I remember an icy wind whistling through the bare branches of the trees. And then — the more I think about it, the more the memories come back — I remember making some remark to him that night at the Plaisantin about how dull things had been in Yokohama since Number 10 closed down.
Tomoda grinned. Just like the old Number But the reader has perhaps already been struck by the same suspicions that began to occur to me once I had thought things through this far.
Namely, that the relationship between Tomoda and Matsunaga went far deeper than I had at first assumed. He had remained in the country till the summer ofwhen he left home again. And for precisely this period — between the autumn of and the summer of — I had no recollection of having seen Tomoda once. The whole thing started to seem very strange indeed.
I tried to think back to the first time I met him. It must have been around or I forget now who it was that introduced us. The chronology was remarkably similar. But unless I was seriously mistaken, it seemed safe to assume that the same four-year cycle had been in operation all the way from to the present.
And during the periods when Tomoda was active in the Tokyo-Yokohama area, Matsunaga was nowhere to be found. I lay in bed pondering the strange details of the case. I felt compelled to consider matters further. I drew up a mental chronology similar to the one I have just sketched out above and went over it carefully.
Everything seemed to point to the same conclusion. I could no longer be sure that Tomoda and Matsunaga were not the same person. Shigeko herself, then, clearly had her suspicions. But the impression I got from the old-fashioned retouched photograph she had enclosed was that Matsunaga bore no resemblance to Tomoda at all either in face or build. Of course, it is not true that the camera never lies.
But there was simply no way that someone as chubby as Tomoda could be made to look as thin as the man in this photograph. Tomoda was practically obese. Matsunaga, according to this photograph, was tall and slim. Matsunaga had sunken cheeks and a sharp, triangular face. They were a study in opposites: one of them jovial, the other gloomy. And what about Matsunaga? What was it that Shigeko had said about her husband? These remarks made it clear that Matsunaga had been as thin as he was in the photograph for many years.
If Tomoda and Matsunaga really were the same person, was it conceivable that this fact could have escaped detection for so long? And was this kind of brazen behaviour really what one would expect of someone like Matsunaga, whose last words to his wife before leaving had been to remind her that she had no hope of tracing him, no matter how hard she tried?
These were not questions I could answer on my own, however long I lay in bed pondering them. I would have to confront Tomoda and see how he reacted. I was busy with work that day, but I managed to finish it by the evening and set out that night for the Ginza, hoping to catch Tomoda at the Plaisantin.
The only food they did was steak — but what a steak it was, grilled the English way over hot coals, a real rarity in Tokyo. The wine list was impressive, too. Many of the drinks behind the bar were available nowhere else. I arrived at eight and sat for an hour over a steak and three glasses of French vermouth, waiting for Tomoda to appear.
But there was no sign of him. I decided to give him till ten. I finished my vermouth and ordered a glass of amontillado. In fact, it was only recently that I had tasted this remarkable wine for the first time myself. It was Tomoda who had introduced me to it. Ever tried it? Look at the colour. Look how clear it is. They add sugar to sweeten it. This is the natural sweetness of the grapes — nothing more, nothing less. The drink was perfectly balanced, the delicate sweetness of the fruit rounded out by the gentlest hint of bitterness.
A warm southern breeze seemed to rise from the glass in my hand. I take the credit for this. I found it in Yokohama at a place called the K. Trading Company. They had two dozen bottles of it stashed away in the warehouse.
I gave one dozen to the bar and kept the rest for myself. For personal use only. I thought of Tomoda again now as I sipped my drink. My doubts about him were growing all the time. I was too close to have noticed it before, I suppose, but now I was forced to admit that this friend of mine — this man I had always assumed to be living such an uncomplicated life — was shrouded in mystery like no one else I knew.
What had he been doing in the years before I knew him? How old was he? Where had he gone to school? Tomoda had always been a bit slippery when it came to subjects like these, giving strangely evasive answers that could be taken either as yes or no.
He spoke such good English and French, was so comfortable with Western manners, and was such a connoisseur of European food and drink, that I had always assumed he had spent time in the West. But now I came to think of it, I realized I had never actually heard Tomoda say so himself.
He had occasionally mentioned his adventures in Shanghai, but I had never heard him talk about Paris or London. Or Kobe? Or Shanghai? He had been working at the Plaisantin for as long as I could remember. No takers at all tonight. You seem to be doing all right, though — this place is packed.
To tell the truth, I was hoping I might bump into Tomoda. Still a bit early for Mr Tomoda. Another interesting new arrival? His magnificent bulk made its way across the room toward us, resplendent in a linen suit and an English-made straw hat.
He was dressed in white from head to toe. He pushed his way through the crowd, his shirt flapping over his protruding belly, and eventually plopped himself down in the chair opposite mine. Who was? The amethyst ring was there as usual, glinting at me from the plump ring finger of his left hand. Tomoda hardly ever touched gin or whisky. Normally, he drank wine — claret, champagne, hock, sherry and cognac. He had nothing but disdain for British and American drinks.
You want to taste the flavour of the drink itself, not some artificial concoction. The Americans know nothing about these things. One glass is enough to cool you right down. Just a quick dash of bitters in a glass of Old Tom. Does the trick like nothing else. Like most fat men, Tomoda sweated profusely. As always, he was wearing a stiff single collar, which was starting to wilt. Any new arrivals? Everything else about them is completely Western.
A Portuguese girl combines the best of both worlds. He was always singing the praises of whichever girl happened to be his favourite.
I got her as soon as she arrived. Here — have a look. Get a load of that body! Probably closer to twenty. Like what you see? I should go and see for myself. I thought you might say that. I have something to show you, too. I reached into my jacket pocket just as he had done. And what could that be? The instant he saw the picture he turned pale. He looked as though every hair on his body was standing on end.
