- Kevin Ayers
Infobox musical artist
Name = Kevin Ayers
Background = solo_singer
Birth_name = Kevin Ayers
Born = Birth date and age|1944|8|16|df=yes
Years_active = 1960's—present
Genre = Psychedelia
Label = LO-MAX
URL = [http://www.kevin-ayers.com/ kevin-ayers.com]
Kevin Ayers (born
16 August 1944in Herne Bay, Kent) [ [http://www.guardian.co.uk/music/2003/jul/04/artsfeatures The Guardian-4 July 2003] ] is an English songwriterand major influential force in the English psychedelicmovement. John Peelwrote in his autobiography that "Kevin Ayers' talent is so acute you could perform major eye surgery with it." [ Margrave of the Marshes, John Peel & Sheila Ravenscroft, Bantam Press, 2005. ISBN 0-593-05252-8 ]
Ayers was a founding member of the pioneering psychedelic band
Soft Machinein the late 1960s, and was closely associated with the Canterbury scene. [ Turn On Your Mind: Four Decades of Great Psychedelic Rock (Hal Leonard 2003) ISBN-10: 0634055488 ]
He has recorded a series of albums as a solo artist and worked with
Brian Eno, Syd Barrett, John Cale, Elton John, Robert Wyatt, Andy Summers, Mike Oldfield, Nico, Ollie Halsalland many others. Long resident in Deià, Majorca, he returned to the United Kingdomin the mid 1990s. He now lives in the south of France, and has completed work on a new album recorded in New York City, Tucson, Arizonaand London[ Unfairground liner notes Sept 2006) ] .
Ayers is the son of maverick
BBCproducer Rowan Ayers[ [http://www.users.globalnet.co.uk/~marwak/archive/independent%2010%20sept%2007.htm The Independent-10 Sept 2007] ] , but following his parents' split and his mother's subsequent marriage to a British Civil Servant, Ayers spent most of his childhoodin Malaysia[ [http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/music/article2350710.ece The Sunday Times-2 Sept 2007] ] . The tropical atmosphere and unpressured lifestyle had an impact, and one of the frustrating and endearing aspects of Ayers' career is that every time he seemed on the point of success, he would take off for some sunny spot where good wineand food were easily found. [ “Is This Man A Dipso?” by Nick Kent (NME Aug 31, 1974) ]
Ayers returned to England at the age of twelve, and in his early
collegeyears took up with the burgeoning musicians' scene in the Canterbury area. He was quickly drafted into the Wilde Flowers[ Soft Machine: Out-Bloody-Rageous by Graham Bennett (SAF Publishing 2005)] , a band that featured Robert Wyattand Hugh Hopper, as well as future members of Caravan. Ayers has stated in interviews that the primary reason he was asked to join was that he probably had the longest hair. However, this prompted him to start writing songs and singing.
The Wilde Flowers morphed into
Soft Machinewith the addition of keyboardistMike Ratledge and guitarist Daevid Allen. Ayers switched to bass, (and later both guitar and bass following Allen's departure from the group), and shared vocals with the drummer Robert Wyatt. The contrast between Ayers' baritone and Wyatt's reedy tenor, plus the freewheeling mix of rock and jazzinfluences, made for a memorable new sound that caught on quickly in the psychedelic 1960s. The band often shared stages (particularly at the UFO Club) with Syd Barrett's Pink Floyd[ [http://www.telegraph.co.uk/arts/main.jhtml?xml=/arts/2007/08/30/bmayers130.xmlThe Telegraph-30 Aug 2007] ] . They released their debut single ' Love Makes Sweet Music' / 'Feelin' Reelin', Squeelin' in February 1967, making it one of the first recordings from the new British psychedelic movement. [ [http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/music/article2350710.ece The Sunday Times-2 Sept 2007] ] Their debut album, "The Soft Machine," was recorded in the USA for ABC/Probe and released in 1968. It is considered a classic of the genre. [ [http://wm03.allmusic.com/cg/amg.dll?p=amg&sql=10:k9fuxqu5ldke Allmusic by John Bush] ]
olo career - 1969 - 1999
After an extensive tour of the United States opening for
Jimi Hendrix, a weary Ayers sold his white Fender Jazz bass to Noel Redding[ Joy of a Toy notes by Martin Wakeling (EMI Sept 2006) ] and retreated to the beaches of Ibizain Spain with Daevid Allento recuperate. While there, Ayers went on a songwriting binge that resulted in the songs that would make up his first album, " Joy of a Toy". The album was one of the first released on the new Harvest label, along with Pink Floyd's releases. "Joy of a Toy" established Ayers as a unique talent with music that varied from the circus march of the title cut to the pastoral "Girl on a Swing," and the ominous "Oleh Oleh Bandu Bandong", based on a Malaysian folksong. Ayers' colleagues from Soft Machine backed him, with the addition on some cuts of Rob Tait, sometime Gong drummer.
