Customer Reviews

Shooting at the Moon

5 star:		(2)
4 star:		(2)
3 star:		(1)
2 star:		(0)
1 star:		(0)

 

 

Ayers' first album, "Joy of a Toy," was more or less a solo effort, but "Shooting" was recorded with his band of the time, The Whole World, and the input of the other members of the band diversifies but doesn't dilute the Kevin Ayers sound. It would be tempting to say that this is what Soft Machine might have sounded like if Ayers hadn't left the group. Ayers' songs are given subtle and tricky arrangements, and alternate with almost Sun Ra-like instrumental freakouts (notably "P*sser Dans Un Violon," which goes on too long, and "Underwater," which doesn't). A very young Mike Oldfield adds guitar and bass playing here, notably the fabulously freaked-out guitar solo in "Lunatics Lament." Lol Coxhill adds suitably demented and interesting (but never overbearing) electric sax and woodwind work.

Ayers' songs, as usual, seem almost casual on the surface but on closer inspection reveal an intelligence and direction that bring him fairly close to his contemporary and friend, Syd Barrett. Ayers' dark, luminous baritone voice is his own, however, and his worldview, although sometimes a bit demented, is not burdened with the overtones of paranoia and fear that edge Barrett's work. Ayers' pastoral and carefree view of life informs everything he writes, but don't be decieved by the surface. There's a lot going on underneath, and repeated listenings will reveal more.

The extra tracks are terrific. One could argue that "Hat" might go on too long but it gets irrevocably stuck in your head, as do many of the songs here. The remastering is quite good.

Kevin Ayers is something of a forgotten jewel in the British crown of eccentric rock, but he has been a hidden influence on many, including Robyn Hitchcock and Julian Cope. The reissues of Ayers' first four albums (arguably his best) are more than welcome, and anyone interested in a very different yet accessible musical view of the world will want this CD.

There's more going on in a typical Ayers song than in most music of the time - or of today. Very "progressive" in the best and worst sense of the term, but with moments of brilliance. Several tracks give Oldfield room to show what he would accomplish in his later solo work. Try Joy of a Toy first, but this is fun too.

I was recommended to listen closer to Kevin Ayers, since, especially his early albums should be compareable to artists such as Syd Barrett and John Cale. I chose to give this album a chance, since it apparently is considered to be one his best. I obviously had noticed that the label "avant-garde" often was attached to his music, but assumed that this was meant positively.

The album "Shooting to the Moon" is his second, and it was originally released in 1970. It starts off very promising, with the melodic "May I" ppresented in the best John Cale style, but from here real highlights seems to be few - okay, there are fine passages with glimpses of what could have been Syd Barrett, but an apparent desire to be "avant garde" often becomes a bit of a drag on on songs that may otherwise have been nice numbers.

Dissonant harmonies, and long passages where more or less only strange sounds and noises can be heard, ruin several numbers. Other songs seem almost silly, although there is also an obvious charm to them - this applies to songs like "Oyster And The Flying Fish" and "Clarence in Wonderland".

The five bonus tracks fall well into the whole, and "Gemini Child" definitely belongs among the best tracks on the release.

It's an album that is difficult to give stars - primarily because it seems somewhat uneven and at times too typical of its time - I settle for three stars because, despite obvious flaws, you can hardly call the album predictable or boring.

Kevin Ayers distinct voice and musical arrangements set him apart from his contemporaries. In this album the talents of his session musicians Mike Oldfield and David Bedford et al have been fully harnessed and exhibited. This is a sophisticated pop album with strong progressive elements a successful attempt and assertion that he can do one too to be at par in that period of progressive pompousness. A four track album with two epic suites. You can hear instrumental noodling reminiscent of the first two King Crimson albums. KA was able to coherently fuse his lyrical expertise and the experimentation with the avant garde . It requires a lot of active listening to fully appreciate this album. Though only at 40 minutes this is a concise recording with standout and playful songs like Clarence in wonder land and the oyster fish, very whimsical, very English and very Kevin Ayers.

How one band, let alone one English town, could've produced both a Robert Wyatt and a Kevin Ayers is beyond my imagination. I'm not familiar with Kevin's later works, but of his early post Soft Machine work, i find this to be the most challenging and rewarding. The album is four tracks long, though all are the containers for several lovely songs that are pieced together through sound collages and disjointed jams. Fans of Gorkys Zygotic Mynchi, Super Furrys, and OTC should definitly give this a try. I would suggest also ordering it directly from the label's (BGO Records) website where it can be purchased for 10 pounds.