SOFTS

(ninth in a serie of eleven)

Holdsworth is replaced by Etheridge ( no ! not the dyke) from Darryl Way's Wolf and as Ratledge is bowing out (it had become foreseeable by listening well to Bundles), should this still be called Soft Machine after this one? Ratledge still contributes synth works on two or three tracks. Please note that Alan Wakeman holds no relationship (at least none clearly announced) to the keyboardist with the star-sprinkled cape. Although the surprise of Bundles is gone , this is still a good album though, and the progression is quite impressive . One can say that even with no original members , Soft Machine managed to keep its musical aesthetics quite clear until the last album (Cockayne) when they should've called it a day . Ban Ban Caliban is really impressive with its 9 min+ lenght and full energy. As usual Marshall blesses us with yet another drum solo on side 2. A clear relation is alluded to the previous album when you come to the second track of side 2 called Second Bundle.

This album is just as good as the previous Bundles and is yet another high point in Soft Machine's lenghthy career ( Vol1&2, third , 6, Bundles, and this one). Much recommended. However with each new album after this one , they will sound a bit more mainstream Jazz-rock.

Whether this collection of well schooled musicians should have been flying under the name Soft Machine at this stage is debatable. The music bears no resemblance to the early Avant Garde semi jazz noise created by Elton Dean, Hugh Hopper, Mike Ratledge and Robert Wyatt and most prominent on their most known album Third. Of this unique quartet only Ratledge survives to make it to Softs and only features on two cuts and even then as a special guest. As the Soft Machine developed each new musician entering the ranks became more technical and the Softs became a very disciplined outfit. But with that discipline came sacrifices. The loose free form jams and originality of the earlier music was now redundant. Instead the music became more tightly structured and the music condensed into shorter more accessible formats. Softs is a good album, a good incidental album with a more focused and forgiving production than what had graced the Bundles album. Alan Holdsworth has been replaced by John Etheridge on guitar but the difference if minimal but equal in flair yet with very little passion. Personally I prefer Soft Machine without guitar and miss the wild soloing by Elton Dean jamming and riffing along with Ratledge. Not a true Soft Machine album but the Karl Jenkins led group made a decent enough album in Softs which could be best described as Acid Muzak with a solid progression.

Edited 10/15/2005!

This album by THE SOFT MACHINE sounds really completely different from all the ones they did before. And I fully understand that early hardcore fans might be disappointed by it. Like on "Bundles" already the experimental and psychedelic character of their music has disappeared here mostly making place for a really well done jazz fusion which is fully enjoyable. Although I like as well quite a lot of their previous stuff in the meantime, I still have to say this one and the even better "Bundles" are the only albums by them I can enjoy on their whole. As an example Marshall's drum solo in Track "Kayoo", the only compositions done by him alone on here is just amazing and despite it starts to be a wee more adventurous in the next track with a slightly demented guitar solo, it's still a rather easy and nice listen. "Nexus" is a very short keyboard piece and with "One Over The Eight" they're finding their way back into real great jazz rock with an amazing saxophone playing and the rest of the musicians entering, just awesome, I'm missing words to describe it, just incredibly good music. Last one "Etka" , an Etheridge composition is a wonderful acoustic guitar piece.

Some people may say Jenkins' SOFT MACHINE was not worth any more to carry this name. I might agree to that speaking about later albums like "Rubber Riff" and "Land of Cockayne", but this one and the predecessor "Bundles" were really excellent! Highly recommended for any jazz fusion fan!

This album is pretty interesting along with Bundles. First you have the short melody Aubade between guitar and sax.The it comes to the long adventureous The Tales of Talisen with shows that John Etheridge has as much talent as Hollsworth. Ban Ban Caliban is kind of a dance number. Song for Aeolus is a little boring and off beat almost. Out of Season is a little light and repetative number. Second Bundle is just like Between,The French or German lesson. John Marshall and Etheridge take the spot light on Kayoo and The Camden Tandam which goes from fusion to metal to a bules sound inabout three mintues. Nexus is just an intro to the funk Fantastic One over the Eight a group effort by the way. And the closer my personal favorite Etlka, a stalk beautiful folk jazz guitar piece by Etheridge

This album represents the best of the post-Wyatt days. Karl Jenkins plays the main role as composer and plays keyboards with a little help from Mike Ratledge, who now appears as a guest musician on two tracks (Song of Aeolus and Ban-Ban Caliban). This album evokes a certain emotional intensity and builds upon each theme as each piece progresses. Now, on to the review.

