Kevin Ayers -

Kevin Ayers (Aug. 16, 1944 — Feb. 18, 2013) was an English singer–songwriter who co-founded Soft Machine. After their 1968 debut album, he went solo with the 1969 Harvest release Joy of a Toy. Between 1970 and 1988, he released twelve albums. Island Records documented his all-star concert with Brian Eno, John Cale, and Nico on the live release June 1, 1974.

Early Life

Ayers was born on August 16, 1944, in Herne Bay, Kent. His father, Rowan Ayers (1922–2008), was a television executive who produced the 1960s BBC programs Line-Up and Late Night Line-Up. Rowan created the BBC2 music program The Old Grey Whistle Test, which aired between 1971 and 1988 and showcased Kevin’s colleagues.

Kevin’s parents divorced when he was a child. His mother married a civil servant and moved with her son to Malaya (then a British colony), where Kevin acclimated to the tropical surroundings of the Southeast Asian island. At age twelve, he returned to England and later attended college in Canterbury.

In 1964, Ayers joined local R&B-beatsters The Wilde Flowers as their lead singer. By 1967, they morphed into Soft Machine, a psychedelic jazz-rock quartet with organist Mike Ratledge, drummer Robert Wyatt, and Australian guitarist Daevid Allen. They recorded an unreleased album and toured France, where Allen’s detainment cut them to a trio for their 1968 album The Soft Machine. Between the album’s completion and release, Ayers left the band after their second US tour.

Joy of a Toy

Kevin Ayers released his debut solo album, Joy of a Toy, in November 1969 on Harvest.

Ayers frames the album around chamber-leaning arrangements, intercutting sparse acoustic passages with bursts of organ, oboe, and cello that highlight his low, unhurried vocal presence. The set marks his first collaboration with pianist–arranger David Bedford, whose orchestral voicings shape the album’s shifting textures.

Ayers wrote all ten songs. Bedford arranged the material and plays piano and mellotron. Ayers’ utilizes his erstwhile Soft Machine colleagues: drummer Robert Wyatt and keyboardist Mike Ratledge, His successor in that band, fuzz-bassist Hugh Hopper, plays on “Joy of a Toy Continued” and “Song for Insane Times.” The lineup also includes cellist Paul Buckmaster, jazz bassist Jeff Clyne, oboist Paul Minns (Third Ear Band), and drummer Rob Tait (ex–Pete Brown & His Battered Ornaments).

Joy of a Toy flows with relaxed inventiveness, balancing whimsical, pastoral passages with sudden, contoured shifts in rhythm and texture. It opens with “Joy of a Toy Continued,” where playful instrumentation and staggered vocal phrasing establish a surreal, carnival-like tone. “Town Feeling” moves with a languid pulse beneath jazzy drum patterns, oboe flourishes, and string ornamentation, conveying a subtle tension between everyday monotony and offbeat wonder. Tracks like “Song for Insane Times” feature dense, tumbling arrangements, with fractured keyboard runs, stuttering percussion, and interjections from Soft Machine alumni, creating a sense of bittersweet disorientation.

In contrast, “Eleanor’s Cake (Which Ate Her)” and “Girl on a Swing” lean on gentle piano, tremoloed guitars, and muted organ lines, their quiet, forward-swaying momentum offering reflective interludes. “The Lady Rachel” combines ethereal cello, baroque instrumentation, and Ayers’ poised baritone for a stately, contoured narrative, while “Oleh Oleh Bandu Bandong” spirals into hypnotic, mantra-like repetition over stinging guitar and distant, brooding cello. The album closes with “All This Crazy Gift of Time,” a simple, acoustic-driven folk reflection that grounds the listener after the preceding flights of idiosyncratic instrumentation.

A1. “Joy of a Toy Continued” (2:53)
A2. “Town Feeling” (4:51)
A3. “The Clarietta Rag” (3:20)
A4. “Girl on a Swing” (2:49)
A5. “Song for Insane Times” (4:01)

B1. “Stop This Train (Again Doing It)” (6:06)
B2. “Eleanor’s Cake (Which Ate Her)” (2:53)
B3. “The Lady Rachel” (5:17)
B4. “Oleh Oleh Bandu Bandong” (5:35)
B5. “All This Crazy Gift of Time” (3:53)

Throughout, Ayers juxtaposes intricate arrangement with offhand charm, creating a listening experience that is simultaneously playful, wistful, and subtly adventurous.