His dull, drink-heavy eyes were suddenly wrenched open wide. I watched them flash as he fought to control his emotions. Waves of terror and anguish and loss washed over him. At last, I heard a clink as Tomoda lunged for his glass and downed what was left of his gin in a single gulp. His voice shook with an indignation he was struggling in vain to control.
Should I? Not really my crowd, you know. I began to worry that I had taken him too much by surprise. I would never get to the bottom of the mystery if I made him angry. I decided to change tack, and continued more gently. His name is Matsunaga Gisuke. Are you a friend of his or something? Maybe I should suggest going for a stroll and talk things over with him outside. Next to our table a fan rattled and whirred. There was little risk that anyone would overhear what I had to say.
And it would be easier to follow his reactions in a well-lit place like this. Quietly, I continued my account. My lowered voice seemed to help Tomoda regain his composure a little. But as I spoke, he suddenly called the waiter over and asked him to bring some absinthe. He raised the drink repeatedly to his lips, nodding and grunting from time to time as I spoke. I have mentioned already that it was rare for Tomoda to drink anything as strong as gin — let alone absinthe.
He was evidently looking to escape into an even more intoxicated state than he was in already. But his mumbled interjections grew more frequent and more involved as I continued my story, and I occasionally caught glimpses of genuine curiosity in his eyes.
It has the makings of a classic detective story! You do know him after all? But I know the stuff in that bag of his. It was mine.
Let me see, when would it have been? If I had that postcard with me, it must have been around then, I suppose. Probably the bag she found was mine too. Money, too: two or three hundred yen. I lost it all.
I prefer not to deal with the police if I can help it. And those photos! How would it look if the police found those? A replacement. I had it made after the other one was stolen. The thing is, I hate thunder. It terrifies me. I remember there was a terrific thunderstorm that night in Hakone. I took off my ring and put it in my bag.
Then I fell asleep and forgot all about it. Someone must have come in and swiped it while I was asleep. I can see how my photographs might appeal to an eccentric like that. And what about your postcard? That is odd. He was probably worried the other things could be traced. That must be the explanation. He could have burnt it or torn it up or something. Not all thieves are illiterate. Someone with a bit of education could probably make his way through one of your novels.
Out of the question! I want nothing to do with it. The colour drained from his face again. You asked him about this Matsunaga person, and he knows nothing about him. And nothing about the articles in the bag either. The postcard may indeed have belonged to him once, but Mr Tomoda has no recollection of any of the other items.
As far as he can remember he has never lost a seal and it is a matter of great mystery to Mr Tomoda how the seal and the postcard came to be in the possession of Mr Matsunaga. Yours sincerely, etc. I saw fear flicker in his eyes again.
Not as obvious this time, perhaps — but it was the same strange terror I had noticed before. Look at the old fogey! Turns forty this year, she says. I suppose your face does look around thirty-six.
That much I can vouch for. Everything about us is different. You look nothing like him. But it was no laughing matter. For the more closely I studied the photograph of Matsunaga and his family and compared it with the man sitting in front of me, the more profoundly I was struck by the total lack of any resemblance between them whatsoever.
A photograph of me. What can she say to that? I am sure that one glimpse of these photographs will dispel any suspicions you may have. We sat and continued to talk over still more drinks. From time to time I caught him stealing a glance at the photograph of the Matsunaga family, which I had deliberately left out on the table. Do you feel like heading over to Yokohama? It was nearly eleven. Tomoda no doubt had things of his own to be thinking about. As for me — I had had far too much to drink that evening, and I was more intoxicated than I normally allow myself to become.
My head spun as I went over our conversation, obsessively trying to make sense of it all. His bag had been stolen, he said. Fair enough — that would explain everything. But what about the look of fear I had seen in his eyes when I showed him the photograph? Why had he felt the need to get so drunk, or at least act as though he were?
And why was he so particular about keeping his identity and whereabouts a secret even though he knew he was under suspicion? The more I thought about it, the thicker became the cloud of mystery that enveloped him. Tomoda had said how suspicious it was that Matsunaga kept disappearing without a trace every three or four years. But if that counted as suspicious behaviour, then what about Tomoda himself?
Perhaps Tomoda had met Matsunaga overseas. His tone was unusually brusque. He turned a corner and was gone, vanishing in the direction of Shinbashi Station. Despite his assurances, I had my doubts whether he would really send me the photographs he had promised. Perhaps he had just been looking for a way out of our argument, I thought. But, in fact, they were delivered to my door by the afternoon post two days later. I am enclosing one full-length photo, one from the waist up and one of the face only.
Together, they should be more than sufficient for our purposes. Please send all three photographs to Mrs Matsunaga without too much elaboration. I will thank you not to mention anything about my whereabouts or other personal details. I am not in the habit of giving out my address unless it is absolutely necessary. As I think I made clear the other evening, no purpose would be served by letting Mrs Matsunaga know where I live.
I see no reason why I should be inconvenienced any further for the sake of Mrs Matsunaga and her disappearing husband. Taken together, they told you everything you could want to know about his appearance, from his general build and character to the outline of his face and the shape of his skull.
Every distinguishing mark was there in full view. Neither in the full-body picture nor in the upper-body shot was there any sign of the ring he always wore, although you could see his hands quite clearly in both.
He must have made a point of taking it off. He had asked me specifically not to mention the ring in my reply to Shigeko. Surely this was the true reason why he had gone to the effort of having new pictures taken. The sympathy I felt for Shigeko outweighed my feelings of friendship for him. My reply was even longer than her original letter to me. In it, I set down everything I knew that might help her get to the bottom of the mystery. I sent her all the evidence at my disposal: the chronological table showing how Tomoda and Matsunaga seemed to go missing in alternating intervals of four years, as well as a detailed report of our conversation at the Plaisantin.
I will continue to look into things at this end, and will be happy to help in any way I can. But in among all the formalities was a line that took me quite by surprise.
