|
|
|
|
|
|
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
REELR 002CD
|
Kevin Ayers: define as you please, the songs, the singer. The Whole World: organist David Bedford, saxophonist Lol Coxhill, bassist Mike Oldfield, and on this occasion, drummer Robert Wyatt. While the BBC sessions broadcast other sides of the Whole World that produced their classic Shooting At The Moon album, this summer 1970 Hyde Park Free Concert recording brings to life a deliriously heavy, heady rock experience in overdrive! How else to handle Kevin's Soft Machine classics "Did It Again" and "Why Are We Sleeping." Arguably, few other groups from this era offered such eclectic musical experiences and personalities, occasioned by legendary lapses of public professionalism. Restored as fully as possible from a two-track copy, Hyde Park Free Concert 1970 is presented with the fond endorsement of a former festival Jester.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
EMI 43532
|
2003 remaster. Second album for Harvest records originally released in October of 1970. 5 bonus tracks include: 'Gemini Child', 'Puis Je?', 'Butterfly Dance', 'Jolie Madame', and 'Hat'. "The real Canterbury sound, for all its supposed sophistication, is often stodgy and constipated. These are descriptives that could never be applied to Kevin Ayer's second post-Soft Machine LP. The group Ayers assembled for this project was outstanding. Composer David Bedford played keys, avant garde street agitator Lol Coxhill played sax, a virginal Mike Oldfield played strings, there was a drummer named Mick, and Ayer's fucked-up romanticism overlaid the whole thing. Everyone sounds stoned and the results are a beautifully syncretic mess that reminds me of nothing other than recent Sonic Youth. Unlike other like-minded projects of the Progressive era, Shooting At The Moon actually achieves a balance between the extremist proclivities of each of its session's participants. It drew up the blueprint for a merger of free jazz/pop/rock/avant garde womp that should have been used as a roadmap for revolution. Alas, it was not." -- Byron Coley/"100 Records That Set The World On Fire"/The Wire.
|