One interesting product of the sessions was the single, "Religious Experience (Singing a Song in the Morning)", early recordings of which featured Ayers' close friend
Syd Barretton guitar and backing vocals. [ Joy of a Toy notes by Martin Wakeling (EMI Sept 2006) ] The lead guitar that appears on the final mix was often thought to have been played by Barrett, even appearing on various Barrett bootlegs, but Ayers has said that he played the solo, emulating Barrett's style. However the 2004 CDreissue of "Joy of a Toy" includes a mix of this song featuring Barrett's guitar as a bonus track.
A second album, "Shooting at the Moon", soon followed. For this, Ayers assembled a band that he called The Whole World, including a young
Mike Oldfieldon bass and occasionally lead guitar, avant-garde composer David Bedfordon keyboards and improvising saxophonist, Lol Coxhill. Again Ayers came up with a batch of engaging songs interspersed with avant-garde instrumentals and a heavy dose of whimsy.
The Whole World was reportedly an erratic band live, and Ayers was not cut out for life on the road touring. The band broke up after a short tour, with no hard feelings, as most of the musicians guested on Ayers' next album, "
Whatevershebringswesing", which is regarded as one of his best, [ Sounds, Jan 25, 1972 ] featuring the mellifluous eight-minute title track that would became Ayers' signature sound for the '70s.
1974 was a watershed year for Ayers. In addition to releasing his most compelling music in this year, he was helped provide other artists with access to a wider stage, most notably Lady June (June Campbell Cramer). The recording, titled "
Lady June's Linguistic Leprosy," made in a front room of Cramer's home in Vale Court, Maida Vale, [ NME Jan 18, 1975 ] brought Lady June's spoken word poetry together with the music and voice of Ayers, and also had contributions by Brian Enoand Pip Pyle. It was originally released on Ayers' own Banana Productions label (via Virgin/Caroline).
The Confessions of Dr. Dream and Other Stories" marked Ayers' move to the more commercial Island record label and is considered by many to be the most cohesive example of Ayersian philosophy. The production was expensive, with Ayers quoting the recording costs in a 1974 NME interview as exceeding £32,000 [ NME Aug 31, 1974 ] (a vast figure at the time). On this LP Mike Oldfieldreturned to the fold and guitarist Ollie Halsallfrom progressive rock band Pattobegan a twenty-year partnership with Ayers.
1 June 1974, Ayers headlined a heavily publicised concert at the Rainbow Theatre, London, accompanied by John Cale, Nico, Brian Enoand Mike Oldfield. The performance was released by Island Records just 27 days later on a live LP entitled " June 1, 1974". Tensions were somewhat fraught at the event since the night before John Calehad caught Ayers sleeping with his wife [ What's Welsh for Zen by John Cale (Bloomsbury 2003) ISBN-10: 0747546223 ] prompting him to write the bile-soaked paean 'Guts' that would appear on his 1975 album Slow Dazzle.
In 1976 Ayers returned to his original label Harvest and released "
Yes We Have No Mañanas (So Get Your Mañanas Today)". The album was a more commercial affair and secured Ayers a new American contract with ABC Records. The LP featured contributions from B.J. Coleand Zoot Money. That same year Harvest released a collection entitled "Odd Ditties," that assembled a colorful group of songs that Ayers had consigned to single B-Sides or left unreleased.
The late '70's and '80's saw Ayers as a self-imposed exile in warmer climes, a fugitive from changing musical fashions, and a hostage to chemical addictions. 1983's "
Diamond Jack and the Queen of Pain" was, perhaps, a low-point for Ayers. He was quoted in a 1992 BBC radio 1 interview as saying he had "virtually no recollection of making those records". The road back was marked with 1988's prophetically titled "Falling Up", that received his first unanimously positive press notices in years [ [http://www.guardian.co.uk/music/2003/jul/04/artsfeatures The Guardian-4 July 2003] ] . In 1988 he also recorded a vocal track for Mike Oldfield's single, " Flying Start". The lyrics of this song contains many references to Ayers' life.
