Soft Machine

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Matt Wilson
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Soft Machine

Postby Matt Wilson » 12 Jun 2021, 15:23

Been listening to the Softs lately. There's this little set of their CDs containing albums 3 - 7, and since I'd never heard anything after the fourth one, I thought I'd take some notes. The Wikipedia article on Third was pretty informative so I used most of it in my review. The best Canterbury band? I defer to someone more knowledgable, but I can't think of any contenders save Caravan and Gong.

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Third
• Elton Dean – alto saxophone, saxello (all but 3)
• Mike Ratledge – Hohner Pianet, Lowrey organ, piano
• Hugh Hopper – bass guitar
• Robert Wyatt – drums, vocals (3), plus on 3 (uncredited): Hammond organ, Mellotron, Hohner Pianet, piano, bass
Additional personnel
• Lyn Dobson – flute, soprano saxophone (1) (though a full member of the band when playing (live) the track #1)
• Jimmy Hastings – flute, bass clarinet (2, 4)
• Nick Evans – trombone (2, 4)
• Rab Spall – violin (3)

I remember syncing this a few months ago here with Stephen, Kath, Dave, and others. I think it’s my favorite BCB sync session so far actually. Third is a quantum leap from the psych of the first two records. Jazz-rock fusion was the coming thing at the end of the decade and Soft Machine was at the forefront in terms of the progressive bands in the UK. There’s only four cuts and they’re all superb.

1.“Facelift”
The most difficult piece on the LP. It definitely is a bracing opening cut. Wikipedia says: "Facelift" is the most radical track. The version on the album was recorded live at the Fairfield Halls, Croydon, 4 January 1970 (the first by the quintet version of the band), with a brief section from the Mothers Club, Birmingham, 11 January 1970, and some recordings from the1969 Spaced project. While a large part of the finished product is essentially a live recording, parts involve tape collage and speeding up, slowing down, looping and backwards playing of tapes, the ending being the most memorable part, where two different treatments of the same basic riff (one from the live concert, the other, at double speed, from Spaced) are heard simultaneously, backwards. At the time of the 5-piece line-up, "Facelift" was typically expanded with solo improvisations and showcases by Lyn Dobson on flute, vocals and harmonica.”

2.“Slightly All the Time”
Majestic fusion and perhaps my fave track on the album. From wiki: "Slightly All the Time" is a medley of different instrumental pieces, including Ratledge's "Backwards" and Hopper's "Noisette". "Backwards" later appeared on fellow Canterbury Scene band Caravan's 1973 album For Girls Who Grow Plump in the Night, as part of the "A-Hunting We Shall Go" medley.”

I think the playing on this track is the best on the LP.

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3.“Moon in June”
Another great one. Maybe my favorite Wyatt Softs track! You get a sense of Canterbury silliness here and the lyrics are fun. I think Toomanyhatz posted them during the sync if memory serves. The ever-reliable (?!) wiki again: "Moon in June" is the last song with lyrics that Soft Machine recorded, and their last look back to their progressive rock, pre-jazz sound. The song is in three parts. The first is a pastiche of vocal themes delivered in a stream of consciousness which varied in live performances. Wyatt plays all the instruments in this section. The lyrics borrow from Soft Machine's earlier "That's How Much I Need You Now" and "You Don't Remember", but largely from new vignettes recorded in a demo by Wyatt in October 1968 while on holiday in New York state. An excerpt from a different demo of Part 1, recorded in November 1968, was included on Robert Wyatt's 2001 Flotsam Jetsam archive compilation. The second part features the whole band, and is an instrumental similar to other jazz-rock pieces on the album. The third is a drone featuring Wyatt and violinist Rab Spall; Spall's part was recorded separately and was sped up and slowed down to make the violin fit the beats of the music. This section also features Wyatt scat singing uncredited renditions of two Kevin Ayers songs: "Singing a Song in the Morning" and "Hat Song". A demo of the second and third parts was recorded in Spring 1969, which was spliced onto the October 1968 demo to be included on Soft Machine's 2002 Backwards archival release. A live recording from 24 May 1970 in London was released on Backwards, containing a shortened version of parts 2 and 3. A pre-Third performance that includes a shortened instrumental Part 1 was recorded live at the Fairfield Halls concert and appears on Soft Machine's 2000 Noisette archive release.”

