2008 four CD anthology that covers Ayers' musical career from 1969 to 1980; a period most fans and critics deem his best. Ayers remains one of Rock's oddest enigmas. He makes ordinary subjects extraordinary with his rich low vocals and inventive wordplay. He projects the image of a Prog-Rock beach bum writing about life's absurdities with a celebratory, relaxed detachment, yet he is also one of Prog- Rock's more important innovators, helping to launch the Soft Machine, and working with noted progressive musicians Mike Oldfield, Lol Coxhill, and Steve Hillage. Ayers' solo material reflected a Folksier, lazier, and gentler turn than Soft Machine. He was often compared to Syd Barrett, but without the madness and is never less than enjoyable and original, Discs One to Three contain 49 hits, album tracks and more while Disc Four was recorded at The Queen Elizabeth Hall, London on 25th May 1973.
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…
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…
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…
2014 Original Albums Series release. Includes the albums: Joy of a Toy, Shooting at the Moon, Whatevershebringswesing, Bananamour & the Confessions of Dr. Dream and Other Stories. Kevin Ayers was one of rock's oddest and more likable enigmas, even if he often seemed not to operate at his highest potential. Perhaps that's because he never seemed to have taken his music too seriously – one of his essential charms and most aggravating limitations. After the late '60s, he released many albums with a distinctly British sensibility, making ordinary lyrical subjects seem extraordinary with his rich low vocals, inventive wordplay, and bemused, relaxed attitude.
2014 Original Albums Series release. Includes the albums: Joy of a Toy, Shooting at the Moon, Whatevershebringswesing, Bananamour & the Confessions of Dr. Dream and Other Stories. Kevin Ayers was one of rock's oddest and more likable enigmas, even if he often seemed not to operate at his highest potential. Perhaps that's because he never seemed to have taken his music too seriously – one of his essential charms and most aggravating limitations. After the late '60s, he released many albums with a distinctly British sensibility, making ordinary lyrical subjects seem extraordinary with his rich low vocals, inventive wordplay, and bemused, relaxed attitude.
The solo debut of Kevin Ayers, originally released in 1969 on the Harvest label after his departure from The Soft Machine, was the start of a brilliant and unique career. Joy Of A Toy is one of the greatest examples of late 60s music opening up to new influences and experiences. The result is an adventurous yet accessible masterpiece by a musician free of any artistic constraints.
In 1968, after an US tour with The Jimi Hendrix Experience, The Soft Machine’s founding member Kevin Ayers decided to leave the band. Unsure about their artistic direction, worn out by an exhausting schedule and reluctant to become another part of the music business, he sold his bass to Noel Redding and moved to Ibiza. However, soon after he started writing the songs that would make up his first solo LP, Joy Of A Toy…
Cardboard sleeve reissue from Kevin Ayers features remastering in 2014 and the high-fidelity SHM-CD format (compatible with standard CD players). The cover faithfully replicates the original UK LP artwork. Includes an obi featuring design of original Japanese limited edition's LP. Comes with a description and lyrics. Part of eight-album Kevin Ayers cardboard sleeve reissue series features the albums, "Joy Of A Toy +5," "Shooting At The Moon +6," "Whatevershebrings Wesing +10," "Bananamour +7," "Odd Ditties +3," "Yes We Have No Mananas. So Get Your Mananas Today +9," "Rainbow Takeaway +7," and "That's What You Get Babe +4." Bonus tracks.