This time I will summarize its contents. But there is something about the eyes in that round face of his that reminds me of my husband. Perhaps my mind is playing tricks on me. My husband has always been thin. If, as you say, Mr Tomoda has always been rather stout, then my suspicions would seem to be quite unfounded. If my husband were just four or five years younger — if he lost a few years, and gained a few pounds — perhaps this is how he might look.
What height is Mr Tomoda, I wonder? My husband is a little over five feet and four inches. I realize that I am asking a lot. I hope you will understand my situation. I should be very much obliged if you would make Mr Tomoda acquainted with the details of the situation.
Was her mind playing tricks on her, as she herself had admitted it might be? Or did Tomoda have some way of altering his appearance? Was such a thing even possible? I was more suspicious of him now than ever. I knew I was likely to find Tomoda at Number That was my main reason for going there that evening, though I was careful to give the impression that I had just popped out of the house in search of a good time.
I reached up with my walking stick and rang the bell set high on the gatepost. From outside, the house looked deserted. A faint ringing sounded from a room some distance away on the other side of the tightly locked gate. The house itself remained silent.
The sound of the far-off bell was eerie and unsettling, like the sound of a stone tossed into a deep ravine or a ghost moving around inside a deserted house.
Once he recognized me, he opened the gate just wide enough for me to squeeze through. Not Mr Tom by any chance? Only Mr Tom here tonight. Can we go in? I stepped into the corridor and knocked on the first door on the left, which led into the dance hall.
Actually, it was only later that I realized how bright the dress was. At first glance it looked quite dark, thanks to the unusual lighting system in the room, which could be set to red, white or blue according to the mood of the moment. When I opened the door, the room was awash in warm red light. After the darkness outside, the soft light was probably just what my eyes needed, but I had other things on my mind and I flicked the switch to white as I entered.
What do you want to make it so bright for? She sounded drunk. Catherine was a petite, well-formed girl from England, the youngest of all the girls at Number 27 and a favourite with the clientele. Standing in front of her, in a dress of aqua-blue georgette, was Rosa.
This must be the new Portuguese girl. Let him have it as bright as he wants. How would you like that? I was a nice girl in Shanghai. A toast to new friends. Rosa was a thick-set and rather greasy-complexioned older woman whose best years were long behind her. Her arms were as big as my legs. She was never going to be a popular choice with customers heading to the rooms upstairs, but she made up for this by the skill with which she squeezed drinks out of the guests as she made her way around the dance-floor bar.
Boy — bring another champagne glass. He was practically rolling in his chair with laughter. Are you the only customer? Most people like to get out of town, away from the heat. And besides, I like having the place to myself. And music! Come on, play us something! He took Catherine in his arms and lifted her into the air. Stop it! Let me have my drink! Flora sat down at the piano and began to play.
I say, K, have you ever seen me dance a tango? It goes like this. No sooner had her feet hit the ground than she was up and dancing the tango hand in hand with Tomoda. I had seen Tomoda dance several times before, and I knew that he danced well.
But this was the first time I had seen him dance a tango. I could hardly believe what I was seeing. His left hand gripped her right and they lunged forward together, their arms entwined, hips swinging. At times their movements were slow, at other times fast. But no matter how frantic the tempo, her body never left his. They were fastened together, inseparable. She followed his every step, fell in with his every move. If he turned and swirled, she turned and swirled too.
They were like two pieces of fabric sewn together to make a single piece of clothing — he the white outer layer, she the red inner lining. It was clearly not the first time Fed Up - Various - Girls Sazanami Beat! Volume.1 (CD) had danced together like this.
Tomoda seemed to shake off his usual heaviness; his body seemed to lift off the ground as his spirits soared. Their dancing grew wilder and more impulsive. They veered away from each other, one to the left, the other to the right, then came together again. He flung her away from him, caught her at an angle, then brought her upright with the tip of one finger, raising his arm like a man showing off a big fish he has just pulled from the water.
She pirouetted five or six times on the spot, then fell back again, her face towards the ceiling. Her bobbed chestnut hair hung loose and shone in the light. Her champagne-flushed face turned crimson as the blood rushed to her head.
Tomoda performed one dance Fed Up - Various - Girls Sazanami Beat! Volume.1 (CD) another, pausing only to gulp down a succession of different drinks between each dance. He was obviously quite intoxicated. He looked nervous and desperate to get drunk as quickly as possible, just as he had that night at the Plaisantin. He held her close. What kind of cigarette is this? And then he turned his glassy eyes to look at me.
Good or bad? Very good. Quite something? It must have been while you were in Shanghai or somewhere like that. Rosa squeezed in next to him and Catherine stood behind them, draping her arms over the back of the chair and holding hands with Flora. Tomoda sat contentedly in the middle of this bouquet, occasionally leaning over to pass a drink to one of the girls.
But I could tell he was still on his guard. Whenever he saw that I was about to speak, he leaped out of the chair before I could ask any awkward questions. I should probably explain here that this peculiar behaviour was not unusual for him.
Tonight was not Fed Up - Various - Girls Sazanami Beat! Volume.1 (CD) first time Fed Up - Various - Girls Sazanami Beat! Volume.1 (CD) had found him clowning around like this. In fact, he seemed to be in the middle of some game or other whenever I came. The girls were partly to blame, for the way they indulged his every whim — but the truth was that Tomoda seemed to enjoy horsing around like this more than anything else.
He loved to be in a crowd, surrounded by noise, with the drinks flowing freely. As far as I knew, he had no regular relationship with any of the girls. It was as though he had come just to pass the time. For a while, I suspected there might be something between him and Catherine but I never found any proof.
When I asked the Filipino boy about it, he just shrugged. He never has a woman. Some people are funny that way. There was more to it than mere exuberance and the fact that no one was there to hold him back. He seemed anxious and pursued, as though he feared he might be caught at any moment.