Sessions occurred between June and September 1969 at Abbey Road Studios, London, with Ayers and Peter Jenner producing and Peter Mew engineering.

Joy of a Toy features photography by Laurie Asprey.

Shooting at the Moon

Kevin Ayers released his second album, Shooting at the Moon, in October 1970 on Harvest. Tom Fu (a subsequent Gong cover artist) designed the monochrome spherical-image cover, which bills the act as Kevin Ayers and the Whole World.

Ayers anchors the album in loosely threaded song forms that shift between airy ballads and free-form interludes shaped by oblique horn lines, accordion figures, and sudden changes in pace. The project marks his first full studio statement with the Whole World, a rotating ensemble that amplifies the album’s abrupt contrasts and extended instrumental passages.

Ayers wrote all nine songs and fronts a lineup of keyboardist David Bedford (organ, piano, accordion, marimbaphone), drummer Mick Fincher, ex-Sallyangie guitarist–bassist Mike Oldfield, and Delivery saxophonist Lol Coxhill, who also applies found objects for percussive accents. The album features guest vocals by Bridget St. John (“The Oyster and the Flying Fish”) and Robert Wyatt (“Colores Para Dolores”).

Shooting at the Moon opens with the languid, caressing sway of “May I?”, where Ayers’ baritone drifts over fluttering flutes, accordion inflections, and steady, lilting percussion, setting a Mediterranean-tinged tone. “Rheinhardt & Geraldine/Colores Para Dolores” alternates between delicate, songlike passages and sudden tape-cutting interludes, juxtaposing soft melodic arcs against fragmented bursts of saxophone and organ. “Lunatics Lament” drives forward with brisk, jagged guitar lines and stuttering rhythmic pushes, punctuated by a soaring, contoured solo from Mike Oldfield. “Pisser Dans un Violon” subverts expectations entirely, layering abstract textures of bowed strings, fractured bass, and percussive anomalies into an eight-minute collage of sharp contrasts and disjointed timbres.

The second half balances whimsy and experimentation: “The Oyster and the Flying Fish” offers sparse acoustic interplay with eccentric harmonies, “Underwater” suspends sparse guitar motifs over hollowed bass and drifting keyboard fragments, and “Clarence in Wonderland” revisits playful vocalizations amid quirky instrumentation. “Red Green and You Blue” flows gently with supple phrasing and soft sax lines, leading into the title track, which recombines warped motifs from Ayers’ Soft Machine days into a loosely structured, acid-tinged ensemble jam.

A1. “May I?” (4:01)
A2. “Rheinhardt and Geraldine / Colores Para Dolores” (5:41)
A3. “Lunatics Lament” (4:53)
A4. “Pisser Dans un Violon” (8:02)

B1. “The Oyster and the Flying Fish” (2:37)
B2. “Underwater” (3:54)
B3. “Clarence in Wonderland” (2:06)
B4. “Red Green and You Blue” (3:52)
B5. “Shooting at the Moon” (5:53)

Throughout, Ayers alternates fluidly between contemplative, airy passages and abrupt, angular interjections, maintaining tension between freewheeling experimentation and controlled, song-based arrangements.

Sessions occurred between April and September 1970 at Abbey Road Studios, London, with Ayers and Peter Jenner producing and Peter Mews engineering.

Shooting at the Moon features artwork by Tom Fu, who presents a monochrome spherical image that frames the credit “Kevin Ayers and the Whole World.”

Harvest issued the non-album single “Butterfly Dance” (b/w “Puis Je?”) concurrent with the LP.

Whatevershebringswesing

Kevin Ayers released his third album, Whatevershebringswesing, in November 1971 on Harvest.

The album blends measured acoustic passages, layered orchestral textures, and angular instrumental interludes across this album, creating a tension between introspective ballads and experimental vignettes. Whatevershebringswesing retains keyboardist–arranger David Bedford and guitarist–bassist Mike Oldfield with vocal backing from Robert Wyatt.

Ayers jugles guitar and bass across six originals and one song each from Bedford (“Among Us”) and Oldfield (“Champagne Cowboy Blues”). The album also features reedist Didier Malherbe, percussionist William Murray, and drummer Dave Dufort and Tony Carr.