The album starts out with Aubade, a short intro featuring sax and guitar, the sax being played by Alan Wakeman, whom I am assuming has no relation to Rick Wakeman. It sets of the mood nicely. Next comes The Tale of Taliesin, which builds with intensity as the piece goes on. John Ethridge presents himself as a stunning guitarist. This piece bridges with Ban-Ban Caliban a furioso of sorts and is full of lots of energy. Side one closes with Song of Aeolus.

Side two starts out with Out of Season, and while many people find this track boring and repetitive, I love it. The piano melody is so simple, but soon is enhanced by Etheridge's wonderful acoustic guitar. This wonderful piece bridges into Second Bundle, a cool synth piece similar to pieces like the French and German Lessons off of Seven. Next comes the ever-famous Marshall drum solo. It starts out being a bit noodley and avant-garde, but is still an interesting track to listen to. The Camden Tandem is a short featured duet between Marshall and Etheridge, which ends just as Nexus, another short Jenkin's composition begins. One Over the Eight harkens back to the sound of some of the members ex-band, Nucleus. All the players on the album get a chance to play in this funky, up-tempo piece. Alan Wakeman's sax is excellent here. After that flourish comes a simple acoustic guitar tune played by the underrated John Etheridge. It's a nice way to close an outstanding album.

This album really deserves five stars. Karl Jenkin's compoitional skills here are just as evident as those with Nucleus. I highly recommend this album. It's definitely the best of the post-Wyatt years and is highly underrated. 4.5 stars

WOW! What an excellent album. When I bought this album in 1982, I though that I would get a music that is soft as the album tells. But in fact, the music is quite heavy and complex. I would say that this album has inspired (and probably influenced) Ozric Tentacles because in some segments I can get the nuance similar with the music of Ozric Tentacles.

The album kicks off with an ambient music which features John Etheridge's acoustic guitar fills accompanying Alan Wakeman's soprano saxes in "Aubade" followed almost seamlessly with second track "The Tale of Taliesin" through a nice piano solo (by Karl Jenkins) that later (with the entrance of drumming) brings to a floating music with piano as rhythm section accompanying electric guitar solo. The music turns into a fast tempo style with powerful guitar solo and dynamic drumming by John Marshall. It reminds me to the music of Colosseum II. Wow man .. I love this part and I'm lucky that this part takes relatively long guitar solo with solid bass lines by Roy Babbington. "Ban-Ban Caliban" follows with great synthesizer work by guest musician "Mike Ratledge" with a style that reminds me to Ozric Tentacles. Soprano saxes augment the music and give a richer texture. During soprano sax solo improvisation the music is performed in relatively fast tempo. It's really an enjoyable music that any Canterbury or jazz rock fusion fans would enjoy very much. The changes in style and tempo happen nicely - for example when the solo improvisation changes from soprano sax to electric guitar, the transition happens wonderfully. Drum work is awesome. This kind of music reminds me also to artists like Billy Cobham, Jean Luc Ponty (especially "Enigmatic Ocean" album), The Flock, Mahavishnu Orchestra and also Return To Forever. The music then turns slower with "Song of Aeolus" where guitar is taking the lead melody role in slow tempo style.

With Side 2 the band offers another stream of good composition where it opens with soft piano touch in "Out of Season" combined nicely with acoustic guitar. It serves like a musical break after enjoying hard-edge music in fast tempo. The guitar changes to electric and plays a role as lead melody with piano as rhythm section. also contains excellent drum solo in "Kayoo" which reminds me of Billy Cobham's drum solo. I do enjoy John Marshall drum work - it's dynamic and produces excellent sounds.

It's a highly recommended album - an excellent addition to any prog music collection. If you like jazz rock fusion or Canterbury, this album is yours. Keep on proggin' ..!