Was this the explanation for his volatile behaviour — his drinking, his raucousness and his tendency to jump about the room at every opportunity? Was he trying to escape from something? Now that I thought about it, I realized that his antics had started when he saw my face. When I arrived, he had been sitting quietly, talking to the girls.
Something about me terrified him. I seemed to cast a fearful shadow over him whenever I appeared. What are you doing? He was slumped like a pot-bellied Billiken doll, his legs sprawled uselessly in front of him.
The girls took him by the hands and tried to pull him up, but his belly was too much for them and he kept slithering back to the floor. Catherine brought a hat from somewhere and put it on his head. Rosa removed her bead necklace and hung it around his neck. He suddenly crossed his legs and began to pose like the Great Buddha. A fine return! Trivia: Goddard always plays barefoot. InMichael Karoli sadly passed away.
Like Barbaro the music is rather King Crimson influenced. Only one month before the recording of their debut, the line-up was completed with Bischof later in Kraan and Brock.
The followup continued the style, also expanding into jazz-rock direction. This LP did really well and showed some more symphonic influences. On bass Hartwig was back, since Cornick had left again. On additional guitars and vocals Reinhard Bopp ex-Hardcake Special could be witnessed. Yet another sign of life appeared inwhen Albrecht did one more album under the name Karthago filled with commercial pop-rock.
Good harmony vocals by the way. Good progressive hard rock with a grooving organ, good vocals and otherwise good instrumental interplay. After the LP, the band split up and all went into different directions. One of the most essential albums from Estonia. Only in the mids an album with music by Propeller was released. The music can best be described as jazz-rock fusion with some progressive rock elements. The LP-tracks are more adventurous than the pieces from the EP.
Some are still jazzy, while others are pushed fully into the realm of progressive rock. The twin-guitar attack of Sibul and Varts play an important role in the music, but also the flute has gained importance. I really enjoyed the songs and if you are into fusion and jazz-rock, you might give this album a try as well. And that says something about the quality. They released some three. The final album featured former Cardeilhac drummer Gaston Balmer.
They do have vocals, but these are used rather sparsely and are luckily not theatrical French, but just okay as they are. Main focus is obviously on the keyboards and keyboard lovers should try to get hold of this enjoyable LP. She lived for 15 years in France and then moved back to The Netherlands where she started making music.
Essentially, my main criticism was the simplicity of the compositions and the amateuristic way Kat played them. In fact, it even got worse, for now she sings on several tracks accompanying herself as if she is playing an old Casio. Does anyone remember that awful sound? Well I do! The lineup of the debut is unknow.
That of the second LP is mentioned above. Most dominant instrument is probably the fiery guitar, but there is also plenty of room for other instruments and good interplay. Still a very fine piece of jazz-rock. On their debut album the band invited several guests on guitars, saxophone and organ, including the highly acclaimed jazz vocalist Johanna Iivanainen and guitarist Samu Wuori.
That happened while listening to Kataya. Their blend of folk, ambient and prog is wonderful and surprising. The atmospheres on the twelve compositions are often dreamy and contain slow rhythms with subtle, even a bit fragile use of keyboards. Besides, Kataya uses a wide range of instruments like modern keyboard sounds, guitars, saxophone, accordion and twelve-string guitar.
It all sounds very warm and pleasant to me. When I close my eyes, I can imagine the beauty of the lush and pure Finnish landscapes that has inspired Kataya to make this music.
Keyboards are played at warp speed. So indeed this album is full of lush solos and makes it an appetizing progmetal album. Altogether a very nice and varied progmetal album that has Liquid Tension Experiment written all over it. He plays all keyboards and most of the guitar on this CD, with the help of two friends on bass and drums.
They play atmospheric metal with folk influences and later on turned into postrock. On this release hardly any metal traces can be found, except that it reminds me of a quiet version of Third And The Mortal or Subterranean Masquerade mixed with some Sigur Ros. They were founded in It appears that they were one of the best selling Israeli groups of the period. Guitarist Johan Slager played in the last incarnation of High Tide Formation before they disbanded in Both Ton and Pim had started classical studies at the Hilversum Conservatory by this time, where they met fellow student Max Werner, who sang on some of their recordings.
At the college, Ton s main classical instrument was the double bass, while Pim and Max both studied percussion. Then came bassist Cees van Leeuwen replacing Frenchman Jean Michel Marion - to complete the line up of the group that was to become known as Kayak. After initial but unsuccessful negotiations Fed Up - Various - Girls Sazanami Beat!
Volume.1 (CD) Phonogram and even recording some demos for them! By the way, the reason for the Phonogram deal to fail was because Ton and Pim refused to record other material than their own! The debut LP was produced by the band themselves together with Gerrit Jan Leenders, presenting a sound that was clearly influenced by Yes, yet less complex.
Cees van Leeuwen was the first member of the original lineup to leave. He thought that he couldn t combine his university studies with the hectic tour and recording schedule of a rock band. His place was taken by Bert Veldkamp ex-Kangaroo. They toured extensively and by Kayak had become an established name in the Dutch and Belgian music scene. They were signed by the Vertigo label of Phonogram, who had ironically declined the contract a few years earlier.
Pim, however exhausted after four years, decided to leave the band the next year to work as a producer, while also Bert Veldkamp left them only two months later. Despite this serious loss after all their rhythm section was gone and with them one of the main composersKayak went full speed ahead. As new members they drew Charles Schouten and Theo de Jong in late The title track was released as a single and did very well Dutch 14and became one of the band s classics tunes.
Max made the best out of the situation and proposed to fill the place behind the drumkit, so Kayak had to start looking for a new lead vocalist instead.
They found a suitable one in Edward Reekers, who had been in Swan before. Three more new musicians came with him: bassist Peter Scherpenzeel Ton s younger brother and Irene Linders Ton s wife and lyricist for many of his songs and Katherine Lapthorn as backing vocalists. Many old fans disliked the new sound including brass! The LP even reached the 1 position, and they received a platina disc for selling over It was thought that the definite international breakthrough was now finally happening, so the next album was recorded in Los Angeles.