Whatevershebringswesing opens with “There Is Loving,” a three-part suite of layered orchestration with baroque-tinged brass and fluid, laser-like guitar lines, punctuated by subtle organ washes, which carry the melody through shifting rhythmic contours. “Margaret” and “Oh My” slow the pace with mid-tempo refrains and sparse wind arrangements, letting Ayers’ baritone ride over delicate harmonic turns. “Stranger in Blue Suede Shoes” launches into a spirited, skewed rock’n’roll with bouncy, elastic rhythm and playful guitar interjections, while “Champagne Cowboy Blues” blends fractured guitar and bass motifs over uneven, episodic pacing.

“Song From the Bottom of a Well” descends into dark, theatrical textures, merging spoken-word passages, feedback, and minor-key stringed timbres to create a disorienting, shadowy atmosphere. The title track balances extended instrumental passages with vocal interplay, anchored by Mike Oldfield’s fluid guitar and bass lines and a contrasting counterpoint from Robert Wyatt, producing a mix of solemnity and lightness. The album closes with “Lullaby,” a pastoral, airy instrumental where flute and gentle harmonic shifts provide a serene counterpoint to the preceding intensity.

A1. “There Is Loving / Among Us / There Is Loving” (7:22)
A2. “Margaret” (3:20)
A3. “Oh My” (2:59)
A4. “Song from the Bottom of a Well” (4:37)

B1. “Whatevershebringswesing” (8:13)
B2. “Stranger in Blue Suede Shoes” (3:24)
B3. “Champagne Cowboy Blues” (3:56)
B4. “Lullaby” (2:14)

Across the record, Ayers navigates abrupt shifts, layered textures, and varied rhythmic emphases, moving effortlessly between theatrical complexity, playful eccentricity, and tender reflection.

Sessions occurred between March and August 1971 at Abbey Road Studios, London, with Ayers and Andrew King producing and Peter Mews and John Barrett engineering. They employed strings and brass arrangements from Gerry Fields, Johnny Van Derrick, and Bruce Malamut.

Harvest promoted the album with the single “Stranger in Blue Suede Shoes” (b/w “Stars”), released 27 August 1971. The track became a recurring feature of Ayers’ live repertoire and was reissued in 1976.

Whatevershebringswesing features design by Adrian Boot and photography by Adrian Lyne.

2003 CD reissue bonus tracks:
9. “Stars” (3:32)
10. “Don’t Sing No More Sad Songs” (3:46)
11. “Fake Mexican Tourist Blues” (4:38)
12. “Stranger in Blue Suede Shoes” (early mix) (3:19)

Bananamour

Kevin Ayers released his fourth album, Bananamour, in May 1973 on Harvest.

Bananamour applies whimsical and experimental touches across acoustic passages, sharp-edged blues, and orchestral flourishes. Ayers leads a new ensemble anchored by bassist Archie Legget and drummer Eddie Sparrow with contributions from Steve Hillage, Mike Ratledge, Robert Wyatt, David Bedford, and a small brass and backing-vocal section, giving the album a dynamic balance of direct lyricism and textural variation.

Ayers wrote all primary tracks, with vocals and guitar throughout. Archie Legget sings lead on “When Your Parents Go to Sleep.” Hillage plays guitar on “Shouting in a Bucket Blues” and “Decadence.” Ratledge lays organ across “Interview.” Robert Wyatt adds harmony vocals to “Hymn.” Bedford orchestrated “Beware of the Dog.”

Bananamour moves between playful pop, soul-tinged ballads, and experimental excursions, anchored by Kevin Ayers’ warm baritone. It opens with “Don’t Let It Get You Down,” where layered backing vocals, bright brass, and fluid guitar arpeggios support a gently shifting rhythm. “Shouting in a Bucket Blues” leans on jangling guitar lines and elastic pacing, with Steve Hillage’s soloing adding angular textures. “When Your Parents Go to Sleep” pairs Motown-inflected horns with steady, buoyant bass and wet, arpeggiated guitar, highlighting Ayers’ nuanced phrasing.