Ratlege has a stupendous solo towards the end.

4. “Out-Bloody-Rageous”
The one with the tape loops in the beginning. Once the horns start, there’s almost a Zappa-like quality to the music. Wikipedia: "Out-Bloody-Rageous", the final song on the album, is an instrumental composed by Ratledge, and contains a number of tape loops inspired by the work of Terry Riley. Its name inspired the names of the 2005 Soft Machine biography Soft Machine: Out-Bloody-Rageous, and a 2 CD anthology from 2005 entitled Out-Bloody-Rageous An Anthology 1967–1973

Did I say the last Ratledge tune was my fave? I lied. It might be this one. Dean’s sax towards the end is triumphant.

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Fourth

• Elton Dean – alto saxophone, saxello
• Mike Ratledge – acoustic piano, Hohner Pianet electric piano, Lowrey organ
• Hugh Hopper – bass guitar, fuzz bass
• Robert Wyatt – drums
Additional personnel
• Roy Babbington – double bass (1, 3, 4, 6)
• Mark Charig – cornet (2, 3, 4)
• Nick Evans – trombone (1, 2, 4)
• Jimmy Hastings – alto flute (6), bass clarinet (1, 6)
• Alan Skidmore – tenor saxophone (1, 6)


The fourth offering is the first to be completely instrumental and it’s another batch of powerhouse performances. Wyatt’s last album with the band and almost entirely a Hopper-written affair due to the second side of the LP. By this point it’s almost impossible to believe Kevin Ayers was ever in this band as his music went in an entirely different direction.

1.“Teeth”
Again with the Zappaesque horns and jazz-like drumming. Probably more commercial than anything from Third, there’s a sense of commerciality here – not that the radio would ever play this.

2.”Kings and Queens”
Hopper’s first cut is a highlight and let me take a moment to point out how good Wyatt is on this album. Almost like Bruford in places. An extended Elton Dean solo stands out as well.

3.”Fletcher’s Blemish”
Atonal squawks permeate this Dean cut with an almost Crimson-like vibe. My least-fave thing here.

4-7 “Virtually”
An extended Hopper piece with multiple sections. Everyone gets his solo time and most of them count. Probably the most “progressive” piece here, but the band is really more jazz than anything else by this point.

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Fifth
More of the same, really except most of the fusion is gone by now. This could pass for an early ‘70s straight jazz record. Wyatt (off to form Matching Mole) is replaced by two drummers here – one on side one and another on side two. Some of this sounds like what Miles Davis had been up to for years by then and the progressive nature of Third is all but gone. Still extremely enjoyable music though, but I’m wondering who they thought this would appeal to - certainly not a rock audience, and I’ll bet a jazz fan didn’t even know who these guys were in 1972. Anyway, if you enjoyed Fourth, this is almost as good. All the best material here is by Ratledge.

• Elton Dean – alto saxophone, saxello; Fender Rhodes electric piano (2)
• Mike Ratledge – Fender Rhodes electric piano, Lowrey organ
• Hugh Hopper – bass guitar
• Phil Howard – drums (1-3)
• John Marshall – drums (4-6)
• Roy Babbington – double bass (4-6)

1.”All White”
Great opener which could’ve gone on for another ten minutes without boring me. There’s an even longer take two on the CD as a bonus track. This segues right into…

2.”Drop”
These two Ratledge tracks could be the highlights of the record.

3.”M.C.”
Hopper’s only number on the album doesn’t leave much of an impression compared to his tunes from Fourth.


4.”As If”
The longest cut here has some intricate Dean free-form improvisations and some double bass playing with what sounds like a violin bow? Somebody should call Jimmy Page…

5. “LBO”
The obligatory drum solo is next.

