in Holland. Later, 200 members of the band’s fanclub were dragged in so their applause could be recorded. The fake audience has not been included on this CD-transfer so what you get here is the “real” sound of the band, how they sounded live without the polished studio treatment.

“Ruthless Queen” remains one of the many highlights in the band’s remarkable career. There’s the funkiness of “Want You To Be Mine” (although I remember having seen Kayak live when I was young (gasp), and hearing that track more in a Uriah Heep fashion) and the driven force of “Chance For A Lifetime” including some superb Moog interventions! There’s an almost disco-feel with “Who’s Fooling Who” before Scherpenzeel can musically show his love for his wife in the instrumental “Irene”, which sounds very much like Camel what with Johan Slager throwing in some cool Latimer chords!

One of the all-time Kayak live favourites, “Starlight Dancer”, is also included here, although it sort of misses what made the studio version so special. Hard and driving is “No Man’s Land” with a versatile Scherpenzeel banging the ivories whilst Slager joins in with some stunning guitar licks. Two interesting bonus tracks have been added here. “Car Enchanter” is a specially recorded version from the Merlin album, recorded for Keystone products. “Ivory Dance ’94″ is a re-recorded instrumental with a nice minimal build-up.

Track List:
01. Eyewitness (3:21)
02. Periscope Life (4:09)
03. Ruthless Queen (5:05)
04. Want You To Be Mine (4:48)
05. Lyrics (1:59)
06. Chance for a Lifetime (4:22)
07. Who’s Fooling Who (3:44)
08. Irene (3:12)
09. Only You and I Know (3:12)
10. Winning Ways (3:28)
11. Starlight Dancer (4:58)
12. No Man’s Land (5:32)
13. The Car Enchanter (Sikkens Song) (Bonus) (2:36)
14. Ivory Dance (Bonus) (2:51)

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Edward Reekers, Kayak, Max Werner, Ton Scherpenzeel

Kayak – See See the Sun (1973) (@256)

27 Feb 2007

5 comments

(Review from progarchives.com)

An undeservedly underrated group is Kayak. Perhaps part of the reason for its relatively low profile is that it occupies a strange middle ground, with an unlikely combination of pop/rock vocal segments that owe more to Todd Rundgren than any main progressive rock group, interspersed with strong symphonic progressive rock as well. The vocals of Kayak’s first lead singer Max Werner aren’t that great, but are not a negative factor for me either while the classic line-up of Werner (vocals/mellotron), Tom Scherpenzeel (keyboards), Johan Slager (guitars), Cees van Leeuwen (bass) and Pim Koopman (drums) that cut the first two albums is highly competent, but far from flashy … even during the lengthy instrumental interludes.

To top it all, Kayak have made many line-up shifts and passed through a number of styles. While the current outfit is making strong, neo-prog tinged music, I’m one of those who thinks that this early progressive pop phase saw Kayak at its best. In fact, I don’t think it gets any better than See See The Sun.

Reason For It All ( with a healthy dose of Yes influences), the storming Mouldy Wood, the sparse, melodramatic Lovely Luna and the beautiful Beatlesque title track are probably my personal highlights, but this album has to be taken as a whole, for it is well balanced and possesses a great flow … best exemplified by the moment when the edgy rocker Hope For A Life comes right after the seduction of Lovely Luna. Kayak also prove that you don’t need length to be progressive … Mammoth goes through a number of phases in a period of less than three minutes! I really like this record, and even my least favourite track, the schmaltzy Forever Is A Lonely Thought has a very nice Scherpenzeel piano solo.

There is a light (but not lightweight) feeling about Kayak’s music that makes me think that this is one classic-era prog band that neo-prog fans will really enjoy. And even though they sound nothing like either ELO, Supertramp or the Alan Parsons Project (and indeed are emphatically more progressive) I do believe it is fans at this end of the scale who will derive the most joy from Kayak’s music. And See See The Sun, surely Kayak’s finest album, is the best place to start.

Line-up:
- Ton Scherpenzeel / piano’s Synths, organ, harpsicord, vocals, accordion
- Pim Koopman / drums, percussion, Marimba, vocals
- Johan Slager / guitars, vocals
- Max Werner / mellotrons, percussion, vocals
- Cees van Leeuwen / bass, harmonica

Track List:
01. Reason For It All (6:29)
02. Lyrics (3:42)
03. Mouldy Wood (5:16)
04. Lovely Luna (8:19)
05. Hope For A Life (6:49)
06. Ballet Of The Cripple (4:39)
07. Forever Is A Lonely Thought (5:26)
08. Mammoth (2:57)
09. See See The Sun (4:13)
10. Still Try To Write A Book (Bonus) (2:01)
11. Give It A Name (Bonus) (2:44)

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