The first side presented a concept about the Arthurian legends, while the second side was a collection of commercial sounding and pop oriented songs. On strength of the excellent first side, this LP is usually counted among Kayak s best work. To make things even worse, their manager Hirschland had led them into serious financial problems.
Meanwhile Max Werner had gained major success as a solo artist try to explain that regarding his feelings about being the frontman of Kayak! There were also three new songs on the album. For many years, all individual members followed their indivudial paths, producing, doing session work, writing music or releasing solo work. Reekers and Werner both appeared in the live band of Dutch singer Nadieh. Not only were there interviews with all the participating members who played on this album inbut they also performed some songs together in the studio.
At that time it appeared that Ton, Pim and Max had been working on some demos, but record companies showed no interest in this possible new Kayak. Kayak agreed to come and play some of their hits for the audience and do an interview - for the first time in 17 years! For this Kayak added an additional lead and backing vocalist in Bert Heerink, formerly of Vandenberg, but known nationwide for his singing on quite a few Heineken beer commercials and the two successful albums that came from these.
While working on the project, some problems arose. They found a more than suitable singer for the place in Cindy Oudshoorn, a seasoned session singer, who had also released some singles in Dutch language as a solo artist. This new rock opera was at first they planned as a single album with the rest of the material to be played during live shows. Eventually they did release it as a double CD with the entire concept available for the listener and also a single CD version on sale.
Eight different singers are used; among them are Bert Heerink as Nostradamus and former Kayak singer Edward Reekers as Yves de Lessines the monk who is said to have had the prophecies and not Nostradamus.
After this Kayak found it time for a less elaborate work and came first with an acoustic live album with new bass player Jan van Olffen and in they came with a new studio CD that did not have a concept, but was simply songbased. On 22 November Kayak played a tribute concert with a lot of guests to commemorate Pim Koopman who died the year before.
This concert was released on DVD in late summer of the next year. Fun trivia: in former Kayak bassist Cees van Leeuwen became Secretary Of The State for culture in the Dutch government as a member of the dubious and relatively shortlived political party Lijst Pim Fortuijn. A short lived affair, since the collaboration within this government collapsed after something like 80 days!
This song is one of the most perfect Yes pastiches that I know! And totally unlike the typical Kayak sound that would follow. A promising debut! Here developed to its full potential for the first time. Very catchy with superb melodies, but never shallow in any way.
Several all-time classics from Kayak are to be found here. A definite recommendation. Good LP nevertheless. Disco elements are added to the sound e. Even a rather commercial song like the title track does contain much more variation and depth than the average Top 10 songs assembled.
Now Kayak always was very good at combining accessible melodies with symphonic elements and they pursue this path competently, but after listening to the disc I often notice that only few of them have stuck. But a shame that this would be the last sign of life for many years.
I myself hope that this reunited Kayak carries on and we will be able to enjoy the musical efforts of the band for a long time. New lead singer Bert Heerink takes advantage of the wonderful melodic compositions by Ton Scherpenzeel and Pim Koopman with his strong and haunting voice.
The material is heavier, folkier but also a bit more mainstream than before. Kayak has made another epic-record that will appeal to many listeners, both in the prog- and non-prog areas. Which really says something about this very pleasant album. Nothing essential, but good fun. But the rest of the songs don t reach this level. Not everything can be defined as prog. A part of the songs on this album can indeed be found on side one of the mentioned LP, but on this CD they have been arranged differently with an orchestra.
En contraire, I would say that this is about the strongest product that the group has delivered so far. The music is orchestral and clearly symphonic. The fact that the album has several lead vocalists also adds to the musical-feeling. Female singer Cindy has an extremely strong and varied voice that I would love to hear more often.
If you need one Kayak CD for your collection - this is the one! Recorded in the Orpheus Theatre in Apeldoorn in early Maywe get to see both sets on this double DVD, plus a look behind the scenes. The mediaeval atmosphere is preserved on this DVD, with its efficient camerawork and some nice variation between the various players and actors. The overall soundmix is very detailed and not too loud.
Bert Heerink and Cindy Oudshoorn play an important role and both seemed to be at the highs of their capabilities that night in Apeldoorn. The DVDs are placed in a deluxe foldout package, featuring the new Merlin artwork on the front and a well illustrated page booklet.
But this time the band asked us the question if he was really the person who saw all the disasters or was it the monk Yves de Lessines. But this time the cast who tells the story is much bigger. Eight different singers are used that deliver fine performances.
Also additional musical styles are used to bring the project even more to live. Kayak made another strong album. Perfectly done and just what we like - musically that is. As for the lyrical theme of the album, the band deserves some serious criticism. But since Kayak has always operated very song-oriented, the songs stand very well in stripped down and differently arranged versions.
Cindy provides this, but manages to carry powerful songs simply on her own. Well done! What is pretty special are the 2 CDs with studio tracks. A worthy document. Main point of criticism: a fine booklet with pictures, story and interview had been the cream on this!
At some moments the band also leans a bit too much towards Broadway musicals e. Every song has a nice melody line and features outstanding vocal performances of the three lead singers in the band. Producers Koopman and Scherpenzeel always succeed in getting the best out of the band members.
Luckily, we still can hear that Kayak has a real progressive rock background proved by the countless and very tasteful solos on keyboards and electric guitar. The orchestral and choir arrangements are superb on this piece.
A fine album for everyone who likes his progressive and melodic rock music not too complex and without long epics. And would do great within a similar framework.
But the case is that we have 14 unconnected pieces with a major variation in style and direction. Pity about the electronic drums, which sound a bit too hollow and clinical. Influences from all over the world, like Oldfield, Enigma, but also more heavy stuff like Metallica and Dream Theater. But as a whole, this full blown piece is sometimes a bit too bombastic, although the right intentions are there.
