Toy Matine

The British band the Immaculate Fools became so popular in Spain that they eventually moved there. Formed in London, England, in 1984, the Immaculate Fools was comprised of Kevin Weatherill (lead vocals, acoustic guitar, harmonica, bass), Paul Weatherill (acoustic bass, backing vocals, percussion), Brian Betts (acoustic guitar, slide guitar, percussion, mandolin), and Barry Wickens (violin, dulcimer, acoustic guitar, accordion). Although the group landed on the charts in Britain, their hybrid of Celtic music, folk, and alternative rock found even more success in Spain and Germany. In 1987, their LP Dumb Poet was released in America by A&M Records and the Psychedelic Furs-esque track "Tragic Comedy" was a minor hit on college radio.

Kevin Ayers - Joy Of A Toy +5 (1969) {2014 Remaster Japan Mini LP SHM-CD Edition WPCR-15524}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 447 Mb | MP3 @320 -> 168 Mb
Full Artwork @ 600 dpi (png) -> 278 Mb | 5% repair rar
© 1969, 2014 Parlophone / Warner Music Japan | WPCR-15524
Rock / Art Rock / British Psychedelia / Canterbury Scene

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.

Larry Goldings & Peter Bernstein & Bill Stewart - Toy Tunes (2017) {Pirouet PIT3100}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 248 Mb | MP3 @320 -> 108 Mb
Full Artwork @ 300 dpi (jpg) -> 12 Mb | 5% repair rar
© 2017 Pirouet Records | PIT3100
Jazz / Soul Jazz / Cool / Hammond Organ / Guitar / Drums

Just look at the cover art—the swirl of colors, the bodies drawn to the eye as misshapen designs, the beauteous blotches, the sturdy rhythms of angularity. In some ways it's almost inconceivable to imagine all of that acting as one, yet these images form a perfectly perceivable whole—a picture that feels like home yet sits in its own space, artfully different yet accessible and inviting. It's a perfect parallel for the work of these three master musicians, collectively viewed as the most creatively durable organ trio in jazz.

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…

Art Pepper - Not A Through Street, Live In Yamagata '78 (1990) {2CD Set, Toy's Factory Records Japan TFCL-88901~2}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 468 Mb | MP3 @320 -> 203 Mb
Full Artwork @ 600 dpi (jpg) -> 48 Mb | 5% repair rar
© 1978, 1990 Toy's Factory Records Japan TFCL-88901~2
Jazz / Cool / Bop / West Coast Jazz / Saxophone

Art Pepper is widely considered to be one of the greatest alto saxophonists of all time. Born in California in 1925, Art Pepper came to prominence during the 1950s as one of the major soloists of the West Coast and cool jazz movements. But his playing changed dramatically later in his career, as he took on the influence of new stylistic developments in the jazz world.

TOY have announced details of their new album, Happy In The Hollow, which is released on Friday January 25th 2019. Their fourth album, and their first for Tough Love, is unquestionably their most direct and propulsive album to date.

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…

The TOY EP You’ve Got It Made With All The Toys) features the previously unheard “Shadow Man (Vocal and Piano Mix)”, an alternative, stripped-back mix of the TOY album track, along with the unreleased live versions of “I Dig Everything” and “The London Boys” recorded at the final Glastonbury warm-up show at the Roseland Ballroom, New York on 19th June, 2000. The EP also contains three tracks, “You’ve Got A Habit of Leaving (Radio Edit)”, “Silly Boy Blue (Alternative Ending Mix)’ and “Can’t Help Thinking About Me (Live Mark Radcliffe Show BBD Radio 1 Session), previously only available as streaming singles and which are making their physical debut.