He recorded a series of as a solo artist and over the years worked with , , , , , , , , and , among others. Posted Friday, May 18, 2012 Review 754794 I hear just once again - after long time - this album from Kevin Ayers. Posted Friday, January 6, 2012 Review 604120 This is another weird work by Ayers. Following his parents' divorce and his mother's subsequent marriage to a British civil servant, Ayers spent most of his childhood in. P et dans nos mémoires rien que pour ça: When Your Parents Go To Sleep You lie sleeping all warm I'm here waiting in the storm Waiting for the time to come when I can come in And make sweet love to you till I have to go again. A duck doing backing vocals?? Kevin Ayers died in February 2013 at his home in the village of Montolieu; he was 68 years old.
That same year Harvest released a collection entitled Odd Ditties, that assembled a colourful group of songs that Ayers had consigned to single B-Sides or left unreleased. The spooky reverberated bongos, the Chris Spedding-like rockabilly madness of the two guitars - including acute whammy bar violation - and then there's Mike Ratledge fiddling around on his Lowrey organ just like in the days of early Soft Machine. Tensions were somewhat fraught at the event since the night before John Cale had caught Ayers sleeping with his wife prompting him to write the bile-soaked paean 'Guts' that would appear on his 1975 album. First of all: the masterpiece on this album isn't Decadence, but rather Hymn, a tender psychedelic ballad featuring Leslied acoustic guitar, laid-back bass lines in the vein of Roger Waters and delicate tinkling piano. He or Harvest never gave up on the singles market, and indeed his best early-'70s efforts in that direction were accessible enough to have been hits with a little more push.
Armed with a few biting lyrics, the song became a concert staple, fronted by a number of well-known guitarists over the years including Mike Oldfield and Andy Summers. Here, Ayers, Leggett, and Sparrow create progressive, atmospheric music quite unlike anything else on the record. Some collaborations with Ayers fanatics Ultramarine and a concert tour with Liverpool's Wizards of Twiddly completed his output in the 1990s. In addition to releasing his most compelling music in this year, he helped provide other artists with access to a wider stage, most notably June Campbell Cramer. Despite some lower ratings here, this is still my favourite Ayers album and I thoroughly recommend it. It is considered a classic of the genre.
What we have here is a good album that can be listened with pleasure but doesn't leave a memorable mark when it's over. And it might be even a bit better than Whatevershebringswesing because there's a better structure here - and neither an annoying Oh My! The problem isn't the American big band sound of this song; I must admit that some of the brass melodies, for instance this cool A-G hook at 1:39, in a sense make up the best component of this song. His last album, , was released in 2007. The song as recorded by Ayers with Gong in 1971 found on Pre-Modern Wireless is the only other performance that emanates such overwhelming warmth. Posted Tuesday, March 6, 2012 Review 648372 10. I'd like to know who is responsible for this crap research; certainly no-one who has any relation to Ayers' music. But when listening to the Ayers albums I started wondering if this guy simply doesn't require recording a full-length album of good music, or if he actually likes this tacky and lazy pop music which he stuffs into most of his albums.
Posted Sunday, July 29, 2007 Review 130725 This has always been one of my favourite, if not the favourite, Kevin Ayers' albums. S, Soft Machine was best known for being the opening act on the second U. I absolutely adore this melismatic cascade of melody which Ayers sings there double-tracked! Almost always pleasant, eccentric, and catchy, these nonetheless started to sound like a cul-de-sac by the mid-'70s. Maybe apart from the subsequent Beware of the Dog, which is really brief, but perfectly beautiful under these circumstances. Despite the positive reception Falling Up received, Ayers by this point had almost completely withdrawn from any public stage. Armed with a few biting lyrics, the song became a concert staple, fronted by a number of well-known guitarists over the years including Mike Oldfield and Andy Summers.
It's pop all over, but as an appendix to the studio album it's enjoyable. It sounds less commercial than it really is! Hillage delivers heat in this original studio recording of the song; he went on to repeat the performance many times while in Europe with Ayers' Bananatour band, Decadence. Bedford stretched out his avantgarde brass arrangements quite a lot on There Is Loving from the previous album, and now that he's finally doing something really tuneful he does it too briefly. The album garnered a positive critical response but did not signal a return to the public eye for Ayers, however, and he returned to a reclusive life in the south of France. After living for many years in , , he returned to the United Kingdom in the mid-1990s before moving to the south of France. But the piece, comprising a nice jazzy chord progression in the stanzas and a catchy chorus, would also be above average without the guitar contributions.
Perhaps that's because he never seemed to have taken his music too seriously -- one of his essential charms and most aggravating limitations. That cult was limited to the rock underground, and Ayers logically concentrated on the album market throughout the 1970s. He only recorded sporadically after 1980, though he remained active in the early '90s, mostly on the European continent. There is though a harder edge to the song, with strong guitar bursts and pop chants. Bananamour is ripe with Kevin Ayers' most mature and accessible compositions to date.
Bananamour is different to that effect that the pop numbers on the album are quite good. Hillage delivers heat in this original studio recording of the song; he went on to repeat the performance many times while in Europe with Ayers' Bananatour band, Decadence. Wyatt - at least I think it's him - also provides an interesting percussion arrangement which is totally reduced to the bone; it's just a percussion click track like in Matching Mole's O Caroline and it's all which this song needs. Mike Oldfield did not appear on this album he was recording on Kevin's borrowed tape loop machine at the time demos for what would become Tubular Bells!! All the songs are well arranged as usual but there is nothing you wouldl whistle when you are walking the streets. The backing band included a teenage Mike Oldfield on guitar, Lol Coxhill on sax, and David Bedford on piano. This was really music in which one can drop yourself and which takes one with. Wyatt is often regarded as the prime mover behind Soft Machine, but Ayers' contributions carried equal weight in the early days.
There he fell in with the town's fermenting underground scene, which included future members of Soft Machine and Caravan. And it's that whimsical percussion track and the nice slide guitar which save this pretty naive country pop song from being a let-down. By this time, Ayers was making definite moves towards a more mainstream style, and despite the presence of stalwarts such as Robert Wyatt and Steve Hillage as occasional guests, that migration continues to be in evidence here. Ayers returned to England at the age of twelve. Lyrically introspective and musically exhilarating, the bananaist's tour de force is now even more inviting. The only piece which simply doesn't fit in with the rest of the album is overly lengthy When Your Parents Go To Sleep.