KAYAK
''KAYAK''
1885
1974
39:08
1 Alibi (Scherpenzeel) 3:37
2 Wintertime (Van Leeuwen/Koopman) 2:49
3 Mountain Too Rough (Scherpenzeel) 3:55
4 They Get To Know Me (Van Leeuwen/Koopman) 9:16
5 Serenades (Koopman/Scherpenzeel) 3:30
6 Woe And Alas (Scherpenzeel) 2:59
7 Mireille (Instr.) (Koopman) 2:12
8 Trust In The Machine (Van Leeuwen/Koopman) 6:05
9 His Master's Noise (Koopman/Scherpenzeel/Van Leeuwen) 1:42
Bonus track (1995 reissue)
10 We Are Not Amused (Koopman/Scherpenzeel) 2:58
Ton Scherpenzeel - keyboards, vocals, accordion
Pim Koopman - drums, percussion, marimba, vocals (lead vocal on track 9)
Max Werner - lead vocals, percussion, mellotron
Cees van Leeuwen - bass, harmonica
Johan Slager - guitars, vocals
ABOUT THE ALBUM
BY WIKIPEDIA
Kayak is the second album by the Dutch progressive rock band Kayak. It was originally released in 1974 and reissued with a bonus track in 1995.
At first, the title was to be "His Master's Noise". But the band expected problems with the record label "His Master's Voice" (HMV), and so they chose simply for "Kayak". The album is also known as "Kayak II" and "Alibi" (after its first track).
The song "Wintertime" was the only single release from this album. "Serenades" was the b-side for the single "We Are Not Amused".
REVIEW
By Paul Collins / AMG
Essentially an extension of the band's debut album See See the Sun, although it's not quite as murky and dark in its depths. "Alibi" boasts wailing guitars and haunting vocals on the chorus, while the survivor's tale of "Wintertime" has accordions and bright harmonies that recall the work of Supertramp..."They Get to Know Me" sees an interplay between subtle Adagio-like organ and stinging guitar lines, but lingers a bit too long on its closing instrumental. The end of the album sees a foray into space-rock with "Trust in the Machine"...
BIOGRAPHY
by Paul Collins / AMG
With their instrumental prowess and keyboardist Ton Scherpenzeel's facility at writing lyrics in English, you might be forgiven for mistaking Kayak for a bunch of clever proggers from London. But this Dutch band began in 1968 in the city of Hilversum, where Scherpenzeel and drummer Pim Koopman attended a music conservatory. After the addition of guitarist Johan Slager, bassist Cees van Leeuwen, and vocalist Max Werner, the group solidified by 1972 and commenced recording. Stylistically they featured the instrumentation and chops of progressive acts like Yes and Genesis, but the pop song structures of Supertramp and the Alan Parsons Project; as time passed they increasingly favored the pop side of the equation. Royal Bed Bouncer, the most even balance between these two styles, was to be a commercial and artistic high point for the band. They continued to meet with minor success throughout the '70s on a variety of record labels, and in 1974 toured in support of Queen -- a move that influenced the flavor of their later work.
Like most progressive bands, Kayak never had a terribly stable lineup; at one point they went through three bassists in as many years. With Scherpenzeel as the sole constant, Kayak's first lineup also proved to be their finest; but Koopman's asthma forced him to retire in 1976, and Werner was so tortured by stage fright and unfounded doubts over his singing ability that he demanded the vacated drum chair for himself, leaving the vocal duties to new member Edward Reekers. Scherpenzeel's central role in the band eventually wore on the others, and Kayak fell apart in 1980. Scherpenzeel continued on to work with the English band Camel and then compose primarily for the theater. Koopman and Reekers worked in music production and performance; Werner left the stage to become a postal worker; and van Leeuwen became -- of all things -- a prominent lawyer. The band reunited in 1997 for a Dutch TV special, though no new recordings have yet emerged.
OFFICIAL SITE
2 Wintertime (Van Leeuwen/Koopman) 2:49
3 Mountain Too Rough (Scherpenzeel) 3:55
4 They Get To Know Me (Van Leeuwen/Koopman) 9:16
5 Serenades (Koopman/Scherpenzeel) 3:30
6 Woe And Alas (Scherpenzeel) 2:59
7 Mireille (Instr.) (Koopman) 2:12
8 Trust In The Machine (Van Leeuwen/Koopman) 6:05
9 His Master's Noise (Koopman/Scherpenzeel/Van Leeuwen) 1:42
Bonus track (1995 reissue)
10 We Are Not Amused (Koopman/Scherpenzeel) 2:58
Ton Scherpenzeel - keyboards, vocals, accordion
Pim Koopman - drums, percussion, marimba, vocals (lead vocal on track 9)
Max Werner - lead vocals, percussion, mellotron
Cees van Leeuwen - bass, harmonica
Johan Slager - guitars, vocals
ABOUT THE ALBUM
BY WIKIPEDIA
Kayak is the second album by the Dutch progressive rock band Kayak. It was originally released in 1974 and reissued with a bonus track in 1995.
At first, the title was to be "His Master's Noise". But the band expected problems with the record label "His Master's Voice" (HMV), and so they chose simply for "Kayak". The album is also known as "Kayak II" and "Alibi" (after its first track).
The song "Wintertime" was the only single release from this album. "Serenades" was the b-side for the single "We Are Not Amused".
REVIEW
By Paul Collins / AMG
Essentially an extension of the band's debut album See See the Sun, although it's not quite as murky and dark in its depths. "Alibi" boasts wailing guitars and haunting vocals on the chorus, while the survivor's tale of "Wintertime" has accordions and bright harmonies that recall the work of Supertramp..."They Get to Know Me" sees an interplay between subtle Adagio-like organ and stinging guitar lines, but lingers a bit too long on its closing instrumental. The end of the album sees a foray into space-rock with "Trust in the Machine"...
BIOGRAPHY
by Paul Collins / AMG
With their instrumental prowess and keyboardist Ton Scherpenzeel's facility at writing lyrics in English, you might be forgiven for mistaking Kayak for a bunch of clever proggers from London. But this Dutch band began in 1968 in the city of Hilversum, where Scherpenzeel and drummer Pim Koopman attended a music conservatory. After the addition of guitarist Johan Slager, bassist Cees van Leeuwen, and vocalist Max Werner, the group solidified by 1972 and commenced recording. Stylistically they featured the instrumentation and chops of progressive acts like Yes and Genesis, but the pop song structures of Supertramp and the Alan Parsons Project; as time passed they increasingly favored the pop side of the equation. Royal Bed Bouncer, the most even balance between these two styles, was to be a commercial and artistic high point for the band. They continued to meet with minor success throughout the '70s on a variety of record labels, and in 1974 toured in support of Queen -- a move that influenced the flavor of their later work.
Like most progressive bands, Kayak never had a terribly stable lineup; at one point they went through three bassists in as many years. With Scherpenzeel as the sole constant, Kayak's first lineup also proved to be their finest; but Koopman's asthma forced him to retire in 1976, and Werner was so tortured by stage fright and unfounded doubts over his singing ability that he demanded the vacated drum chair for himself, leaving the vocal duties to new member Edward Reekers. Scherpenzeel's central role in the band eventually wore on the others, and Kayak fell apart in 1980. Scherpenzeel continued on to work with the English band Camel and then compose primarily for the theater. Koopman and Reekers worked in music production and performance; Werner left the stage to become a postal worker; and van Leeuwen became -- of all things -- a prominent lawyer. The band reunited in 1997 for a Dutch TV special, though no new recordings have yet emerged.
OFFICIAL SITE
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