6.”Piggling Bland”
Followed by this nice little Ratledge tune which features a cool Dean solo not nearly as chaotic as the one in “As If.” One misses Wyatt on this album, especially as he was so good on the previous platter.

7.”Bone”
Elton Dean’s weirdness ends Fifth. No real melody, but interesting sounds regardless.

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Six

What, another double LP – is this going to be as good as Third? Well, not quite. Further jazz progressions where our heroes bravely delve into their exploratory niche of prog/fusion (is that even a thing?) for a half live/studio effort probably all but unknown to anyone but the faithful. If these guys could’ve married their instrumental skill to actual tunes they would’ve been far more successful. But then they wouldn’t have been the Softs, eh? Maybe their most underrated album, at least of the ones I own. Different, but more or less in keeping with the last two LPs.

• Karl Jenkins – oboe, baritone and soprano saxophones, electric piano and grand piano, celeste
• Mike Ratledge – organ, electric and grand piano, celeste
• Hugh Hopper – bass guitar; sound effects on "1983"
• John Marshall – drums, percussion
Record 1: Recorded at the Brighton Dome and at the Guildford Civic Hall and mixed at Advision Studios, London during the months of October and November 1972.
Record 2: "1983" recorded and mixed at Advision Studios, London. All other compositions recorded and mixed at CBS Studios, London during the months of November and December 1972.

LIVE
1.”Fanfare”
Too short to really make an impact, goes right into…

2.”All White”
This was one of the highlights of the last album, and it still sounds fine in a live setting here. Love this, actually.

3.”Between”
Nice little Rattledge/Jenkins number which doesn’t overstay it’s welcome. Before you know it, it becomes…

4.”Riff 1”
So who is Karl Jenkins? I’m digging his soloing here. Spacy jazz which seems more prog than on the last album.

5.”37 ½”
Seamless segues link these cuts and I’m enjoying this quite a bit. Maybe it’s the live vibe where the band is trying just that much harder to impress. Jenkins acquitting himself nicely again.

6.”Gesolreut”
Ooo, I like this one too. An actual riff opens this song. Could’ve used some lyrics, but I digress…

7.”EPV”
Pleasant number along the lines of… oh hell, I can’t recall the name of the song since there are no words to these tracks. I like how all of these pieces are linked.

8.”Lefty”
Credited to the entire band with a more experimental feel and less melody. Parts almost remind me of “Facelift.” A tad tedious though with a bit of wanking.

9.”Stumble”
Cool Jenkins number that they could’ve elaborated on. Goes into…

10.”5 from 13”
Starts off well, but then the drum solo takes over. Remember when I said I missed Robert Wyatt on the last album? Does work to a head of steam towards the end though.

11.”Riff 2”
Yes it is.

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STUDIO
1.”The Soft Weed Factor”
I’d like some background on these tunes. Is there a book on the Soft Machine? The little box which contains these CDs has no liner notes. Well-recorded in an almost Mike Oldfield way. I’d love to have some Softs in 5.1. Steven Wilson, are you listening? Their longest track since the cuts on Third. Not really jazzy anymore, yet not so much prog either. More atmospheric than anything else. They sure like that riff. An exercise in repetition I guess.

2.” Stanley Stamp's Gibbon Album (for B.O.)"
Propulsive, rhythmic, with a Jenkins sax solo riding on top. Almost a Latin vibe. Still repetitive, like the last track.

3. "Chloe and the Pirates"
Tape loops again with some backwards stuff going on in the beginning. Another ambient track but not in an Eno way. Hard to know what criteria to use for proper evaluation with this music. Perhaps the best cut on the studio half. Some of the soloing reminds me of Traffic’s “Low Spark of High-Heeled Boys.”

4.”1983”
I notice we’ve definitely slipped back into a progressive rock mindset for the studio album. Not that it’s necessarily better than the live half because these guys are so into their own thing that commercial considerations are farthest from their minds. Again I ask myself – who did they think their target audience was? Certainly not the punters who were buying Yes or Genesis albums in 1973. Of course, their individual approach makes them all the more cool.