They have a whole future in front of them, so as a collective, keep an eye out on them! With a compositional map that is strict in form yet malleable in execution, Kayo Dot uses a vast array of instrumentation to create an exciting convergence of violence and serenity".
Later that year much of the line-up, including Greg Massi left the band. The latter in a friendly was to start his solo project Baliset and later to return for guest appearances with Kayo Dot. When her serious illness came to a terminal end she wrote down some extensialist reflections.
And, yup indeed. Immensely intense and certainly nothing you put on as background music when you have guests - unless you want to scare them out a. This, of course, ranging from classical to jazz to extreme metal make the disc interesting for prog heads. My dear. The music is quite exciting, but these vocals really, really suck. Enough said: are you in for a great variation, this might be your stuff!
Their debut album was released inand although it took a while to circulate amongst the scene but when word was out, the initial pressing quickly sold out sales over 2. The second album brought new keyboard player Toshimitsu Takahashi replacing Suzuki. The leader plays amazing violin, with great feeling and a nice warm sound. Sometimes you even get the impression that it is a guitar. Picture UK and Kansas, add some jazzy parts and lead violin and you have a good impression of this CD.
Lots of diversity in the songs. Great stuff. Akihishi is an accomplished violin player matching up to Eddie Jobson or Darryl Way, which makes me come to the first comparison: UK. KBB generate the same energy found on their best work. Here is more room for guitar playing, however, giving it a heavier edge at times. Gregory Suzuki has a difficult job matching up to the fierce solo-ing of Akihishi, but succeeds with flying colours.
His keyboard playing bears some similarity to Wakeman and the aforementioned Jobson. They move as easily in modern prog as in fusion tinged material.
If you like violin driven, instrumental symphonic jazz-rock, this CD is yours! But even though the flashy violin play leaves a strong mark there is plenty of room for the other instruments and it never gets dull or one-dimensional. All in all this is a great progressive jazz-rock album. KBB has no problems whatsoever to deliver the same quality live as in the studio. Impressive progressive jazz-rock, and oddly enough the band seems almost more introspective than on the studio albums.
Formerly he was the leader of progressive rock group Glass Harp. Very enjoyable rock with progressive leanings. For the rest: mainly common rock. Each member contributed pretty equally to the songwriting. They did only one album together.
Ex-Steampacket guitarist Rolf Scherrer completed the line-up. Kebnekaise moved into a more symphonic prog direction after Kenny left. After that the band ceased to exist. The band reunited in In then Fed Up - Various - Girls Sazanami Beat! Volume.1 (CD) new studio album was released and welcomed warmly by the press. Instead I was surprised by finding a fairly solid rock album.
This one is found as bonus track also in a 14 minute live version. Fabulous stuff. Fine stuff, and recommended! The first few tracks bring a pretty strong form of modern progressive folk-rock and the long threathening closing piece is splendid.
But the middle part of the CD appears to stick a bit to the very safe side and could just need a bit more kick and originality. Apparently Kedama was a very young band, playing prog in their garage, when they wanted to record an album. The original LP is very rare and expensive, as it was released in a tiny edition of only copies.
This is also the focal band of the band: most songs are loaded with powerful and sensitive guitar-solos. It often sounds like Andy Latimer with hints from Dave Gilmour. But also Santana comes to mind because the build-up and emotional outbursts. The rhythm-section is tight and strong, these are very good musicians. The compositions sound lush thanks to the use of many overdubs.
Productive as always, he composed some good music for it which is very. Nevermind, a good record, but I would like to hear more progressive elements in his music next time. Recorded during concerts in Kassel and Hamburg Germany last year, these two men are getting better in playing long sequencer-based chill-out music with fantastic solos on the various Quasimidi and Virus synths. Despite the extended length, the music is really enjoying and interesting on every track.
Three long pieces 31, 22 and 19 minutes that bring exactly that which I love about the Berlin school. He was the first artist to be signed by CBS Norway. Thereafter George Keller mostly worked as a producer for other artists and did some disco pop LPs. Looking forward to her other material! A brooding, interesting and intense piece of work! This debut album was boosted by a positive review from the magazine Prog Resiste and a distribution deal from the known French progressive rock label Musea Records.
Two years later the band put it on CD, again distributed by Musea. The propulsive parts with organ evokes Kansas but in general the main reference is Styx, especially because of the vocals and the more polished parts of their music. Nonetheless, good progrock music! In he formed Drop Control which became kind of a local cult act.
Besides being active with other musicians Keneally also build up a respectable catalogue as solo artist or with his band, be this The Mike Keneally Band or Beer For Dolphins originally consisting of Keneally on guitars, vocals and keys, Toss Panos on drums and bass player Bryan Beller. Steve Vai requested that Keneally arranged and performed an album of Vai s music selected by Vai on piano. A follow-up to this was in the works from on.
The music on the album was. Quite fun. Zappa-ish, experimental, at times just downright clownesque. Strongest asset is probably the funky and slapping bass along with the great variety of ideas - they should just have transformed them into songs! The live disc is better, but has a not all that strong sound quality! CD Exowax 2CD, ? A matter of taste, really! Many artists have tried this combination. Only a few gave birth to a beautiful product.
Unfortunately Mike Keneally is not one of them. I must admit it all sounds very interesting. But the mix of orchestra with jazz-rock and fusion is not really my type of music.
The big band sound with electric guitar improvisations sounds too much the same to me. The mixture of classical, jazz and mainly too many Zappa-esque quirks and nonsense leads nowhere. There are a few nice symphonic moments from the orchestra and also some hard rocking pieces but on the whole it made me wanna press the eject button.
The style is firmly in the modern classical mould with fusions of other styles and the obvious references to the work of Frank Zappa. This is good because it is definitely an album that you need to hear more than once. It took me seven times before it really got to me and I was able to actually, really like the album.