“Interview” builds on a blues riff with sliding fills, warped organ, and swirling percussion, merging into the brief, gospel-inflected “Internotional Anthem.” “Decadence” unfolds over a looping guitar arpeggio and droning organ, punctuated by spacey synth washes and tension-building drum pulses, slowly climbing to a layered climax. “Oh! Wot a Dream” features strummed acoustic guitars, duck-quack percussion, and playful rhythmic shifts, while “Hymn” offers gentle ¾-time piano and 12-string accompaniment, complemented by Robert Wyatt’s harmonies. The album closes with “Beware of the Dog,” where orchestral brass and delicate piano lines interplay with Ayers’ vocals over an extended drum roll.

A1. “Don’t Let It Get You Down (For Rachel)” (3:58)
A2. “Shouting in a Bucket Blues” (3:44)
A3. “When Your Parents Go to Sleep” (5:46)
A4. “Interview” (4:44)
A5. “Internotional Anthem” (0:40)

B1. “Decadence” (8:02) — portrait of Nico; later covered by The Church on A Box of Birds (1999)
B2. “Oh! Wot a Dream” (2:48) — whimsical tribute to Syd Barrett
B3. “Hymn” (4:34)
B4. “Beware of the Dog” (1:20)

Across the record, Ayers balances whimsical experimentation, soulful expression, and intricate instrumental textures, allowing each track to explore distinct moods and rhythmic variations.

Sessions occurred September–October 1972 at Abbey Road Studios, London, with Kevin Ayers and Andrew King producing and John Kurlander engineering.

Bananamour features cover art by Bob Lawrie and photography by Richard Imrie.

Harvest promoted the album with the single “Oh! Wot a Dream,” released on November 10, 1972.

Bananamour was the final release in Ayers’ initial Harvest Records period. The album was remastered for vinyl gatefold packaging in 2025 by Esoteric Recordings.

2003 CD reissue bonus tracks:
10. “Connie on a Rubber Band” (2:56)
11. “Decadence” (Early Mix) (6:57)
12. “Take Me to Tahiti” (3:37)
13. “Caribbean Moon” (3:02)

The Confessions of Doctor Dream and Other Stories

Kevin Ayers released his fifth album, The Confessions of Doctor Dream and Other Stories, in May 1974 on Island.

Ayers broadened his sound with a wide array of musicians, including Ratledge and ex-Patto guitarist Ollie Halsall, a constant collaborator henceforth. The album — comprised of three songs, three miniatures, and two suites — blends intimate ballads, angular blues, and whimsical narrative vignette. Producer Rupert Hine plays keyboards across the second half.

Confessions features ex-King Crimson drummer Michael Giles, Caravan bassist John Perry, and Elton John percussionist Ray Cooper. backing vocalists include Doris Troy and Rosetta Hightower. Nico sings on the title suite. Penguin Cafe orchestrator Simon Jeffes arranged the album’s brass, which infused Ayers’ lyricism with cinematic scope.

Confessions of Dr Dream and Other Stories shifts between whimsical pop, dark atmospherics, and sprawling suites, anchored by Kevin Ayers’ expressive baritone and carefully layered instrumentation. Early tracks like “Didn’t Feel Lonely ‘Til I Thought of You” balance crisp guitar solos with measured rhythms, while “Invitation” and “Two Goes Into Four” offer gentle, flowing textures. “Ballbearing Blues” leans on looping motifs and playful instrumental turns, contrasting with the sprawling nineteen-minute title suite, which weaves tense, echoing vocals, ethereal synths, and fractured guitar lines into recurring motifs.

Within the suite, “It Begins With a Blessing” opens with delicate passages that swell into the more restless “Once I Awakened,” before concluding in the obsessive decay of “But It Ends With a Curse” and the recurring “Doctor Dream Theme.” Sparse contributions from Nico add stark vocal contours, and Mike Ratledge’s keyboards punctuate the suite with both shimmering and foreboding textures. Scattered shorter interludes and backing vocals punctuate the record, while the closing “Two Goes Into Four” resolves the album with a soft acoustic pulse.

