By contrast, his tribute to Pink Floyd founder Syd Barrett, Oh! Wot A Dream, comes across as almost flippant, though that’s as much to do with the duck quack and clinking glass that runs through the rhythm track. Well, he’s referring to aquatic sojourns through Cambridge water meadows, more than likely with imbibing involved, so that’s probably appropriate, but still...

After those decidedly odd percussion effects Hymn‘s percussion click track is rather conventional as Ayers’ multi-tracked vocals and Wyatt’s restrained harmonies hover over a melismatic melody in a gentle ballad that’s as charming to the same degree that its predecessor was odd.

Finally there’s Beware Of The Dog, a minute and a half of swelling orchestration by David Bedford that finishes the album proper with a rousing finale and the observation that She said 'you're not happy, you're just stoned', which was, of course, probably true.

As far as the bonus tracks go, Clarence in Wonderland gets a reggae makeover on Connie On A Rubber Band, and the result is a cheerful bit of fun, as is Caribbean Moon's melodic calypso. Not much substance but a fair bit of levity. Take Me To Tahiti is slightly more serious but still good fun. A Bob Harris session from 11 April 1973 provides live versions of InterviewOh! Wot A Dream and Shouting In A Bucket Blues that are quite acceptable without adding anything to the originals. 

As his final release on Harvest before jumping ship and heading to Island, Bananamour delivers some of Ayers’ most accomplished and accessible work, and lays the foundation for The Confessions of Dr. Dream and Other Stories quest for mainstream success. 

It didn’t quite work out that way, of course, but here Ayers managed to combine his Mediterranean muse with enough concessions to glam rock and the mainstream rock market to suggest that it just might.

© Ian Hughes 2012