Kennedy released three LPs. This first LP was recorded between and They were founded in the late s and proved to be very prolific through the years, releaseing many albums - especially many live albums. It appears that they. Their sound was very close to jazz-rock: in general dynamic tracks with a propulsive rhythmsection and scale-acrobatics on keyboards and guitar but also some laidback climates with flute.
This led them into a more jazzy direction. In or they added a new drummer, Keisuke Komori. In Kenso made a return with a new version of their album.
At times there are Camelesque elements, but most of the tracks have a clear stamp from jazz-rock music with guitar and keys as lead instruments. Kenso manages very well to balance the two styles and funnily enough they regularly remind me of The Flower Kings.
Recommended stuff! Another surprise was the present of quite a bit of flute in the music. One of the highlights is the rather surprising yes, loads of surprises for me this listening session! Furthermore it sounds a bit oriental once in a while. Double bass drums, and, man, that guitar player. Malmsteen and plays the same style playing one arpeggio over another and never giving you a break. There was a period that albums in this genre made average playing sessions of about 30 seconds in my CD player.
No kidding. Well, you get the picture. Not my cup of tea. They debuted with a limited five track mini-CD. Before the LP mentioned below they were named Ys and then switched names to Keris after one of the key members had left for a solo career. Some of his band-albums are actually co-credited to Dave himself. At age of seven he started studying music, beginning with pianoforte and organ, later followed by double bass after he had grown tall enough!
At the age of 18 he put music temporarily aside to concentrate on his studies and career. He successfully completed the Bath Academy of Art and worked for various advertising agencies and publishing houses as a graphic designer. Also he lectured for five years at a London art-school. In he moved to Holland: Amsterdam, where he still lives. Then, inhe bought his first synthesizer and began composing music, while still working full-time in advertising.
The first years, John made music more or less for himself, but a friend of his brought up the idea of releasing a LP, which Kerr did in March when he ordered 1. Only a few hours after they received it, the album was broadcast by national broadcasting organization KRO. A few days later, the LP got an enthusiastic review on national radio.
Also a Dutch airline Air Holland used a track on their music channel. After this album, John took a break of about two years. During this period he discovered the possibilities of digital synths and recording technology.
The album was - again - very well received. John Kerr is - looking back - very unhappy about licensing his CDs to XS Records and tries to forget this phase as soon as possible. The theme of this record is a musical confrontation between John Kerr and the state of the world. It seemed that John Kerr had entered a very productive phase with these three CDs. John does not perform live very often since he still suffers from stage-fright.
In September of John was struck by a heart attack. All went well, but he had to spent several weeks in hospital. The heart attack made him think about life and the meaning of it and left a deep impression. Certain tracks of this CD were recorded, but never released before the heart attack.
That s why they are included. The CD was dedicated to the medical staff of the hospital. John Kerr contributed music to many compilation-CDs. Fine music as a backdrop for relaxation. Very pleasant to listen to. Quite a calm album too, but with a great flow. Broekhuis and John Kerr. See their entries for more information.
Kerrs Pink came out of a band called Memories that was founded in by among others guitar player Jostein Hansen. In they renamed themselves to Cash Pink and the next year Harald Lytomt joined on guitars. Inspiration for the band came from bands like Camel, Uriah Heep and Wishbone Ash which significantly restricted their opportunities to play live, so they chose to add some popular covers to their live repertoire. Kennedy and Martin Luther King. They are a bit on the harsh side, and they are in Norwegian, of course no problem for me, but for some maybe.
A good debut! And even the bonus tracks on the Musea reissue are great. Sure, I understand this belongs in the concept, but still - was it really necessary? Stuff like that ruins the album for me. The instrumental work is without any major complaints from my side, but it would be a good thing if Kerrs Pink would add one or two more accomplished singers. All songs have this typical Camel flavor.
This comes mainly by the sound of the lead guitar and the lead vocals. But I loved it no doubt about that. All is very tasteful done. Sometimes Camel also uses some blues influences. Tracee Meyn does some wonderful singing on it; she also gives the music some Pink Floyd references. Not only the music is beautiful, also the cover and the booklet are very tastefully done. All the lyrics are accompanied by pictures of the Norwegian landscape, some of them taken by the band members themselves.
But musically the slowly developing ambient-ish rock pieces drift in the very same direction. He was a major influence on Agitation Free and Tangerine Dream. Later Kessler moved back to Switzerland and taught music in Basel. Main songwriter was guitarist Dave Black with one contribution on the album by keyboardist John Cook. To describe it briefly one could call it a more rocky and jazz-rock oriented version of Caravan with slightly edgier vocals.
Or rank it as a Canterbury influenced progressive jazz-rock group if you want. The music is accessible and sophisticated as well as symphonic and jazzy at the same time. Mindview was very positive about the songwriting on their six-track mini-CD, although the production mainly of the vocals still needed a little work.
Vocalist was Eric Bervoets, who was compared in a positive way to Fish. The three track mini CD from brought new vocalist Petra Sluijs, but shortly after she left as well. The overall mood of the music is a bit dark. The vocalist is okay, but just an average Dutch singer.
At places his range is certainly restricted. Introduced in the sound are some new wave, grunge and progmetal in The Gathering-style influences. Petra - again - is no vocal revelation, but pretty much okay since she fits nicely into the rocky sound. Anyway, if you like Sherwood and his projects, this one will appeal to you as well.
The band was founded in No known recordings from that second line-up luckily we dare to say - ed. It appears that the Khalsa String Band was comprised of Sikh s living in America and Americans won over to the Yogi craze in the s. A very fine and hugely rare! Khan only released one album during its brief career, but this gained quite a name among connoisseurs over the years. The guitars, keyboards a lot of organ and many structures surely remind of Camel or Sebastian Hardie…but at times Khan also introduces a bit more jazzier elements, giving it a slight Canterbury twist after all.