A1. “Day By Day” (3:49)
A2. “See You Later” (0:28)
A3. “Didn’t Feel Lonely Till I Thought of You” (4:10)
A4. “Everybody’s Sometime and Some People’s All the Time Blues” (3:05)
A5. “It Begins With a Blessing/Once I Awakened/But It Ends With a Curse” (8:19)
A6. “Ballbearing Blues” (0:55)

B1. “The Confessions of Doctor Dream”
    Pt 1 “Irreversible Neural Damage” (4:44)
    Pt 2 “Invitation” (1:12)
    Pt 3 “The One Chance Dance” (7:49)
    Pt 4 “Doctor Dream Theme” (5:12)
B2. “Two Goes Into Four” (1:38)

Across the record, Ayers blends pop phrasing, dark experimentation, and carefully modulated rhythms, creating a fractured yet cohesive listening journey.

Sessions occurred February–March 1974 at AIR and Ramport Studios, London, with Rupert Hine producing and John Punter and Steve Nye engineering, assisted by Gerry Leitch and Sean Milligan.

The cover features illustrations by George Smith and James Wedge.

2009 CD reissue bonus tracks:
12. “Another Whimsical Song” (0:24) — BBC Maida Vale, 7 July 1974
13. “The Lady Rachel” (3:53) — BBC Maida Vale, 7 July 1974
14. “Stop This Train” (6:14) — BBC Maida Vale, 7 July 1974
15. “Didn’t Feel Lonely ’Til I Thought of You” (4:36) — BBC Maida Vale, 7 July 1974
16. “The Up Song” (3:18) — 1973 non-album single
17. “After the Show” (2:37) — 1974 non-album single
18. “Thank You Very Much” (3:01) — B-side of “After the Show”

June 1, 1974

In the months that followed Doctor Dream, Kevin Ayers played major roles on two additional 1974 albums.

June 1, 1974 is a live recording from the Rainbow Theatre in London featuring Kevin Ayers, John Cale, Brian Eno, and Nico, with contributions from Mike Oldfield, Robert Wyatt, and Ollie Halsall. Ayers appears on baritone vocals and guitar across Side B and plays bass on the Brian Eno tracks. He wrote four of the B-side songs—“May I?”, “Shouting in a Bucket Blues,” “Stranger in Blue Suede Shoes,” and “Everybody’s Sometime and Some People’s All the Time Blues”—and performs them with support from Halsall, Oldfield, Bundrick, and Wyatt, shaping the live set through both his compositions and his playing.

Lady June’s Linguistic Leprosy is a spoken-word album by poet Lady June recorded at Ayers’ Maida Vale home, featuring contributions from Kevin Ayers and Brian Eno. Ayers provides guitar, bass, and supporting vocals throughout the album, appearing on tracks including “Some Day Silly Twenty Three,” “Everythingsnothing,” and “To Whom It May Not Concern.” His playing and vocal support establish the musical framework for Lady June’s spoken word, working alongside Eno, Pip Pyle, and other contributors to give the experimental arrangements structure and continuity.

Sweet Deceiver

Kevin Ayers released his sixth album, Sweet Deceiver, in March 1975 on Island.

Sweet Deceiver emphasizes rock-oriented arrangements, split between ornate material (Side A) and more direct songs (Side B). Guitarist Ollie Halsall emerges as Ayers’ central musical partner with dexterous display on the opener, “Observations.”

Ayers juggles multiple instruments (mandolin, fuzz bass, 6/12-string electric/acoustic guitars) with Halsall, who adds vibes and honky-tonk piano. They form a trio with drummer Freddie Smith, supplemented on most tracks by keyboardist Jakob Magnusson, who plays organ, piano, clavinet, and accordion. Chili Charles drums on “Once Upon an Ocean,” which features Manassas bassist Fuzzy Samuels and the Muscle Shoals Horns. Three tracks (“Guru Banana,” “Toujours La Voyage,” “Circular Letter”) feature Elton John as guest pianist. The title track features ex-Trees pianist Bias Boshell.

Sweet Deceiver alternates between energetic rock, languid ballads, and playful stylistic experiments, with Kevin Ayers’ baritone threading through diverse textures. The opener “Observations” launches with brisk pace, shifting into aggressive guitar bursts from Ollie Halsall. “Guru Banana” employs sing-song phrasing and whimsical pacing, while “City Waltz” balances flowing accordion motifs against intermittent, almost childlike choruses. “Toujours La Voyage” stretches over eight minutes with gentle piano and fluid guitar lines, creating a languorous, reflective passage.