Progressively yours, GW

Album of SOFT MACHINE announced in 1976 "Softs". The sound is a technical, melodious jazz-rock. It is a performance that comes and goes between lyricisms the estheticism principles in a sublime tension feeling. It might be the highest performance at latter term SOFT MACHINE. It is a masterpiece that represents the British jazz-rock.

With some new men on the board Soft Machine was really gettin' soft, with heavily orchestration and not so overwhelmingly guitar driven tune, as on its predecessor.'Aubade' opens the album calmly,with nice acoustic guitar and sax; 'The Tale Of Taliesin' is in my opinion a hihgpoint of the whole album - it starts with melodious piano andante intro theme, which is soon turned by Etheridge in guitar improvisation at the speed of sound level, which approaching the end slows down and the whole affair finishes with main theme repeated in moderate tempo, as it started. 'Ban-Ban Caliban' brings more keyboards and soprano sax solo, accompanied once again with John Etheridge flying fingers .'Song Of Aeolus' is closing side one of the record with nice interplay between piano and guitar.On the side two, three titles deserve attention:opening track 'Out Of The Season', jazzy number 'One Over The Eight' with nice Wakeman sax solo, and closing 'Etika' composed and performed by Etheridge on acoustic guitars. I remember Soft Machine concert held in February of 1977 in Zagreb promoting their 'Softs' album. At that time, it was a rare opportunity for us to attend a rock concert of such masters, so the audience followed their performance with rapt attention, for it was a musicianship of the highest level,adventure to be remembered. With this album the admirable Soft Machine story has reached the end and became the glorious part of progressive rock history.

THE MARVEL OF THE JENKINS ERA!

I have a few selected recordings in my music collection that i considerlike my eternal treasures; i can listen to them on a regular basis, even after all those years and the pleasure, the excitement , the emotions i am having are as strong as ever. I never get tired to listening to them always discovering something new. This is like a journey to a wondeful world, another planet where everything is beautiful and nothing bad can happen to me. Just a few albums do the tricks like the self titled album from NOVALIS, WOLF CITY by AMON DUUL2, HAMBURGER CONCERTO from FOCUS or RED by KC and a few more. To this list, i can add this album SOFTS from SOFT MACHINE.Sometimes, it's difficult to explain.

I bought SOFTS back then in 1976 in the LP format of course and it has been a pillar of my collection and still is 31 years later! I saw SOFT MACHINE live in concert in Toulouse, France a few months before this release. The show was sold out (SOFT MACHINE was big in France!) and i witnessed SOFT history as it was one of the last concerts of MIKE RATLEDGE ever ,playing with the new guitarist JOHN ETHERIDGE.

Of course, SOFT MACHINE being SOFT MACHINE, personel changes occured once again with the departure of ALLAN HOLDSWORTH after just one album being replaced by JOHN ETHERIDGE.Also KARL JENKINS gave up the horns and concentratred to play the keyboards. ALAN WAKEMAN was hired to take over tenor and soprano saxes. Most importantly, as widely expected considering its shrinking role in the band, former leader MIKE RATLEDGE left discreetly. He is still present on SOFTS, but only on 2 tracks and the worst is that he is listed as a ......guest!!! MIKE RATLEDGE guesting! in his own band he created and led!!! the rise and fall of a great musician!.

With all these new changes, are we going to have another switch of the musical direction that we have been accustomed to with SOFT MACHINE? Not really as SOFTS bears a lot similarities with BUNDLES. First of all, the change of tha axeman doesn't affect the sound as ETHERIDGE plays-very-similar to ALLAN HODSWORTH. I am sure a lot of listeners wouldn't have noticed the difference if you don't mention the fact that this is not the same guitarist who plays on BUNDLES and SOFTS.

Hey! to keep the traditions intact, we are once again treated to another JENKINS percussion solo KAYOO, but the great part is when JOHN ETHERIDGE enters the fray with THE CAMDEN TANDEM for a furious, frenetic guitar/drums combo battle , kind of amazing for something labelled with the Soft Machine name on it; but that's a very exhilarating experience, especially when the short symphonic (yes , symphonic a la MAHAVISHNU ORCHESTRA)track NEXUS follows.