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Last edited by Matt Wilson on 10 Jul 2021, 20:57, edited 2 times in total.

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Re: Soft Machine

Postby ChrisB » 12 Jun 2021, 17:28

Don't mind the first two, but, considering I'm a prog fan, always found the whole Canterbury scene very wishy washy. Caravan, Egg etc .... excellent musicians, but lacking in soul and excitement. Musos but no heart.

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Re: Soft Machine

Postby C » 12 Jun 2021, 18:24

A great review Matt - really good!

As the band progressed post-4 it was clear that Wyatt had to go - his tubs just weren't up to it.

Phil Howard was more suitable and loved his cymbals. There is a live album called Drop with Phil in the band and he transforms some of the early tracks that Wyatt played on. John Marshall was an incredible drummer and the best for the job

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5 was Elton Dean's last and made way for Karl Jenkins who took the band to a different place with his oboe and keyboards.

Six is a stunning album, full of music and incredible musicianship.

Where is Seven Matt...? That is an absolute corker with signs that Karl was taking the reins.

Time shows us that poor old Mike Ratledge, founding member, ended up 'guesting' only on a couple of tracks on Softs when Alan Wakeman and John Etheridge were in the band, and then elbowed out completely.

Seven is one of my faves

Incidentally, the cardinality/ordinality is always confusing and the UK/USA divide that Wikipedia suggests is not quite as I remember it

An absolutely incredible band who also made many fantastic live albums

I'll leave you with this from Bundles [the one that followed Seven]



Listen to those tubs - Wyatt couldn't do that

Enter phase 3






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Re: Soft Machine

Postby Matt Wilson » 13 Jun 2021, 04:26

Okay, here's some more:

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The Soft Machine

It starts here, with the pre-prog, psychedelic, Ayers-era version of the band. This was the first LP of theirs I ever heard. In fact - every Softs CD I own I've heard in chronological order - and I've still heard nothing after the '70s. Many still feel this is the best time for the group, and maybe a few years ago I would have agreed with you. Now I'm not so sure. It still sounds great though. The jazz rock is here at the beginning, but not nearly as much as it would soon become. While the record is no Piper at the Gates of Dawn or S.F. Sorrow, it's still a delightful time-capsule.

Mike Ratledge – Lowrey Holiday De Luxe organ, piano (on 13)
Kevin Ayers – bass, lead vocals (on 10), spoken word (on 12) backing vocals (on 7 and 9), piano (on 5)
Robert Wyatt – drums, lead vocals
Future Soft Machine personnel
Hugh Hopper – bass (on 13)
Additional personnel
The Cake – backing vocals (on 12)

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1."Hope for Happiness"
Wonderful intro for both the group and the album. An Ayers, Ratledge and Brian Hopper tune which flows right into...

2."Joy of a Toy"
A Kevin/Mike tune which Ayers used as a title for his debut solo LP the next year. They thought enough of it to issue the song as a 45.

3."Hope for Happiness (reprise)"
Because, why not?

4."Why am I so Short?"
Hugh Hopper, before he was even officially in the band, co-wrote this with Kevin and Mike. Too short to be offensive but also hard to remember when it's not playing.

5."So Boot if at All"
The jazzy quality to their music all but begins here methinks. The longest track on the record, it gives the guys room and time to stretch out a bit. Actually, they would do this sort of thing much better on subsequent albums. Is there a slight Floyd sound to parts of this cut?

6."A Certain Kind"
Hugh gets his own song here, but to be honest - it's my least fave of the songs on side one.

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7."Save Yourself"
Robert's sole effort as a writer (he co-wrote other numbers on the LP) is okay but doesn't really grab me. Rather straightforward lyrics which seems uncharacteristic of our heroes. Still the sound of the Soft Machine is here.

8."Priscilla"
Kind of comes and goes before you know it.

9."Lullaby Letter"
By this time you're wondering where "Save Yourself" ended and the subsequent tracks began. This trick of segueing would become commonplace on the later albums. Kevin's songs dominate the second side.