Side two begins with the title track’s steady, upbeat rhythm, followed by the brief, intimate pulse of “Diminished But Not Finished.” “Circular Letter” foregrounds Elton John’s piano against airy accompaniment, offering restrained momentum. “Once Upon an Ocean” explores buoyant, island-inspired rhythms with playful instrumental interplay, and the closing “Farewell Again” returns to a soft, acoustic frame.

A1. “Observations” (4:20)
A2. “Guru Banana” (2:43) — satirical take on Ayers’ own promotion as a rock star
A3. “City Waltz” (3:30)
A4. “Toujours La Voyage” (8:56)

B1. “Sweet Deceiver” (3:47)
B2. “Diminished But Not Finished” (2:52)
B3. “Circular Letter” (4:27)
B4. “Once Upon an Ocean” (3:27)
B5. “Farewell Again (Another Dawn)” (3:11)

Across the album, shifts in tempo and arrangement—between sprightly, languid, and theatrical—trace Ayers’ navigation of contrasting moods, producing a record of idiosyncratic energy and charm, marked by Halsall’s incisive guitar and selective piano highlights.

Sessions occurred in 1975 at The Manor, Shipton-on-Cherwell, England, with Kevin Ayers and Ollie Halsall producing, Steve Cox and Vic Gamm engineering.

The cover features artwork by Tony Wright, and photography by Joe Gaffney.

2009 CD reissue bonus tracks recorded live at the BBC Paris Theatre, 27 March 1975:
10. “Didn’t Feel Lonely ’Til I Thought of You” (5:21)
11. “Observations” (5:31)
12. “Stranger in Blue Suede Shoes” (4:51)
13. “Interview” (6:03)
14. “Farewell Again” (4:40)

Yes We Have No Mañanas-So Get Your Mañanas Today

Kevin Ayers released his seventh album, Yes We Have No Mañanas-So Get Your Mañanas Today, in June 1976 on Harvest and ABC (US).

Ayers returned to Harvest with a streamlined production under Muff Winwood. The album combines light rock textures and concise songs with the agile guitar work of Ollie Halsall alongside the pedal-steel of B.J. Cole (ex-Cochise) and the rhythmic foundation of drummer Rob Townsend (Family) and bassist Charlie McCracken (Stud).

Yes We Have No Mañanas moves between intimate ballads, playful interludes, and measured rockers, framed by Kevin Ayers’ warm baritone and Ollie Halsall’s precise guitar lines. The opener “Star” sets a deliberate pace with subtly shifting accents and restrained energy. “Falling in Love Again” drifts with soft, sugared rhythms, piano embellishments, and a reflective intimacy.

Lighter tracks like “Mr. Cool” and “Ballad of Mr. Snake” inject brief, whimsical motifs without breaking the album’s flow. “Everyone Knows the Song” rides steady, airy patterns with occasional angular guitar flourishes. The closing pair, “Yes I Do” into “Blue,” builds from gentle piano introduction to expansive, orchestrated finale, layering tender vocals, enveloping harmonies, and a soaring guitar solo that heightens tension before release.

A1. “Star” (4:18)
A2. “Mr. Cool” (3:00)
A3. “The Owl” (3:14)
A4. “Love’s Gonna Turn You Round” (4:52)
A5. “Falling in Love Again” (2:36) — cover of Marlene Dietrich’s 1930 performance from Der Blaue Engel, composed by Friedrich Hollaender and Reginald Connelly; explores the inevitability of romance

B1. “Help Me” (2:40) — features keyboardist Zoot Money and serial drummer Tony Newman (May Blitz, Three Man Army).
B2. “Ballad of Mr Snake” (2:02)
B3. “Everyone Knows the Song” (2:33)
B4. “Yes I Do” (3:08)
B5. “Blue” (6:26) — features choral arrangements by David Bedfors.

Across the album, Ayers balances tempo variations, ornamental instrumentation, and subtle rhythmic shifts to create a polished, lounge-like atmosphere that feels both relaxed and intricately arranged.

Sessions occurred in spring 1976 at Basing Street Studios, London, with producer Muff Winwood producing and engineer Mike Robinson. Winwood oversaw Mañanas in sequence with albums by Deaf School (2nd Honeymoon) and Russ Ballard (Winning).