You will find every kind of music on this album, but everything blends together as a lot of pieces are bridged together.The album opens with the delicate ambient tune AUBADE played only with an acoustic guitar and a flute; what an enchanting intro it is. SOFT MACHINE playing beautiful romantic music, what happened to this world?

The meat of SOFTS comes next with some of my most beloved tracks ever: THE TALE OF TALIESIN and BAN BAN CALIBAN , 17 mns of joy and beauty. Great piano, fast furious guitar solos with a frenetic rythm section, then a symphonic soundscape to make it grandiose, a great theme and what to say about BAN BAN CALIBAN? maybe the most energetic track ever under a SOFT MACHINE name. Did i say funky? not really in the Detroit Motown style ,i mean but for them it's quite funky.The same goes for ONE OVER THE HEIGHT with this lively dynamic rythm section and a demential sax solo from ALAN WAKEMAN; that's really blowing the horn, believe me!

There is not one letdown on this album as there is so much to say, or better to hear.SOFTS is full of life, full of energy played by fantastic musicians (oh! JOHN ETEHRIDGE! what a force!). This is not uniform as there are so many different soundscapes going from the reflective melancholic ballad to the jazz/rock frenesy of a madman to a symphonic orgy created by these talented artists at their creative peaks. This is music the way i see it, i feel it , music the way it should be played , music for the ages! This is my 100 th review and to celebrate, i cannot give less than 5 stars.

5 STARS.

As i wrote Repeatedly in many other reviews , regarding jazz - rock fusion in the late 70's , surely, Soft machine were involved , one way or another with other bands & soloist . Apperently some of these releases reaches the highpoints of emerging Classical - jazz rock & put it in a satisfying fusion globe . SOFTS ( 9th of Soft machine , in add to third & banddles ) contributed in this critical change . I like this album ,since i 've get it from Paris in 1977 , the impact cannot be simply told in this review , so , discover by yourselves , proggers , what i meant . Enjoy a mutual aggreement between jazz & rock created by talented team . N.B = highly recommended to all proggers , not ONLY jazz fusion style.

Down to just Ratledge

Apparently by the time the band entered Abbey Road in the spring of 1976 Mike Ratledge was the last remaining original member of the Machine, and in a reduced capacity at that. He performs on but two tracks. Karl Jenkins seems to be the man in charge of things at this time, writing the lion's share of the material. This album is a controversial title to fans, many of whom see it as somewhat illegitimate but others who name the title as their favorite. I think there are several very good tracks even if the overall album doesn't leave a lasting impression. This is not just a typical jazz rock album by any means-there are clearly portions that sound like quite different. Listen to the gorgeous acoustic guitar on "Aubade" which is the intro to the fabulous "The Tale of Taliesin." Tale features a relaxing, repeating piano backdrop for some gorgeous electric leads patterns that spring forth from John Etheridge. The drumming can get a bit busy in jazzy Bruford fashion leading to a shift halfway through to a harder edge fusion jam. This continues into "Ban-Ban Caliban" with some wicked jamming.really quite tasty. Then things take a turn with "Song of Aeolus" which seduces you: a quiet and gentle keyboard backdrop for sleepy leads and very slow beat. The consistency seems to wane quite a bit in the second half with some space keys attempts, a drum solo, and some wankery that puts the flash over any kind of thoughtful songwriting. So as mentioned, a few very good tracks and the rest a very mixed bag. Probably one for the fans mostly. The French SFM issue features a decent bio from that particular period. 5/10

Amazing album of this band. We have two forces here, the jazz improvisation and virtuosity in calm parts. In some parts we feel the city movement in day and in another's, the sadness of the night. This band have one of more dizzy guitar player that i now, not so fast to touch scales in this album but quite fast in some parts. You can listen this in Bundles live, a bootleg, I think. Amazing piano ion calm parts that made we dream with good things, and very good to love. It's one of my favourite albun's of Soft Machine and I think that this work are made in a phase more sober of the band. Very good album and essential in a Canterbury Scene fans, specialy in a jazz fusion vein that I think that Soft Machine belong. I give 5 stars and high recpmended.

Soft Machine never ever repeat them selves from album to album. That's why this band is both frustrating and fascinating.