10."We Did it Again"
A bit Monotonous.How come Ayers' stuff didn't sound like this on his solo albums? How come I can't even find my Ayers thread I started a few months ago?

11"Plus Belle qu'une Poubelle"
Another one which if you blink you'll miss it. Wyatt's drums are very much to the fore. A slight Who quality.

12."Why Are We Sleeping?"
Kevin's only vocals on a Soft Machine track make this one memorable if nothing else.

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Volume Two

I've always preferred this to the first one. Ayers is gone but the inevitable journey towards what they would become is ever-present. Also, progressive as hell.

Mike Ratledge – piano, Lowrey Holiday De Luxe organ; Hammond organ (on 3); harpsichord (on 12); flute (on 3 and 10)[4]
Hugh Hopper – bass guitar; acoustic guitar (on 12); alto saxophone (on 3 and 14-16)
Robert Wyatt – drums, lead and backing vocals
Additional personnel
Brian Hopper – soprano and tenor saxophone

1."Pataphysical Introduction – Pt. 1"
Strong opener.

2. "A Concise British Alphabet – Pt. 1"
Kevin's ten-second contribution.

3. "Hibou, Anemone and Bear"
What is this? Sounds progressive that's for sure. Fripp-Like guitars.

4."A Concise British Alphabet – Pt. 2"
Concise is the key word.

5. "Hulloder"
Hodor! Just kidding, it's short but great. Flows right into...

6."Dada Was Here"
Don't know what they're on about, but I'm with them!

7."Thank You Pierrot Lunaire"
I think somebody told them about getting more publishing if you included more tracks on an album or something.

8."Have You Ever Bean Green?"
Wyatt's voice always sounded pretty but I rarely can tell what he's singing. Hard to believe they would shortly abandon vocals altogether.

9."Pataphysical Introduction – Pt. 2"
Yep, it is!

10."Out of Tunes"
Man, what a first side... Who says In the Court of the Crimson King was the first progressive rock album?

11."As Long as He Lies Perfectly Still"
Side two starts right where the first side left off. Loud as hell and experimental, almost claustrophobic.

12."Dedicated to You But You Weren't Listening"
Hopper's tune sounds like personal poetry/observations set to music.

13."Esther's Nose Job"
And just in case you were getting tired of all the short cuts, here's a long one divided amongst five tracks on the CD. Frantic, and in keeping with the rest of the album. This is one of those LPs where everything just whirls past you and you struggle to keep up. Only through lots of listening can you distinguish between the tracks. Ambition, folks!

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Re: Soft Machine

Postby Matt Wilson » 13 Jun 2021, 04:47

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Seven

Karl Jenkins – oboe, baritone and soprano saxophones, recorder, Fender Rhodes & Hohner Pianet electric pianos
Mike Ratledge – Fender Rhodes electric piano, Lowrey Holiday Deluxe organ, EMS Synthi AKS synthesizer,
Roy Babbington – bass guitar, acoustic bass
John Marshall – drums, percussion

And now we're back to 1973 - their second of two LPs from that year in fact - and Six was a double! This is another cool effort with only Rattledge left from the early days. Hopper is out and the ascension of Karl Jenkins is in full effect.

1."Nettle Bed"
Superb opener from Jenkins announcing his songwriting chops with authority. Go, Karl!

2."Carol Ann"
Another Karl tune which is pretty enough to have been in a movie or something similar.

3."Day's Eye"
As if to say "Hey, I can do that too," Ratledge gives us this number which sounds like it was written to follow "Carol Ann."

4."Bone Fire"
Another of the Softs' patented too-short-to-register tunes. An extension of "Day's Eye."

5."Tarabos"
Finishes off the Ratledge suite. These songs are his last good ones for the band.

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6."D.I.S."
John Marshall, who had been drumming with the band since side two of Fifth, gives us this effects-laden, percussive track to end side one.

7."Snodland"
Jenkins' songs dominate side two, but this is more like an appetizer.