Despite the critical acclaim "Falling Up" received, Ayers by this point had almost completely withdrawn from any public stage, a state further compounded by the sudden death, by a drugs overdose, of his musical partner
Ollie Halsall. An acoustic album " Still Life with Guitar" recorded with Fairground Attractionsurfaced in France on the FNAC label and was subsequently released throughout Europe. Some collaborations with Ayers fanatics Ultramarine and a concert tour with Liverpool's Wizards of Twiddly completed his output in the '90's. A recording of a London concert with the Wizards of Twiddly was released on the Market Square label in 2000 under the title "Turn The lights Down!".
olo career - 2000 - present
In the late '90's, Ayers was living the life of a
reclusein the South of France. At a local art gallery he met American artist Tim Shepard who had studio space in the area, and the two became friends. Ayers started to show up at Shepard's house with a guitar, and by 2005, passed some new recordings onto Shepard, most taped on a cassette recorder at his kitchen table. The songs were by turns "poignant, insightful and honest," and Shepard, "deeply moved" by what he heard [ BBC6 Interview Sept 2006) ] , encouraged Ayers to record them properly for a possible new album.
Signing with London's
LO-MAX Records, Shepard found equal enthusiasm for the demos and after making some tentative enquiries, discovered a hotbed of interest for Ayers' work amongst the current generation of musicians. [ Kevin Ayers: Mojo Working by James McNair (Mojo July 2007) ] New York's Ladybug Transistorset up rehearsals for a possible recording organised by band leader Gary Olson, and Kevin flew out to New York. When the rehearsals gelled, the entourage, which had now swelled to include horn and string players, flew out to Tucson, Arizonawhere the first sessions were recorded in a dusty hanger known as Wavelab Studios.
With the tapes from the first sessions, Shepard set about getting Ayers to complete the album in the UK, where by now word had spread, and a host of musicians started gravitating to the studio. Shepard recounted meeting
Teenage Fanclubat a Go-Betweensparty and hearing their passion for Ayers' music [ BBC6 Interview Sept 2006) ] , and wrote a letter to singer, guitarist Norman Blake. Mojo magazine reported that, within a couple of weeks, Ayers was in a Glasgow studio with Teenage Fancluband a host of their like-minded colleagues, who had all assembled to work with their hero. [ Mojo Working by James McNair (Mojo July 2007) ] Bill Wellsfrom the Bill Wells Trio rubbed shoulders with Euros Childsfrom Gorkys Zygotic Mynciand Francis Readerfrom the Trash Can Sinatras.
Friends and peers from the past also visited the sessions.
Robert Wyattprovided his eerie Wyattron in the poignant 'Cold Shoulder', Phil Manzaneracontributed to the brooding 'Brainstorm', Hugh Hopperfrom Soft Machineplayed bass on the title track and Bridget St. John, a British Folk singer beloved of John Peel, duetted with Ayers on 'Baby Come Home', [ [http://www.pitchforkmedia.com/article/news/44340-kevin-ayers-returns-with-help-from-roxy-ladybug-architecture Pitchfork-31 July 2007] ] the first time they had sung together since 1970 on "Shooting at the Moon". " The Unfairground" was released to critical acclaim [ [http://www.metacritic.com/music/artists/ayerskevin/unfairground?q=kevin%20ayers Metacritic 2007] ] in September 2007.