Allan Holdsworth left the band after Bundles and in came another Nucleus member; John Etheridge. Mike Ratledge, the only remaining Soft Machine member left halfway through the recording and Karl Jenkins took over the tangents in addition to writing most of the material here. Alan Wakeman took over Karl Jenkins old job.

Gone too is most of the quirky avant-garde jazz Soft Machine pioneered. Softs is more or less a straight jazz-rock album with some added Soft Machine quirkiness. It can also be compared to their previous album Bundles. Both in style and quality wise.

Most of the material on Softs is simply stunning. The songs from The Tale of Taliesien to Kayoo is simply jazz-rock heaven. Excellent guitar solos backed up by outstanding saxophone and keyboards work. Fabelous ! The material changes between lyrically soft jazz to swinging jazz-rock. Everything here is very melodic, but still very Soft Machine. The rest of the album is the normal Soft Machine quirky fare, including a drum solo and an accoustic guitar piece.

By all standards; this is an excellent album. I still miss some of Karl Jenkins flutes and saxophones. Bundles is still a better album than this, but just by some inches. I love this album.

4 stars

Interesting album especially when it lists Mike Ratledge as a guest player. What ! Karl Jenkins has taken on Mike's role completely and so they've added Alan Wakeman to play saxes.The other change is Allan Holdsworth leaving and being replaced by John Etheridge.

"Aubade" is a beautiful track with sax and gentle guitar throughout. "The Tale Of Taliesien" opens with piano. Drums and guitar join in. I don't know why this is so moving for me. Marshall sounds amazing as usual. The tempo picks up after 3 minutes and some ripping guitar follows. It settles back before 5 1/2 minutes. "Ban-Ban Caliban" is spacey to open with what sounds like electronics. Ratledge is responsible for this. Drums then sax comes in. Guitar and drums take the spotlight after 5 minutes. Nice bass from Babbington too. A change after 7 minutes as guitar backs off. Lots going on with all these intricate sounds. "Song Of Aeolus" opens with spacey winds as piano, drums and synths build. Guitar before a minute. The guitar is gorgeous. The wind is back to end it.

"Out Of Season" opens with piano as it slowly builds. Synths, guitar and drums lead. Piano replaces the synths as it winds back down slowly. Cool song. "Second Bundle" is spacey and electronic sounding like the start of "Ban- Ban Caliban". "Kayoo" features percussion sounds with no beat or melody. Eventually this turns into a drum solo. It blends into "The Camden Tandem" as drums continue. The guitar comes in lighting it up. "Nexus" has a nice full sound of piano, drums and guitar. "One Over The Eight" is kind of funky, especially the prominant bass .Sax plays over top. Great sound 2 1/2 minutes in. Big, big finish 4 1/2 minutes in then it settles to end it. "Etika" features intricate acoustic guitar melodies.

While I prefer "Bundles" to this one, i'm very impressed with this album. Easily 4 stars.

There's Pierre Moerlen's Gong and there's Karl Jenkins' Soft Machine

Softs is the successor of Bundles, the first Soft Machine album which featured a guitarist that leads the band and the first Soft Machine album having the Jazz Rock style fully developed. On Softs the one on the guitar duties is a great admirer of previous guitarist, Allan Holdsworth, his name is John Etheridge. While he might barely ring a bell to anybody, he is nonetheless totally capable of fitting Allan's shoes for this record entitled Softs. John Etheridge had already shown he was capable of playing Allan's stuff back on tour in 1975 while promoting Bundles, but not only he achieved that but also added his own trademark sound to the solos making him a very distinguished jazz-rock guitarist and not just an imitator. So in Softs he plays his own style which varies through potent sentimental notes and dazzling solos which in times resembles McLaughlin's fast and intense guitar bites.

The rest of the band is unchanged with the exception of the loss of keyboardist and mastermind, Mike Ratledge, the last remaining founding member of the band. However, it's not an actual loss since the band is still capable of playing wonders without him and the rockin' jazz style of Bundles is not lost without him. Karl Jenkins being now the main composer and keyboardist puts all what he has in this record creating some of Soft Machine's greatest efforts within the jazz rock world, tunes like Ban Ban Caliban, with it's funky style but still well arranged structure shows the entire capabilities of this line-up, even featuring Rick Wakeman's cousin on the sax for a more Soft Machine-esque sound.

