NOW IS THE HAPPIEST TIME OF YOUR LIFE

For my money, this is Daevid Allen's most enjoyable (semi-) acoustic album. It is so endearing that I recommend it unreservedly to everyone who enjoys Daevid's singing on (say) ANGEL'S EGG's original B-side. Tracks like 'Why do we treat ourselves like we do' and 'Only make love if you want to' are intimate and wistful; they also have lovely melodies, and you'll feel as if Daevid were right next to you, warbling away and playing his acoustic guitar. Somehow, nothing on GOOD MORNING (which was distributed more widely) touches me as deeply as these particular two tracks. They really show you Mr. Allen's gentlest side.

Most of the other compositions are equally enjoyable. 'Tally and Orlando...' is a string synthesizer-driven waltz, during which Daevid takes a ride in a real flying teapot with two of his children (or grandchildren?) It ends delightfully, with the kids chanting: 'Daevid must be joking!' Exactly so. 'See you on the Moontower' is Daevid and his electric guitar (with lots of echo on his voice) in rockabilly mood, but without any bass or drums. 'Poet for Sale' features Daevid reciting a satiric poem in protest against the commercial exploitation of artists. On the album's original B-side, the most ambitious piece was 'I Am', a wonderfully dreamy piece of ambient music (let's just not call it 'New Age', O.K.?) with lots of mellow synths, harp, glissando guitar, and the somehow unbearably moving sound of a donkey braying in Deya, Mallorca, where this album was recorded.

To my regret, I haven't heard this album for several decades, since I've never found a CD release, but I played it to death in the late 1970s and vividly remember all the music I've described above. The only track I can't recall clearly is the final one, 'Deya Goddess'. I seem to remember it was a synthesizer-saturated ballad. Let's just hope HAPPIEST TIME will be remixed and re-released as soon as possible, so we can all check it out for ourselves!

Daevid Allen's followup to Good Morning! is a much less ambitious affair. Dispensing with the services of the Gong guest stars and the unique sound of Euterpe from the previous album, the album is more acoustic focused, and suffers from being weighed down with muddled, substandard material. I suspect many listeners will switch off at Tally & Orlando Meet The Cockpot Pixie, an overlong and tedious track in which (to a repetitive and dull musical backing) Allen tries to explain the story of Radio Gnome Invisible to his son Orlando (who was but a small child at the time this came out). The overall impression given is of listening in to a touching family moment which didn't really need to be shared with the wider world.

The rest of the album sees Allen grinding on with his usual lyrical preoccupations with New Age spirituality and trying to convince people to be less cruel to each other, only the wit of the Gong days and the wisdom of the better lyrics on Good Morning! (such as Wise Man In Your Heart) appear absent. And with the musical backing as limp as it is, there's very little reason left to bother with this one.

Released in 1977 this solo album by GONG's Daevid Allen was recorded in Spain and features several Spanish musicians. I'm surprised to see that the synth player is Victor Peraino from Arthur Brown's band. He played first on his "Journey" record from 1973. Victor adds synths on two tracks and a lot of these musicians only play on a track or two. Acoustic guitar and Daevid's vocals rule the day here along with beats. Of course we get plenty of silliness too.

The two tracks that I like are "Only Make Love If You Want To" or I saw it called "Lady Dear Lady" on another edition. A relaxed tune with reserved vocals and some atmosphere created by Victor's synths. "I Am" the longest track is more of a soundscape with the Glissando guitar from Allen dominating.

More miss than hit for my tastes so 3 stars fits the bill. It's pretty good but "Good Morning!" and the latter day "Elevenses" are both much better than this in my opinion.