Compilations & Live Recordings
*"Odd Ditties" (Harvest 1976) (a collection of rarities and unreleased tracks)
*"The Kevin Ayers Collection" (SFM 1983)
*"Banana Productions: The Best of Kevin Ayers" (EMI 1989)
*"BBC Live in Concert" (Windsong 1992)
*"Document Series Presents Kevin Ayers" (Connoisseur Collection 1992)
*"1969-80" (Alex 1995)
*"First Show in the Appearance Business: The BBC Sessions 1973-1976" (Strange Fruit 1996)
*"The Garden of Love" with Mike Oldfield and Robert Wyatt (Voiceprint 1997)
*"Singing the Bruise: The BBC Sessions, 1970-1972 [live] " (Strange Fruit 1998)
*"Too Old to Die Young: BBC Live 1972-1976" (Hux 1998)
*"Banana Follies" (Hux 1998)
*"Turn the Lights Down" (live) with the Wizards of Twiddly (Market Square 2000)
*"The Best of Kevin Ayers" (EMI 2000)
*"Didn't Feel Lonely Till I Thought of You: The Island Records Years" (Edsel 2004)
*"Alive In California" (Box-O-Plenty Records, November 2004)
*"BBC Sessions 1970-1976" (Hux 2005)
*"Some Kevin Ayers" (white label promo 2007)
*"Songs For Insane Times: An Anthology 1969-1980" (EMI, September 2008)
*"Gong: The Return of the Banana" by Steve Peacock (Sounds Oct 16, 1971)
*"Is This Man A Dipso?" by Nick Kent (NME Aug 31, 1974)
*"Let's Drink some Wine and Have a Good Time" by Kenneth Ansell (ZigZag 46, 1974)
*"Ayers and Graces" by Nick Kent (NME Dec 7, 1974)
*"Despair and Temperance in Maida Vale" by Mike Flood Page (Sounds Jan 25, 1975)
*"The Confessions of Doctor Amphibious and the Malaysian Headwash" by Max Bell (NME May 24, 1975)
*"Golden Ayers" by John Ingham (Sounds Mar 6, 1976)
*"Ready to Die" by John Ingham (Sounds Jul 3, 1976)
*"Tomorrow Never Knows: Rock and Psychedelics in the 1960s" (University Of Chicago Press 2002) ISBN-10: 0226075621
*"Turn On Your Mind: Four Decades of Great Psychedelic Rock" (Hal Leonard 2003) ISBN-10: 0634055488
*"You Need a Bit Missing Upstairs to Play This Game" by Jonathan Glancey (The Guardian July 4, 2003)
*"Soft Machine: Out-Bloody-Rageous" by Graham Bennett (SAF Publishing 2005)
*"Whatevershebringswesing" sleevenotes by Martin Wakeling (EMI Sept 2006)
*"Joy of a Toy" sleevenotes by Martin Wakeling (EMI Sept 2006)
*"The Rare Record Price Guide" (Diamond Publishing Group Ltd Oct 2006) ISBN-10: 0953260151
*"Kevin Ayers: Mojo Working" by James McNair (Mojo July 2007)
*"The Unsung Hero of Psychedelia" by Lisa Verrico (The Sunday Times Sep 2, 2007)
*"The Father of the Underground" by Garth Cartwright (Daily Telegraph Aug 30 2007)
*"Kevin Ayers and Robert Wyatt" by Simon Reynolds (Reynoldsretro Dec 14 2007)
* "The New Musical Express Book of Rock", 1975, Star Books, ISBN 0 352 300744
* [http://www.kevin-ayers.com/ Kevin Ayers] (his own site)
* [http://www.myspace.com/whatevershebringswesing My Space site]
* [http://www.furious.com/PERFECT/kevinayers.html 1998 Kevin Ayers interview] at [http://www.furious.com/PERFECT/ Perfect Sound Forever] (online music magazine)
* [http://www.users.globalnet.co.uk/~marwak/ "Why are we sleeping"] (fansite)
*The Wire's [http://web.archive.org/web/20050215191120/rtxarchive.com/archive/articles/wire175.html "100 Records That Set the World on Fire (When No One Was Listening)"]
* [http://www.pitchforkmedia.com/article/news/44340-kevin-ayers-returns-with-help-from-roxy-ladybug-architecture Pitchfork news story]
* [http://www.nme.com/news/kevin-ayers/30254 NME news story]
* [http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/music/article2350710.ece The Sunday Times feature]
* [http://www.telegraph.co.uk/arts/main.jhtml?xml=/arts/2007/08/30/bmayers130.xml Daily Telegraph feature]
* [http://www.users.globalnet.co.uk/~marwak/archive/independent%2010%20sept%2007.htm The Independent feature]
* [http://reynoldsretro.blogspot.com/2007/12/kevin-ayers-and-robert-wyatt-grauniad.html Simon Reynolds feature]
* [http://www.myspace.com/siskinmusic Kevin's daughter Galen's band 'SISKIN' website]
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