Additional information
Personnel includes: Kevin Ayers (vocals, guitar); Mike Oldfield (guitar, bass); Andy Summers, Ollie Halsall (guitar); Bill Evans (flute); Lol Coxhill (saxophone); George Money, David Bedford (keyboards); Charlie McCracken, Rick Wills (bass); Robert Townsend, Dave Dewfort, Tony Newman (drums). Recorded live for BBC "In Concert" on June 1, 1972, March 27, 1975 and September 30, 1976. Includes liner notes by Kevin Ayers & Martin Wakeling. Personnel: Kevin Ayers (vocals, guitar); Mike Oldfield, Ollie Halsall, Andy Summers (guitar); Lol Coxhill (saxophone); David Bedford (keyboards); Dave Dufort, Tony Newman , Rob Townsend (drums). Liner Note Authors: Martin Wakeling; Kevin Ayers. Recording information: 01/06/1972-09/30/1976. This double-CD contains three programs Ayers broadcast on the BBC from 1972 to 1976. A January 6, 1972 concert at the Paris Theatre in London takes up all of disc one, which is certainly the better half of this package, as it was almost a reunion of the Kevin Ayers & the Whole World lineup that had done Shooting at the Moon in 1970. Whole World-ers Mike Oldfield (guitar), Lol Coxhill (sax), and David Bedford (keyboards) are on hand to support Ayers, along with drummer Dave Dufort (who was not on Shooting at the Moon). Some singing accompanies the band, and orchestral arrangements also accent their playing on six of the nine songs. The material includes some of Ayers' strongest early material, such as "Lady Rachel," "May I," "Clarence in Wonderland," and "Why Are We Sleeping?." The combination of prog-rock and orchestration sometimes unexpectedly echoes Pink Floyd's Atom Heart Mother. On some parts of "Why Are We Sleeping?" you can hear Oldfield fooling around with ideas that would resurface on his own Tubular Bells. The sound is good but, unfortunately, the balance between the orchestral instruments and the rock ones is not always optimum, and the vocals are sometimes under-recorded. The second disc is divided between broadcasts from 1975 and 1976 (with Zoot Money on keyboards throughout). It isn't as inspired as the companion CD, either in terms of material or performance. As good-natured material interpreted nonchalantly, it falls between prog-rock and pub-rock, as odd as that combination sounds, highlighted by the Ayers staple "Stranger in Blue Suede Shoes." It is a worthwhile supplement to the Ayers library for his fans, particularly the first disc, as it shows dimensions to his arrangements that were not always evident on the studio recordings. ~ Richie Unterberger