Another fantastic composition from this record is The Tale Of Taliesien with it's semi-tenebrous piano intro, it later evolves into a wild ride with Etheridge's consuming guitar and the unstopabble rhythm section compromised by Marshall and Babbington.

Unfortunately, it's mainly the first half of this album that is really excellent, that is up to Out of Season. The second half is rather weak and self-indulgent, beginning with Karl's spacey keyboard solo spot on Second Bundle and then having the usual drum solo by John Marshall on Kayoo and finally there are two solo spots for Etheridge's guitar, The Camden Tandem and Etika, the former featuring John's electrifying bites while the later has his delicate acoustic guitar. Not totally bad, but it's rather annoying to have so many solo tunes for each member since it totally breaks the flow which unlike the three previous albums which featured a stupendous flow from one tune to the other without any pauses nor anything.

So, Softs ends up being an incostintent but still great successor to the masterpiece that Bundles was. Excellent Jazz Rock offering which would have been a masterpiece if it wasn't for the weaker, already stated, second half.

Bundles,previous Soft Machine's album, was kind of band's return to form with new energy of guitarist Alan Holdsworth (stylistically far from classic Soft Machine's sound though). Unhappily, Holdsworth left the band few months after Bundles was recorded, and last founding member keyboardist Mike Ratledge left the band soon as well.

So Softs were recoded by band under the formal "Soft Machine" name, but without original members at all, with no direction and with newly formed line-up. In new band's guitar-led fashion Holdsworth was changed by John Etheridge on acoustic and electric guitars,Karl Jenkins switched from sax to keyboards and new sax player Alan Wakeman came to band.

Not much left from original band's line-up, not much left from original band's music as well.Being still team of competent musicians, band almost lost last jazz elements in their sound,music played is in fact prog rock (close to pop-rock in some moments). Straight forward often mid-tempo melodic compositions with simple arrangements and accent on tune and some soloing sound very different from everything band (even different incarnations of Soft Machine)played before. Even more - all album sounds as collection of bulky material: some pop-rock tunes,prog-rock compositions and technically competent but out of place heavy guitar soloing and even long drums solo! Direction-less compilation of average and below average instrumental music.

In fact,this release is final point of Soft Machine,even if there will be released few more albums under that name.

My rating is 2+.

This review is from: Softs (Esoteric 2010 Remaster Audio CD) "Groups exist for the use of musicians" so said drummer Bill Bruford. I think that this statement applies here. Much is made of Mike Ratledge literally fading away from the group during these sessions thus effectively leaving the Soft Machine to a whole bunch of non- original members. This has no trace of the wit and wisdom of the Robert Wyatt years, or the edgy experimentalism of the mid-period band with Hugh Hopper and Elton Dean alongside Ratledge's patent organ soloing.

It does however, continue the shift towards the first class compositional and instrumental intensity delivered on it's predecessor `Bundles'. Keyboard and Reeds man Karl Jenkins is now the driving force, and (Allan Holdsworth recommended) guitarist John Etheridge takes the music to a new intensity and ferocity ably supported by the stunning drumming prowess of John Marshall. There are contrasting slower melodic passages, and time shifts, making this a thoroughly well assembled and captivating suite of compositions.

This album is often seen as the beginning of the end for the Softs, but fresh listening to this beautifully recorded and newly remastered re-issue on Esoteric reveals much to admire and plenty to enjoy in terms of breathtaking musicianship.

In truth the album becomes a little fragmentary towards the end, but the first two thirds of its duration is a tour de force of energy and propulsive Mahavishnu style intensity, contrasted with Jenkins' strong compositional abilities on the softer passages. `The Tale Of Taliesin' and `Ban Ban Caliban' in particular represent British musicianship at it's finest, while `Song Of Aeolus' occupies the melodic territory of the likes of contemporaries Focus and Camel.

Forget the name and the associations of old, and enjoy the fact that the musicians gathered here were at the height of their creativity. Recorded at Abbey Road under the auspices of engineer John Leckie, instrumental music never sounded so good.

