KAYAK
''PHANTOM OF THE NIGHT''
2010
1978
44:49
1 Winning Ways (I. Linders/T. Scherpenzeel) 03:35
2 Keep the Change (T. Scherpenzeel) 03:34
3 Ruthless Queen (I. Linders/T. Scherpenzeel) 04:48
4 Crime of Passion (I. Linders/T. Scherpenzeel) 03:32
5 First Signs of Spring (T. Scherpenzeel) 03:41
6 Daphne (I. Linders/T. Scherpenzeel) 05:08
7 The Poet and the One Man Band (T. Scherpenzeel) 04:10
8 No Man's Land (T. Scherpenzeel) 04:02
9 Journey Through Time (I. Linders/T. Scherpenzeel) 03:22
10 Phantom of the Night (I. Linders/T. Scherpenzeel) 05:02
11 Ballad for a Lost Friend (?) 03:51
Ton Scherpenzeel – keyboards
Edward Reekers – lead vocals
Max Werner – drums, percussion, vocals
Peter Scherpenzeel – bass guitar
Johan Slager – guitars
Katherine Lapthorn – backing vocals
Irene Linders – backing vocals
ABOUT THE ALBUM
BY WIKIPEDIA
Phantom of the Night is the 6th studio album by Dutch Progressive rock band Kayak. "Ruthless Queen" was released as a single, becoming the bands biggest hit, nearing the top of the charts in the Netherlands.
In the United States, the LP (with a different sleeve design) was also released as a picture disc, in a limited edition of 3,000 copies.
The album was Kayak's biggest commercial success, but it was only in August 2010 that it was released on CD in its own right. Until that date, the album was only available as part of a box with 2 other Kayak albums.
REVIEW
by Paul Collins / AMG
Featuring slick harmonizing and heavily compressed drum, this release completed Kayak's transition to keyboard-based pop. The once-intricate bass playing is now almost absent from the mix, and odd times are forsaken for rigid 4/4 patterns. Despite this, the undistinguished single "Ruthless Queen" proved to be the band's biggest hit, nearing the top of the charts in Holland. Though Edward Reekers is consistently too squeaky-clean in his singing, "Journey Through Time" might satisfy old fans with its trading off of riffs between an off-kilter guitar hook and synth flutes. "Crime of Passion" marches over a martial piano line, and "No Man's Land" makes the most of a driving (if simple) rhythm section underlying needling guitar solos and warbling Hammond organ. If this album retains much interest, though, it's probably more for its original vinyl issue as a nifty picture disc than for the music on it.
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 Keep the Change (T. Scherpenzeel) 03:34
3 Ruthless Queen (I. Linders/T. Scherpenzeel) 04:48
4 Crime of Passion (I. Linders/T. Scherpenzeel) 03:32
5 First Signs of Spring (T. Scherpenzeel) 03:41
6 Daphne (I. Linders/T. Scherpenzeel) 05:08
7 The Poet and the One Man Band (T. Scherpenzeel) 04:10
8 No Man's Land (T. Scherpenzeel) 04:02
9 Journey Through Time (I. Linders/T. Scherpenzeel) 03:22
10 Phantom of the Night (I. Linders/T. Scherpenzeel) 05:02
11 Ballad for a Lost Friend (?) 03:51
Ton Scherpenzeel – keyboards
Edward Reekers – lead vocals
Max Werner – drums, percussion, vocals
Peter Scherpenzeel – bass guitar
Johan Slager – guitars
Katherine Lapthorn – backing vocals
Irene Linders – backing vocals
ABOUT THE ALBUM
BY WIKIPEDIA
Phantom of the Night is the 6th studio album by Dutch Progressive rock band Kayak. "Ruthless Queen" was released as a single, becoming the bands biggest hit, nearing the top of the charts in the Netherlands.
In the United States, the LP (with a different sleeve design) was also released as a picture disc, in a limited edition of 3,000 copies.
The album was Kayak's biggest commercial success, but it was only in August 2010 that it was released on CD in its own right. Until that date, the album was only available as part of a box with 2 other Kayak albums.
REVIEW
by Paul Collins / AMG
Featuring slick harmonizing and heavily compressed drum, this release completed Kayak's transition to keyboard-based pop. The once-intricate bass playing is now almost absent from the mix, and odd times are forsaken for rigid 4/4 patterns. Despite this, the undistinguished single "Ruthless Queen" proved to be the band's biggest hit, nearing the top of the charts in Holland. Though Edward Reekers is consistently too squeaky-clean in his singing, "Journey Through Time" might satisfy old fans with its trading off of riffs between an off-kilter guitar hook and synth flutes. "Crime of Passion" marches over a martial piano line, and "No Man's Land" makes the most of a driving (if simple) rhythm section underlying needling guitar solos and warbling Hammond organ. If this album retains much interest, though, it's probably more for its original vinyl issue as a nifty picture disc than for the music on it.
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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