Record label promoted the album with the European single “Falling in Love Again” (March 1976), the UK single “Star” (April 1977, b/w “The Owl”), and the US single “Mr. Cool” (1977, mono/stereo).

Album artwork was designed by Peter Shepherd, with photography by Peter Vernon.

2009 CD reissue bonus tracks recorded live at the John Peel Show, 13 July 1976, and BBC Paris Theatre, 30 September 1976:
11. “Mr. Cool” (3:01)
12. “Love’s Gonna Turn You Round” (4:44)
13. “Star” (4:42)
14. “Ballad of Mr. Snake” (2:23)
15. “Shouting in a Bucket Blues” (5:26)
16. “Star” (4:40)
17. “Mr. Cool” (3:44)
18. “Ballad of Mr. Snake” (2:39)
19. “Blue” (6:24)

Rainbow Takeaway

Kevin Ayers released his eighth album, Rainbow Takeaway, in April 1978 on Harvest.

Ayers retained the core lineup from Yes We Have No Mañanas — guitarist Ollie Halsall, bassist Charlie McCracken, and drummer Rob Townsend. They blend rock with quirky touches, soul inflections, and country-leaning arrangements. Slapp Happy keyboardist Anthony Moore produced the album, which also features violinist Graham Preskett (Mott the Hoople) and American synthesist Billy Livsey (801, Gerry Rafferty).

Rainbow Takeaway moves between smooth ballads, understated folk-inflected numbers, and lightly playful interludes, framed by Kevin Ayers’ deep, crooning baritone and Ollie Halsall’s articulate guitar. The opener, “Blaming It All on Love,” rides gentle piano lines with flowing phrasing and measured tempo shifts, while “Waltz for You” drifts slowly with a spacious, lilting rhythm. “Ballad of a Salesman Who Sold Himself” pairs with “A View from the Mountain” for a ten-minute passage of restrained lead guitar and subtly layered accompaniment.

The title track delivers swinging brass and brisk rhythmic motion, contrasted by the reggae-tinged syncopation of “Beware of the Dog II.” “Strange Song” features folk-inspired storytelling accentuated by violin ornamentation, and “Goodnight Goodnight” explores vocal variation over a light, airy framework. The album closes with the brief, tongue-in-cheek “Hat Song,” whose playful arrangement punctuates the record’s otherwise measured atmosphere. Throughout, Ayers balances tempo and instrumental color, producing an accessible yet subtly varied sonic palette.

A1. “Blaming It All on Love” (3:00)
A2. “Ballad of a Salesman Who Sold Himself” (4:30)
A3. “A View from the Mountain” (6:15)
A4. “Rainbow Takeaway” (3:50)
A5. “Waltz for You” (5:22)

B1. “Beware of the Dog II” (5:59)
B2. “Strange Song” (2:41)
B3. “Goodnight Goodnight” (3:06)
B4. “Hat Song” (1:17)

Sessions occurred in 1978 at Workshop Studios, UK, with Ayers and Moore co-produced the album.

Album artwork was directed by Brian Palmer, with illustrations by Sharon Coventry and photography by Peter Vernon.

That’s What You Get Babe

Kevin Ayers released his ninth album, That’s What You Get Babe, in February 1980 on Harvest.

Ayers returned from a two-year hiatus in Deià, Spain, with arrangements and production by Graham Preskett. The album emphasizes polished, mainstream textures that dilute the eccentric interplay of Ayers and Ollie Halsall, blending rock with subtle orchestral touches while retaining Ayers’ offbeat lyrical sensibility, particularly on the title track.

Ayers wrote all tracks and performed guitar and vocals. Ollie Halsall played guitar, slide guitar, and bass on select tracks, providing backing vocals. Graham Preskett contributed guitar, violin, keyboards, banjo, mandolin, and backing vocals. Mo Foster handled bass on most tracks, Liam Genockey drums, with additional contributions from Roy Jones (percussion), Geoff Whitehorn (lead guitar), Trevor Murrell (drums, percussion), and Neil Lancaster and Clare Torry (backing vocals).