At that point , our dear MIKE RATLEDGE is but credited as a guest, playing sinthy on two pieces.It's clear he didln't realy agree the guitar arrival through the previous album ( BUNDLES) I think it's a huge waste for the band as much more that RATLEDGE,JENKINS combination was very fruitful on SIX , but according ETHERIDGE , MIKE was bored with the band and wanted to leave but stayed only because he was asked to. Happily , the music still is very good although, different from early SOFT releases.It's mostly composed by JENKINS and it's much more than a jazzrock virtuosity demontration even,if MARSHALL and ETHERIDGE has to be considered as virtuosos.What we have here are magnificent and colourful landscapes tinged with strong feelings.However , i think this record would have been better with ALAN HOLDWORTH on guitar . TOP PIECES aubade , tale of taliesin , ban ban caliban , song of aeolus , kayou , nexus.With BABBINGTON on bass , that means three ones from NUCLEUS and i did ever listen a single album from this band so sad. 4stars PS i must admit that i'm unable to decide if ESOTERIC remastered is better than my vinyl lp

I guess that I will be much less laudatory about this album than my prog reviewer friends. But it has been the same story since their "Volume Two" release.

Some of their works so far should be considered as pure jazz-rock items; and to be honest: this "Softs" album is no other of the story. To my astonishment, I have to admit that the long "Ban-Ban Caliban" is quite well achieved.

Of course, this is jazz-rock all the way through, but so magnificently played and performed! It is truly a HUGE piece of music even if I can't share the genre. I have also to admit that some sort of "Santana" feel is deeply expressed during "Song Of Aeolus". But it is not the first time that one can experience such a great and inspired Carlos moment, right?

This "Softs" album is not of great help in their discography as far as I am concerned. Some good drum solo during "Kayoo"; but I guess that most of you have experienced a better one. At least, I feel so. I preferred the "Bundles" in comparison with this "Softs".

This album brings me back to some of their jazz- improvised music of the past; even if more structured ("One Over The Eight"). The short & acoustic closing is of course more of a Hackett or Howe surprise.

Still, I can't go over two stars for this: actually, five out of ten.

With Mike Ratledge only appearing on a couple of tracks - and then only billed as a guest artist - Softs marks the precise moment where Soft Machine's links to its illustrious past were finally severed forever. Though to be fair, the only remaining link was the fact that Mike was present, rather than anything he was playing or contributing - by Mike's own account, Karl Jenkins and others had essentially taken over the songwriting for a while, and his last years in the band were a deeply uncomfortable experience he was glad to put past him.

So, what does Soft Machine sound like without Mike Ratledge? That's a good question, and one which the band show no sign of knowing the answer to, though the band's de facto status as a refuge for ex-Nucleus members means that competent jazz fusion is the main anchor. There's a gentle acoustic bit here, a bit of invigorating rockin' out on electric guitar by John Etheridge over there, and Karl occasionally tinkles on the synthesisers but doesn't seem to come up with anything decisive or compelling to do with them. Although it's pleasant enough, the style had already largely been wheeled out on Seven and Bundles, and on balance whilst I do appreciate having a third album in this style, it's not quite hot enough here to justify further helpings and it was probably the right call to disband after this. (The less said about the unlamented Land of Cockayne project the better...)

This review is dedicated to our regretted friend febus, may you rest in prog peace.

