Kevin Ayers ‘Sweet Deceiver’ Island Records 1975, LP version

‘Sweet Deceiver’ is the sixth studio album by Kevin Ayers and his last for Island Records. By 1975, Kevin Ayers was on the books of Elton John’s manager and business partner, John Reid, who attempted to turn him into a mainstream artist. Reid’s idea was to market Kevin as “a pretty boy rock star” and the Athena poster-style painting he commissioned for ‘Sweet Deceiver’ reflects this.

Kevin, however, was still a maverick at heart (thank goodness!) and the packaging of the LP didn’t really hint at the introspective songs which it contained. Ollie Halsall, whom Kevin had met at Abbey Road studios in 1974, was now a key influence and his guitar playing on the track ‘Observations’ demonstrates his dexterity and musicality. Ollie is credited as co-producer for the album. Elton John also joined the sessions, contributing some outstanding piano work to three tracks including ‘Circular Letter’ and the exquisite ‘Toujours Le Voyage’.

Kevin gives his view of the “fame game” in ‘Guru Banana’ where he criticises the music industry and pop idol culture from within:

“Who’s the one with the grin on his face / Says he’s gonna save the human race / He laughs a lot as he climbs to fame / Now what’s his name? / Guru Banana! / That’s me and I’ll show you the light / I’ve got the answers and they’re all right / ’cause I’m divine and you can be the same / Now what’s my name? / Guru Banana!”

Ollie “Haircut” Halsall (left) and Kevin Ayers (right), ‘Sweet Deceiver’ album cover 1975

Music journalist Nick Kent (NME and a long-time supporter), uncomfortable with Ayers’ new image, was highly critical of ‘Sweet Deceiver’. Kevin subsequently stated in interviews that he was “deeply upset” by Kent’s reaction to the album. Nick Kent commented (NME, Dec 7, 1974) that when he first heard the song ‘Sweet Deceiver’ at a Glasgow Apollo concert, “it rhymed ‘rain’ with ‘pain’ to questionable effect.”

In retrospect ‘Sweet Deceiver’ does exactly what it says on the label although the question might be “Who’s deceiving who?” Besides Kevin’s obvious disenchantment with various aspects of the music business there are some very beautiful lyrics and melodies on this record.  Kevin’s next album ‘Yes We Have No Mananas…’ would be recorded on the Harvest label.

Track listing (original LP):

Side 1

Observations (Ayers)
Guru Banana (Ayers)
City Waltz (Ayers)
Toujours La Voyage (Ayers)

Side 2

Sweet Deceiver (Ayers)
Diminished But Not Finished (Ayers)
Circular Letter (Ayers)
Once Upon An Ocean (Ayers)
Farewell Again (Another Dawn) (Ayers)

2009 re-issue, additional tracks:

10. Didn’t Feel Lonely ’til I Thought of You
11. Observations
12. Stranger in Blue Suede Shoes
13. Interview
14. Farewell Again
Tracks 10 to 14 are live recordings taped at The BBC’s Paris Theatre in London on 27 March 1975

Personnel:

Kevin Ayers / Vocals, fuzz bass, electric and acoustic 6 and 12 string guitars, mandolin
Freddie Smith / Drums
Ollie Halsall / Lead, acoustic and bass guitar, mandolin, honk piano, vibes, backing vocals on track 8
John Altman / Clarinet (Track 2)
Fuzzy Samuels / Bass Guitar (8)
Elton John / Piano (2, 4, 7)
Jacob Magnusson / Organ, accordion, piano, Clavinet, vocals on track 1
Bias Boshell / Piano (5)
Chili Charles / Drums (8)
Muscle Shoals Horns / Brass (8)
The Manor choir / Vocals (3, 8)
Tony Wright / Cover art

Additional info from Wikipedia.

We need a proper write up here, but meanwhile take a look at this.

Kevin Ayers ‘Bananamour’ Harvest 1973, LP version

‘Bananamour’ is the fourth studio album by Kevin Ayers and it features some of his most accessible recordings, including ‘Shouting in a Bucket Blues’ (featuring Steve Hillage on guitar) and his charming tribute to Syd Barrett, ‘Oh! Wot A Dream’. After ‘Whatevershebringswesing’ (1972), Kevin assembled a new band anchored by drummer Eddie Sparrow and Glaswegian bassist Archibald “Archie” Leggett. Archie played with all of “The Greats” during his career, being the bass player of choice for top American R&B artists touring the UK. The inner sleeve features Kevin and Archie, suave in their tuxedos, playing an unusual game of chess in the presence of two elder gentlemen!

Kevin Ayers ‘Bananamour’ 1973, inner gatefold

The album ‘Bananamour’ evolved from Kevin  and Archie’s live ‘Banana Follies’ revue. Soft Machine ex-colleague Mike Ratledge contributes keyboards to the track ‘Interview’ and David Bedford arranged ‘Beware Of The Dog’. Additional vocals by top female singers Liza Strike, Doris Troy and Barry St.John add sensual drama to the album especially on the song ‘When Your Parents Go To Sleep’, while Kevin generously hands over lead vocal duties to Archie.

The centrepiece of the album is ‘Decadence’, inspired by Kevin’s fascination with the German chanteuse Nico, who had found fame with Andy Warhol’s ‘Velvet Underground’ during the 1960s. This track is a swirling kaleidoscopic feast of musical sounds and pure poetry:

“Watch her out there on display / Dancing in her sleepy way / While all her visions start to play / On the icicles of our decay / And all along the desert shore / She wanders further evermore / The only thing that’s left to try / She says to live I have to die.”

The album ‘Bananamour’ marked the end of Kevin’s first Harvest Records contract. He moved to Island Records for his next album, ‘The Confessions of Doctor Dream and Other Stories’.

Original release track listing:

Side 1

Don’t Let It Get You Down (For Rachel)
Shouting in a Bucket Blues
When Your Parents Go to Sleep
Interview
Internotional Anthem

Side 2

Decadence
Oh! Wot A Dream
Hymn
Beware of the Dog

2003 CD Re-issue track listing:

Don’t Let It Get You Down (4:04)
Shouting In A Bucket Blues (3:45)
When Your Parents Go To Sleep (5:47)
Interview (4:43)
Internotional Anthem (0:43)
Decadence (8:05)
Oh! Wot A Dream (2:48)
Hymn (4:35)
Beware Of The Dog (1:27)
Connie On A Rubber Band (2:56)
Decadence (Early Mix) (6:57)
Take Me To Tahiti (3:37)
Caribbean Moon (3:02)

Personnel:

Kevin Ayers / Guitar, Vocals
Archie Legget / Bass, harmony vocals, lead vocal on track 3
Eddie Sparrow / Drums
Steve Hillage / Lead Guitar on track 2
Mike Ratledge / Organ on track 4
Robert Wyatt / Harmony Vocal on track 8
David Bedford / Orchestral Arrangement on track 9
Howie Casey / Tenor Saxophone
Dave Caswell / Trumpet
Tristan Fry / Cymbal
Lyle Jenkins / Baritone Saxophone
Ronnie Price / Piano
Barry St. John /Vocals
Liza Strike / Vocals
Doris Troy /Vocals

Additional information sourced from Wikipedia.

“Whatevershebringswesing” was Kevin’s next solo effort after the short lived “Kevin Ayers and The Whole World” band. The album was released in November 1971 and was produced by Kevin Ayers and Andrew King. The tracks were recorded at Abbey Road studios, London, between March and August 1971.

The cover is one of the most interesting things about the album. A basket tipped over with eggs hatching human babies, with “No Eggsplanation” written on the back cover. This just goes to show the fantastic sense of humour Kevin had. The gatefold has credits and a really nice picture of Kevin and his then girlfriend, Margaret, swimming in a lake.

The album opens with the Progressive epic: “There is Loving/Among Us/ There is Loving”. The orchestral arrangement was conducted by David Bedford, a former member of The Whole World who had loaned his talents on “Joy of a Toy”. The song clocks in at 7:22 and features heavy bass playing from Kevin with lyrics reminiscent of a precious Kevin hit “Butterfly Dance”.

The next song; “Margaret” Is a dreamy, relaxed psychedelic tune about Kevin’s then girlfriend. Many of Kevin’s songs at the time were about her. This one definitely showcases his love for her. The next track is another song about Margaret; “Oh My” is the first upbeat song on the album. The music behind it is very English and childlike, something you would find on Joy of a Toy, with lots of brass and kazoo.

Closing the first side is “Song From The Bottom of a Well”, the most Psychedelic song on the album, where we see a return to the deep, haunting voice we heard on the first Soft Machine single; “Feeling, Reeling and Squealing”. The song really makes the listener feel that they are in the bottom of a well, between Kevin’s growling voice and the horrifying, melancholic music to accompany it. It is truly a disturbing song. But it is by far, one of his finest works.

Flipping the album over to Side 2 we get the title track, “Whatevershebringswesing”, another long track at 8:13, very laid back and mellow. This has Kevin’s old Soft Machine band mate on backing vocals, Robert Wyatt. Hearing Robert on anything is always a treat. Mike Oldfield also makes a return for some superb guitar work. Many fans consider this song to be one of the best Kevin has recorded.

“Stranger in Blue Suede Shoes” is next, with the driving force of the drums and that memorable riff. This was written for Kevin’s love for early Rock and Roll. The lyrics are based on Kevin’s views on life: Encourage others to enjoy themselves, not be concerned with anyone else and doing what they love. The piano riff is a key to the song, same with the effect on Kevin’s voice. Very interesting for a pop/rock song.

“Champagne Cowboy Blues” follows, Kevin’s attempt at Country and Western music. It has a really nice solo from Mike Oldfield once again. Some interesting fiddle playing. But the stand out, is the small snippet of the chorus of “Joy of a Toy”; it comes on so unexpectedly and really draws the listener back in. Closing the album is the gentle, relaxing “Lullaby”, one of the best closing tracks ever. Soft piano, flute (Didier Malherbe from Gong) and a waterfall in the background. The perfect way to end the album. For those who have the vinyl, the waterfall goes into an inner grove and will continue to loop until the arm is picked up. Which was a great idea, because one could go to sleep with that on in the background.

Track listing

All tracks written by Kevin Ayers except “Among Us” by David Bedford and “Champagne Cowboy Blues” by Mike Oldfield.

1. There is Loving/Among Us/There is Loving 7:22
2. Margaret 3:20
3. Oh My 2:59
4. Song from the Bottom of a Well 4:37
5. Whatevershebringswesing 8:13
6. Stranger in Blue Suede Shoes 3:24
7. Champagne Cowboy Blues 3:56
8. Lullaby 2:14

2003 reissue bonus tracks

9. Stars (B-side to “Stranger…”) 3:32
10. Don’t Sing No more Sad Songs 3:46
11. Fake Mexican Tourist Blues (1976 B-side to “Stranger…”) 4:38
12. Stranger In Blue Suede Shoes  (Early Mix Previously Unreleased) 3:19

Personnel

Kevin Ayers / vocals, guitar, bass (6)
David Bedford / keyboards (1,2,5,6,8,12), orchestral arrangements
Mike Oldfield / bass (1,3,4), guitar (5,7)
Dave Dufort / drums (1,4,5)
William Murray / percussion (2,3,7)
Tony Carr / drums (6,12)
Robert Wyatt / Harmony vocals (5)
Didier Malherbe / saxophone (1), flute (8)
Gerry Fields / violin (3)
Johnny Van Derek / violin (2,7)
Bruce Malamut / flugelhorns (1), incidental brass (1,2,5,6,8,12), ass’t engineer (1,2)

Additional information sourced from Wikipedia.

Shooting at The Moon was Kevin’s second album after 1969’s “Joy of a Toy.” Shooting at The Moon first hit store shelves in October 1970 and featured Kevin with a new band backing him; “The Whole World.” Which featured Kevin on Guitar, Bass and Lead Vocals, Mike Oldfield on Bass and Guitar, Mick Fincher on Drums and Percussion, Lol Coxhill on Saxophone and David Bedford on Keyboards, whom also featured on Joy of a Toy. Robert Wyatt also makes an appearance in “Colores Para Delores”

The album starts off with sounds of the street and cars and starts with some nice guitar rhythm and “May I?” begins. This is a soft love song about Kevin meeting a girl at a café. This has some of the finest bass playing ever recorded, done by the one and only Mike Oldfield. Lol also adds some saxophone and some good woodwind parts. Following is “Rheinhardt and Geraldine.” Which is the first real Psychedelic rocker on the album. With driving bass playing from Mike and falling under a great groove from Mick. It goes off into an experimental bit which we will see a few times on this album. It features tape loops and almost gives the effect of the record skipping. It then returns with sax from Lol and slows down to a heavy Psychedelic theme with background vocals from ex Soft Machine mate; Robert Wyatt. Coming down from that is “Lunatics Lament.” Opening with a basic drum pattern from Mick. Followed by telephone like vocals that we saw in Joy of a Toy. With some superb harmonics and palm muting from Mike. Under Mike’s improvised playing is Kevin’s bass line and David Bedford’s organ keeping it all together. Mike then goes into a guitar solo with David and Kevin keeping the foundation, it is double tracked and very Avant- Garde, very different for the time. Then it returns to the first verse with a massive buildup of drum rolls, screaming and bass notes.

“Pisser Dans Un Violon” follows with a collage of sounds and experimentation from the Bass and Guitar. It is a variety of bending notes and slapping with little guitar scales and harmonics over top.

Flipping it over…

Starts with “Oyster and The Flying Fish”. Possibly Kevin’s best vocal delivery. This is a duet with Bridget St. John. Kevin performed with her once again on “Jolie Madam” Oyster is an acoustic ballad with tambourine from Mick and piano from David. A very strange story about an Oyster who wants to turn into a flying fish and is fed up of being an Oyster. Very typical writing from Kevin and in the Canterbury Scene. It’s light and fun.

“Underwater” is another experimental track, very similar to “Pissers” we see bending of bass notes and guitar harmonics. Possibly to give the listener the feeling of being underwater. Hence the name. Near the end, bird sounds and notes from the next track slowly start to fall into place being “Clarence in Wonderland.” This was an old Soft Machine tune going as far back to 1967. Kevin used to perform this when he was in the band. This version is quite different and has “The Whole World’s” take on the song opposed to the original. Instead of the call and repeat in Soft Machine’s version. There is laughing from “The Whole World Girly Chorus” and Sax fills from Lol.

A very mellow Psychedelic track follows; “Red, Green and You Blue”. Busy bass playing from Mike below an acoustic rhythm from Kevin. We hear some more Sax fills from Lol, copying Kevin’s vocals. Kevin’s vocals are once again recorded through an effect, giving it a very “airy” sound, to add to the Psychedelic picture the song is painting.

To cap off the album is another old Soft Machine staple. Being; “Shooting at The Moon” this was previously known as “Jet Propelled Photographs” and “I’m So Low.” Once again, Kevin takes it and completely turns it into a new song. It is much heavier and less jazzier than the original. Kevin plays the lead riff on guitar to give it a heavier rock sound. Mick is playing harder and less jazzier than Robert did on the original. Although, some Jazz sensibilities were still left over, with Lol’s Sax playing. David falls in with the organ, giving a carnival vibe. Which is a very interesting take on the song. This one gets pretty Psychedelic, this album is probably Kevin’s most experimental.

It is definitely an interesting follow up to Joy of a Toy. Shooting at The Moon will remain a Psychedelic, Progressive, Experimental, Avant Garde and Canterbury staple. This album really paved the way for the Canterbury scene genre. Many artists were to take this experiment form of music and recreate it. This album really showcases Ayers’s talent as a musician and a band leader. It really proves his talent and capabilities and being much more than a singer/songwriter.

Kevin Ayers ‘Joy of A Toy’ 1969 Harvest, LP version

‘Joy of a Toy’ was Kevin Ayers’ first solo album. It was named after a Soft Machine track called ‘Joy of a Toy’ and the first track on this album is called ‘Joy Of A Toy Continued…’ The album contains tracks that went on to be some of Kevin’s most famous and most requested songs. A personal favourite of mine is ‘The Lady Rachel’ and if you were to buy the MP3 or CD version of ‘Joy of a Toy’ you are treated to three different versions of the song. ‘Girl On A Swing’ is also another classic tune that is simple, yet beautiful, and has been covered a few times by other bands including ‘The Ladybug Transistor’.

Kevin Ayers ‘Joy of a Toy’ 1969. Album design, inner gatefold

If you don’t own ‘Joy of a Toy’ already I would consider it a very important Kevin Ayers album that you need to have in your collection. It is readily available on CD and MP3 and if you look on eBay there are quite a few copies still available on vinyl too.

The following information is taken from the entry for ‘Joy of a Toy’ on Wikipedia.

Track listing

All tracks written by Kevin Ayers.

Side 1
“Joy of a Toy Continued” – 2:54
“Town Feeling” – 4:54
“The Clarietta Rag” – 3:20
“Girl on a Swing” – 2:49
“Song for Insane Times” – 4:00
Side 2
“Stop This Train (Again Doing It)” – 6:05
“Eleanor’s Cake (Which Ate Her)” – 2:53
“The Lady Rachel” – 5:17
“Oleh Oleh Bandu Bandong” – 5:35
“All This Crazy Gift of Time” – 3:57

Bonus tracks (2003 reissue)
“Religious Experience” [take 9] – 4:46 (“Singing a Song in the Morning”)
“The Lady Rachel” – 6:42 (extended first mix)
“Soon Soon Soon” – 3:23
“Religious Experience” [take 103] – 2:50 (“Singing a Song in the Morning”)
Featuring Syd Barrett[6]
“The Lady Rachael” – 4:51 (Single Version)
“Singing a Song in the Morning” – 2:52 (Single Version)

Personnel
Kevin Ayers / Guitars, Bass and Vocals
Robert Wyatt / Drums
David Bedford / Piano, Mellotron, Arranger
Mike Ratledge / Organ
Hugh Hopper / Bass (1 & 5)
Paul Buckmaster / Cello
Rob Tait / Drums (6 & 9)
Paul Minns / Oboe
Plus on “Religious Experience” / “Singing a Song in the Morning” :
Syd Barrett / Guitar (14)
Richard Sinclair / Bass
Richard Coughlan / Drums
David Sinclair / Organ
The Ladybirds / Backing vocals

Shortly after Barrett’s death, Kevin told Mojo magazine that when Barrett arrived at the studio: “….he was out-of-it….wasn’t able to tune his guitar or find the chords”. A third guitar is present on “Religious Experience” [take 103], most noticeably at 0:54-1:03, 1:37-1:42 and 2:34-2:51.