| | Kevin Ayers Joy Of A Toy CD Kevin Ayers Discography of CDs
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Ayers left the Soft Machine for a solo career when his basic pop leanings appeared at odds with the intense jazz/rock of his former colleagues. This album was a cult favourite at the end of the 60s for no reason other than that Ayers was well liked because he was ever so slightly mad. Take a look and listen at the content of this album: 'Song For Insane Times', 'Eleanor's Cake (Which Ate Her)' and 'Stop This Train (Again Doing It)'. Through the haze of quirkiness there is a strong light melodic feel to much of the music, and Ayers did possess a heartbreaker voice that prompted one woman to state, 'he is the sexiest man in the world'.
As the Soft Machine's first bassist and original principal songwriter, Kevin Ayers was an overlooked force behind the group's groundbreaking recordings in 1967 and 1968. This, his solo debut, is so tossed-off and nonchalant that one gets the impression he wanted to take it easy after helping pilot the manic innovations of the Softs. Laissez-faire sloth has always been part of Ayers' persona, and this record's intermittent lazy charm helped establish it. That doesn't get around the fact, however, that this set of early progressive rock does not feature extremely strong material. Ayers' command of an assortment of instruments is impressive, and his deep bass vocals and playful, almost goofy song-sketches are affecting, but they don't really stick with the listener. It's no accident that some of the tracks recall early Soft Machine: Robert Wyatt drums on most of the songs, and "Song for Insane Times" is virtually a bona fide Soft Machine performance, featuring actual backing from the group itself. A likable but slight album that is at its best when Ayers is at his folkiest. [A 2003 British reissue added several bonus tracks.] ~ Richie Unterberger
2003 remastered reissue of 1969 album includes six bonus tracks, 'Religious Experience' (Syd Barrett Session), 'Lady Rachael' (extended first mix), 'Soon Soon Soon', 'Religious Experience' (Take 103), 'Lady Rachael' (Single Version), & 'Singing A Song In The Morning'. Harvest.
CD contains 6 bonus tracks.
Personnel: Kevin Ayers (vocals, guitar); Robert Wyatt (vocals, drums); Sean Murphy (vocals); Paul Buckmaster (cello); Paul Minns (oboe); David Bedford (piano, keyboards); Mike Ratledge (keyboards); Rob Tait (drums).
Audio Mixers: Paschal Byrne; Mark Powell.
Audio Remasterer: Peter Mew.
Liner Note Authors: Mark Powell; Roger Dopson.
Recording information: 09/1969-02/1972.
Photographers: Gered Mankowitz; Laurie Asprey.
Arranger: David Bedford.
Personnel includes: Kevin Ayers (vocals); Paul Buckmaster (cello); Paul Minns (oboe); David Bedford (piano); Mike Ratledge (keyboards); Hugh Hopper, Jeff Clyne (bass); Robert Wyatt, Rob Tait (drums); Jean, Mary, Cyrille Ayers, Sean Murphy (background vocals).
Rolling Stone (10/30/03, p.92) - 4 stars out of 5 - "...[A] feast of bent-pop frolic and ravishing balladry..." Kevin Ayers Joy Of A Toy Songs Joy Of A Toy Review
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Everything Sa-Ra releases might be held up to "Glorious." Originally released in 2004, it's Digital Underground's "Kiss Me Back" turned X-rated, wading in Venusian lava -- slow-motion AfroFuturist psychedelia combining doped-out falsetto, waddling bass throb, lancing synthesizer, and clamping percussion. Prior to its release, Sa-Ra's three members had been connected with Dr. Dre, Ice-T, and Jam Master Jay, and as a group, they had produced tracks by Pharoahe Monch ("Agent Orange") and Jurassic 5 ("Contribution," "Hey"). "Glorious" set off a slew of low-key singles, compilation appearances, remixes, and collaborative production work, and three years later the song appeared as the prime standout of the first Sa-Ra full-length. Dubbed a prequel to their first major-label album, The Hollywood Recordings is neither a proper album nor a straightforward compilation. Old mixes it up with new, and its sequence seems somewhat happenstance and sprawling, like a glorified version of the demo CD-Rs that were passed around and spread across the Internet. Those who know the singles and demos won't be surprised by this disc's inconsistencies. Several songs sound either slapped together or needlessly toiled over, and a few beyond that have some mind-bending qualities obscured by digital gunk. When Sa-Ra is on, however, they are on, as if they formed one massive brain and fed their raw material through a device -- designed by a cast including George Clinton, Herbie Hancock, Prince, Too Short, and J Dilla -- called the Filthinator 3000. Sa-Ra indeed owes much to their inspirations (not to mention their ceaselessly lewd imaginations and various substances), but they push their sounds into mutated shapes that are only somewhat familiar. Even the songs that aren't off-center ...
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