8."Penny Hitch"
And this is the entree. Not the first time a "Low Spark of High Heeled Boys" vibe is present.

9."Block"
Flows right out of "Penny Hitch."

10."Down the Road"
Could've used a more imaginative bass line.

"The German Lesson"
Tapes and synths from Mike.

"The French Lesson"
Ditto, but Jenkins gets the writing credit.

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Re: Soft Machine

Postby C » 13 Jun 2021, 09:56

Matt Wilson wrote:
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Volume Two

I've always preferred this to the first one. Ayers is gone but the inevitable journey towards what they would become is ever-present. Also, progressive as hell.


Agreed - they were beginning to shape up nicely now

[Remember also, that Daevid Allen was a co-founder of the band in 1966 but after the 1967 tour he was refused re-entry to the UK because he had overstayed his visa on a prior visit. He returned to Paris where he formed Gong.]




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Re: Soft Machine

Postby Fonz » 13 Jun 2021, 16:00

I love Bundles- but that’s cause of Allan.
I’ve been tempted to delve further. That box could be in order
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Re: Soft Machine

Postby C » 13 Jun 2021, 18:12

Fonz wrote:I love Bundles- but that’s cause of Allan.


I am sure you know but Holdsworth only appears on two other albums and they are both live:

Floating World Live and Switzerland 1974 [the YouTube video of Hazard above comes from that concert - it is a CD and DVD set]

Both excellent




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Re: Soft Machine

Postby Matt Wilson » 13 Jun 2021, 18:33

C wrote:
Fonz wrote:I love Bundles- but that’s cause of Allan.


I am sure you know but Holdsworth only appears on two other albums and they are both live:

Floating World Live and Switzerland 1974 [the YouTube video of Hazard above comes from that concert - it is a CD and DVD set]

Both excellent




.


He's on Land of Cockayne too.

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Re: Soft Machine

Postby C » 13 Jun 2021, 19:17

Matt Wilson wrote:
C wrote:
Fonz wrote:I love Bundles- but that’s cause of Allan.


I am sure you know but Holdsworth only appears on two other albums and they are both live:

Floating World Live and Switzerland 1974 [the YouTube video of Hazard above comes from that concert - it is a CD and DVD set]

Both excellent




.


He's on Land of Cockayne too.


Yes Matt. You are correct, I had forgotten that.

I often think of that album as a solo Karl album. All compositions are written by Jenkins and the nucleus is just him and John on tubs with a number of additional former members plus guests including Dick Morrissey, formerly of If, and Jack Bruce




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Re: Soft Machine

Postby frimley_greener » 14 Jun 2021, 04:26

Mr. Wyatt is my hero.
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Re: Soft Machine

Postby Matt Wilson » 14 Jun 2021, 06:10

frimley_greener wrote:Mr. Wyatt is my hero.


I know I'm in the minority, but Rock Bottom doesn't do anything for me.

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Re: Soft Machine

Postby toomanyhatz » 14 Jun 2021, 06:59

Have you tried Shleep or Comicopera? Still eccentric, but in a slightly less personal vein. Lots of guests, too, including Eno and Weller.
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Re: Soft Machine

Postby C » 14 Jun 2021, 11:04

frimley_greener wrote:Mr. Wyatt is my hero.


A good man methinks

Shleep in one of my faves and Rottenhat - in fact I love them all

Rock Bottom would certainly get my vote too!



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Re: Soft Machine

Postby Matt Wilson » 14 Jun 2021, 15:43

toomanyhatz wrote:Have you tried Shleep or Comicopera? Still eccentric, but in a slightly less personal vein. Lots of guests, too, including Eno and Weller.


No, Rock Bottom is the only one I own, and even then it's only a CD-R someone here burned for me. I definitely prefer the music of Kevin Ayers but then I have a lot more of it. I'll review more Softs LPs in the next few days. I actually thought there would be more traction on this thread. Surely there's more than a handful of fans here?

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Re: Soft Machine

Postby toomanyhatz » 14 Jun 2021, 17:53

I should do a good listen to 4 and on, I was always in the 'post-Wyatt, not interested' camp, but I've enjoyed the next few when listening recently.