All in all a nice surprise for me and a recommended album. He was born in Bavaria in as Alois Gromer. He lived in Germany, England, Morocco and India gaining varied musical intetest. When he visited a concert by Indian sitar player Vilayat Khat at the Royal Festival Hall in London in he decided to dedicate his musical talents to the sitar.
For years he studied with Imrat Khan, descendend of a famous and age old line of sitar players. The discography below is most likely incomplete. Are you looking for something to calm down with in an extreme way then this might be your choice. Royce da 5'9"  Beautiful Grind Feat. Evidence  State of the Union Feat. Radio  HipHop Now Feat. Dexter Feat. Wrekonize  On Top Feat.
Attitudes Video Version Feat. Hip-Hop Now Remix Feat. Save the Ras Kass Intro  Goldyn Chyld Remix  Soul on Ice Remix  Home Sweet Home  Understandable Smooth  I Know I'll Be Free  Write Where I Left Off  Interview With a Vampire  H20 Proof  Nature of the Threat  Waterproofus Emceeus intro 2. On Earth as It Is… 3. Whut Part of the Game? Wake Up Show Anthem 5. Jack Frost 6. Sonset 7. Amerikkka Me 8. Remain Anonymous 9.
Happiness Ebonic Plague Come Widdit TV Guide Hello Iraq  Oral Sex  Inner G Feat. Killah Priest  Behind the Music Original  Not Give a Fuck Feat. Fabolous  Articulate  I Aint Fuckin' With You  Lyrical Swords Feat. Skit 2  Yellow Snow  The Grinch Who Stole Dubstep  Barmageddon Intro  Coke Line Feat. Agallah  The Hard Way Feat. The Great Recession Feat. Doc Hollywood  Survival Syndrome Feat.
Red Carpet Feat. Who Want What w. Pay Back Feat. Focus Feat. Judas Feat. Holes in the Ozone  Ratchets Anthem  DreadKnotz Feat. The Plan Feat. Onis  Manna Feat. J Natural  Ballin' Feat. Pop Shit Feat. Sushi  LA is my Lady Feat. Stacee Adams  Californication Feat. I Am The Future  I Wave  Arrested Developments  Dog Day Afternoon Feat. Big Booty Bitches  Heidi Klum  The Great Recession  King Of Rock  Burning Man  Elevator Music  Take My Keys  The Great Silence  I Love This Show  Come On f.
Agallah, Sick Jacken  Human Dogfight f. Guilty Simpson  Godz N The Hood f. Upscale Ratchet  Judas f. Planet Asia, Chace Infinite  Sometimes f. Monie Love  MollyWorld  Focus f. ProVerb, Kendrick Lamar  CokeLines f. Overdose f.
Gifted  Still Breathin' f. Yukmouth, Eddie Projex  Lost  C U Next Tuesday  Get Yo Money Right f. Welcome to the Machine  Champion Feat. Faty B  Samurais vs. Zombies  Riot Gear  DJ Groupie  C No Evil Feat. Art Bertik  Ras Kass - Barmageddon 2. Intro: Jognny C-Arson I Love This Show Come On ft. Human Dog Fight ft. Guilty Simpson Godz N The Hood ft. Upscale Ratchet ft. Monie Love Judas ft. Sometimes ft.
MollyWorld Focus ft. Cokelines ft. Agallah Overdose ft. Gifted Still Breathin' ft. Sushi Lost NextTuesday Salud ft. Genevieve Viva Goings Fuck Wit Rappers ft. Get Yo' Money Right ft. Intro The Grinch Who Stole Dubstep Frozen Yellow Snow Jack Frost White Christmess Santy Claus Skit Next Caller How To Kill God H20 feat. Strawberry Giraffe Pussy feat. Roses feat. Deliver Us From Evil Larina Animal Sacrifice Humble Pi Francine Drink Irish feat. Breakfast at Banksy's feat. Think About It feat.
Brothers Voodoo Sex Pistol feat. Cee-Lo Loogies Waterboarding Tinkerbell Heartbreak feat. Teedra Moses Stone Cold Hustler feat. Raheem Devaughn Niggnorance Don't Hurt My Feelings Kurupt Jheri Curl Juice Jesus Pressed Mute Trunk Rock feat. Montego Meli Gotta Get a Grip feat. Can't Give up Now feat. Jessica Bukowski feat.
The Narrative Pt. K Asante Live From C-Arson Freestyle Western HemisFear feat. Wake Up Show Live feat. Remain AnonymouS Short Edit Come Widdit Fredwreck Remix feat. Nose Joke Skit Studio Audio Anything Goes Nastee Remix Asante Label Problems Skit Studio Audio The Music Of Business feat. Xzibit Understandable Smooth Niggaz Ft. Mental Castawayz Bird D. Skit Studio Audio Skins Contemporary Lyrics On Everything I Love feat. Rapeollo Skit Studio Audio Nobody But Me Contemporary Lyrics This Is Your Life Intro And Then Bardom feat.
KRS-One Bishop Constant Elevation feat. RZA Trade Places feat. Dina Rae
Springtime In Vienna - Frank Sanucci - 16 Original Piano Compositions (Vinyl, LP, Album), No Time - Various - U.S. Metal (Unsung Guitar Heroes) (Vinyl, LP), Back In The USA - Chuck Berry - The Absolutely Essential 3 CD Collection (CD, Album), อหังการ์ - Various - Metal Farm Vol.3 (CD), Menteries - André Bourvil* - A Bicyclette (CD), Ikopë - Mbayah - Mbayah (CD, Album), I Ja Bih Se Ljubio, Ali Nemam S Kim - Vatreni Poljubac - Recept Za RocknRoll (Vinyl, LP, Album), Kon & Amir - Off Track Volume Two: Queens (CD), On My Own - Various - X-Plosion MP3 Update Volume 05 - 2008 (CDr), 66. Accompagnato: The Time At Length Is Come - Handel*, Leeds Festival Chorus, English Chamber Orche