A1. “That’s What You Get” (3:16)
A2. “Where Do I Go from Here” (2:39)
A3. “You Never Outrun Your Heart” (3:06)
A4. “Given and Taken” (2:54)
A5. “Idiots” (3:07)

B1. “Super Salesman” (5:03)
B2. “Money Money Money” (3:12)
B3. “Miss Hanaga” (3:18)
B4. “I’m So Tired” (2:36)
B5. “Where Do the Stars End” (3:03)

Sessions occurred in 1980 at Vineyard Studios, London, with Graham Preskett producing and Simaen Skolfield engineering, assisted by Edwin Cross, Laurie Latham, and Rick Walton.

Harvest promoted the album with the single “Money Money Money” (b/w “Stranger in Blue Suede Shoes”) in the UK. Ayers performed shows in New York and London but soon returned to France and Spain, issuing the non-LP single “Animals”/“Don’t Fall in Love with Me” on Columbia Records.

Diamond Jack and the Queen of Pain

Kevin Ayers released his tenth album, Diamond Jack and the Queen of Pain, in June 1983 on Charly.

Ayers recorded in Spain with a largely new backing band, combining his trademark eccentricity with compact arrangements. The album balances whimsical storytelling with concise, contoured instrumentation, integrating guitar interplay, keyboard flourishes, and subtle horn accents. He wrote seven tracks and co-wrote “Steppin’ Out” with Ollie Halsall. They cover songs by Bob Dylan (“Lay Lady Lay”) and J.J. Cale (“You Keep Me Hangin’ On”).

Ayers splits guitar tracks with Halsall and keyboadist Carlos Garcia Vaso. Diamond Jack also features keyboardist Joaquin Montoya, bassist Manolo Aguilar, drummer Javier de Juan, and backing vocalist Zanna Gregmar, embellished with horns arranged by Jimmy Kashisian.

A1. “Madame Butterfly” (4:30)
A2. “Lay Lady Lay” (4:19) — cover of Bob Dylan
A3. “Who’s Still Crazy” (4:46)
A4. “You Keep Me Hangin’ On” (3:26) — cover of J.J. Cale
A5. “You Are a Big Girl” (3:31)

B1. “Steppin’ Out” (5:15) — co-written with Ollie Halsall
B2. “My Speeding Heart” (4:19)
B3. “Howling Man” (3:28)
B4. “Give a Little Bit” (3:51)
B5. “Champagne and Valium” (3:05)

Sessions occurred in 1983 at studios in Spain with Julián Ruiz producing and Luis F. Soria engineering.

Harvest promoted the album with the single “My Speeding Heart” in July 1983.

Deià…Vu

Kevin Ayers released his eleventh album, Deià…Vu, in March 1984 on Blau. The title references Spains Deià village in Majorca. Despite its release date, this is technically Ayers’ tenth solo album, recorded in December 1980 (pre-Diamond Jack).

Ayers integrates local Spanish musicians with longtime collaborator Ollie Halsall, blending concise song structures with contoured guitar lines, rhythmic shifts, and restrained keyboard textures. Covers of Bob Dylan’s “Lay Lady Lay” appear alongside Ayers originals, while recurring motifs connect “Stop Playing with My Heart” and its sequel. The album evokes his Deià residency, balancing offbeat humor with reflective passages.

Ayers wrote six of the eight tracks, performing lead vocals and guitar. Joan Bibiloni contributed guitars and co-produced, Ollie Halsall played bass and guitar on “Stop Playing with My Heart II,” Daniel Lagarde added bass, and Quique Villafania and Miguel Figuerola handled drums. Zanna Gregmar performed keyboards and backing vocals, Jorge Pardo added saxophone, and Linda Novit supplied backing vocals.

A1. “Champagne and Valium” (5:18)
A2. “Thank God for a Sense of Humor” (3:52)
A3. “Take It Easy” (2:59)
A4. “Stop Playing with My Heart (You Are a Big Girl)” (3:33)

B1. “My Speeding Heart” (2:59)
B2. “Lay Lady Lay” (5:00) — cover of Bob Dylan
B3. “Stop Playing With My Heart II” (2:47)
B4. “Be Aware of the Dog” (4:49)

Sessions occurred in December 1980 at Estudios Maller, Palma de Mallorca with Kevin Ayers and Joan Bibiloni producing and Reinaldo Costantini engineering.

The album features photography by Olaguer Armengol.

Discography: