Prog

KEVIN AYERS

Joy Of A Toy ESOTERIC

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Remastered vinyl edition of psychedeli­c classic offers more than madcap laughs.

While many claim Kevin Ayers’ influence was great, the list of artists who actually sound like him is shorter than his attention span was. A stop-start career, in which he was often more interested in reclining intoxicate­d on a sunny beach than grafting at the musical craft, nonetheles­s delivered multiple fascinatin­g moments, and his solo debut, now reissued in its original format, remains a gorgeous and beguiling maverick masterpiec­e.

After leaving Soft Machine, he mulled over packing it all in. Jimi Hendrix gave him a guitar and, reanimated, he delivered the songs that became Joy Of A Toy to the fledgling Harvest label, who spent generously on its production. Musicians included Soft Machine friends Robert Wyatt, Mike Ratledge and Hugh Hopper, with David Bedford arranging and an on-the-way-up Paul Buckmaster playing cello. Syd Barrett visited the sessions, though the track on which he (badly) played guitar didn’t feature until a 2003 reissue. (This release sticks religiousl­y to the 1969 template with its baroque gatefold and all.)

From the impish bizarrenes­s of the opening track to the twisted, semi-parodic, alt-folk of All This Crazy Gift Of Time, Joy Of

A Toy is a unique, sometimes unsettling experience. Is it halfarsed and throw-away, or is the subversive genius torching the rulebook? The question, unanswerab­le, only bolsters the aura. Even without Ayers’ voice, the music would be a box of tantalisin­g tricks. With it, it conjures alchemy. His baritone, both languid and dominant, gives the songs a shade of unorthodox­y which goes beyond typical English hippie eccentrici­ty.

Girl On A Swing has developed the best-known afterlife, and marries charm and oddness like early Floyd playing early Bee Gees. The instrument­s subtly shiver and tremble. Stop This Train, forever slowing down and speeding up, deconstruc­ts blues rock nonchalant­ly, while The Lady Rachel is the missing link between The Velvet Undergroun­d and Brian Protheroe. This is an album of divergent grace.

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