Similar to the Pretty Things, oddly enough - if I think of them as a different band (which they pretty much are in the case of the Softs) I can enjoy what they are instead of dwelling on my disappointment of what they aren't anymore.
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Re: Soft Machine

Postby C » 14 Jun 2021, 18:41

Matt Wilson wrote:Surely there's more than a handful of fans here?


There's time my friend

Yes, there is time



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Re: Soft Machine

Postby Hightea » 15 Jun 2021, 03:27

Lets go back to the beginning. The band goes back to 1966 and was quite different from the band espically if it was written by Allen
Fred the Fish and memories

check out Mars Volta's cover.

Love Makes Sweet Music was there first single with Allen still in the band.



With Daevid out of the picture I love the combo of Ratledge, Ayers and Wyatt.


On the first album they showed a sign of what was to come.


Why Are We Sleeping?"- Always loved this quirky Ayers tune.

Note after their first album they added Andy Summers to the Band but Ayers dumped him.
I saw Daevid Allen's Band Univ of Errors do a live set in 2006 of SM one.


While One was a mix of ideas I always found Two to be a more complete album with it all flowing nicely. The replace of Ayers for Hugh makes sense as his bass playing went perfectly with Wyatt and Ratledge. It's not surprising to see the true change on Third with the addition of Elton Dean's sax. I consider Third my favorite Soft Machine album but SF Two, Bundles and a few of the live albums are close. Third was also the first album I bought I had heard the first two several times going back to the early 70's as my brothers friend was a big fan of the band.


I like Four I prefer Roy Babbington's bass playing over Hugh. He shies on the opener "Teeth".

Five, Six and seven seemed a little too much of the same but still good albums with some crafty jazz/fusion ideas.

Then comes Bundles and SF bring back a guitarist aka Allan Holdsworth. I love this album and the following Softs album with Etheridge. Two great jam albums.

While I never got to see the original or other soft machine bands live in the 70's. I flew to Seattle in 04 to see Software and a few other Canterbury bands- Richard Sinclair band, Phil Miller band and Daevid Allen Band with Kevin Ayers. Our own zoomboogity was there.

Image

Then in 2018 Soft Machine's Softs album lineup with added Theo Travis toured. To finally hear songs from Third, Fourth, Bundles and Softs was fantastic. It also added to my live list of Soft Machine Triple Echo booklet:

Richard Sinclair
Daevid Allen
Mike Howlett
Allan Holdsworth
Pierre Moerlen
Phil Miller
Didier Malherbe
Gilli Smyth
Andy Summers
Kevin Ayers
Hugh Hopper
Elton Dean
Pip Pyle
Geoff Richardson
Bill Bruford
Phil Manzanera
Roy Babbington
John Etheridge
John Marshall


Last edited by Hightea on 15 Jun 2021, 03:35, edited 1 time in total.

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Hightea
Posts: 4364
Joined: 16 Apr 2015, 02:18
Location: NY state

Re: Soft Machine

Postby Hightea » 15 Jun 2021, 03:30

C wrote:
Matt Wilson wrote:Surely there's more than a handful of fans here?


There's time my friend

Yes, there is time



.


Hello!!!!

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Hightea
Posts: 4364
Joined: 16 Apr 2015, 02:18
Location: NY state

Re: Soft Machine

Postby Hightea » 15 Jun 2021, 03:38

Matt Wilson wrote:
toomanyhatz wrote:Have you tried Shleep or Comicopera? Still eccentric, but in a slightly less personal vein. Lots of guests, too, including Eno and Weller.


No, Rock Bottom is the only one I own, and even then it's only a CD-R someone here burned for me. I definitely prefer the music of Kevin Ayers but then I have a lot more of it. I'll review more Softs LPs in the next few days. I actually thought there would be more traction on this thread. Surely there's more than a handful of fans here?


I'm a fan of both Rock Bottom and Ruth is stranger than Richard. Shleep is another good newer Wyatt album.


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