Funny thing about the Soft Machine as the fan base is often divided in 2 separate camps, one preferring the Ratledge/Hopper/Wyatt period encompassing Vol 1,2,3,4 and the Jenkins/Babbington/Marshall agglomeration that produced the amazing Bundles and this utter marvel. Truth be said that many love both, as I do. Nevertheless, having seen the Bundles tour live and witnessed the 'Holdsworth experience', I remain partial to this guitar drenched period. My original 1976 vinyl copy of 'Softs' has more holes in it than an Aero chocolate bar and I finally received my CD version (yeah, colder sounding but durable') , so I was looking forward to this review with unhinged trepidation. While Bundles is a jazz-rock jewel in its raw form, this record shows a different side that has not been repeated since, with the inclusion of the revoltingly underrated axeman John Etheridge, some savvy electronics twiddling, even some funkier patterns that are pelvic shake inducing. 'Aubade' is a precious entr'e en matiere , a drop dead gorgeous melody on acoustic guitar and soprano sax (courtesy of Alan Wakeman 'no relation to the Yes/No man ) and the gargantuan guitar plunge 'The Tale of Taliesin' , a sensational Youtube video is available on the Soft machine PA page you should check out. This piece remains within the realm of my all-time favorite guitar tracks, a 7 minute exploration of some Andalusian knight conquering enemy windmills with his Gibson SG , ripping, raging, rattling and then cajoling, undeterred. I remember the comments back then 'Hey man, this cat is faster than Alvin Lee' (who at the time was the speed demon on guitar). This track alone is worth the effort of inclusion in your collection but by no means are the other tracks shabby. Case in point, the delectable 'Ban-Ban Caliban' featuring cameo synthesizer work from former leader Mike Ratledge which is simply unreal, swerving nearly into T Dream zones , sequencers leading the path towards a tight percussion-heavy workout that hints almost at Caravanserai period Santana, the sultry sax carving out heady emotions and then followed by a whiplash Etheridge solo that devastates everything in its passage. But the groove, of my goodness, tight as a Scotsman! The insane Babbington and prolific Marshall are in sync like few rhythm section ever. The best word to describe this osmosis of sound and rhythm is SMOOTH. It segues straight into another colossal winner, the soporific 'Song of Aeolus' which remains my preferred SM track ever. A guitar lullaby par excellence, the obvious restraint is a timeless jewel that defies categorization, crushingly serene and yet poignant. Etheridge makes his axe cry, sob and you can feel the pain within the notes. Such beauty! The moody and meditative 'Out of Season' has a piano intro that maintains the gentleness, very English, sounding almost like a Rick Wakeman piece, Etheridge carving out a nice little solo once again. The dynamics are held in check, pastoral and repetitive. Please note once again the restraint exhibited by the musicians that keeps this highly charged and emotional piece breathing. Stellar! 'Second Bundle' is a short synthesizer quiver that serves as an interlude, in fact the first of a series of smaller pieces, including a Marshall cymbal driven spot ('Kayoo') that blooms into a flat-out speed freak drum solo. Then we have a wee guitar/drum duet penned 'The Camden Tandem' where both Etheridge and Marshall show off their deranged and plenteous skills. Monstrous! 'Nexus ' is less than a minute long and leads into the hilarious 'One Over The Eight' , as fine a Canterbury piece as you will ever hear, with smoky tenor sax, machine-gun drumming, groovy bass and tchakatchaka guitar rhythms. This sounds almost like Didier Malherbe Gong blow-out, though less spacey and way funkier. The Brits certainly have a recipe on jazz-rock that is hard to beat, ballsier, humorous and whimsical. 'Etika' is an Etheridge acoustic piece that tucks this baby to bed, warm beneath the sheets of progressive posterity.

5 hard ones

My ALL-TIME Greatest #5

Starting in 1968 SM released an album practically each and every year until this one in 1976, never repeating twice the same line-up, and culminating on this one with only Mike Ratledge remaining from the original band (and even here with a somewhat limited presence,would leave during recordings).
I wont go to another extended description of this allucinating sucession of musicians/recordings, others have done it already with enough detail, but only underline the much centerpiece role of Karl Jenkins either on composing as well as arranging this album.

Global Appraisal

In fact KJ composed and arranged almost every theme (some in collaboration), all instrumentals, what gives a feeling of continuity and wholeness to a work that can benefit with a un-interrupted listening, functioning well as a giant suite.

This is a masterpiece, really timeless and until this day bearing absolutely no riddles. A sure personal companion for every season of now 40 years, and counting.

Goodies

Musicianship above any reproach, the set working as a tight unit on a delightful continuous rolling of jazz-rock of the highest standard.

Just forty years late in making this review and rediscovering this album after having owned the vinyl disc back in the Paleozoic Era, which I wasn't wild on at the time TBH. In retirement I've been catching up with old music that I'd missed. Unlike most, I find much of Soft Machine's much lauded, and more progressive, albums almost unlistenable and their Harvest period much more approachable without ever selling out.

Track by track:

1. Aubade (1:51) - a gentle pastoral guitar / alto sax duet - enjoyable background without being naff

2. The Tale of Taliesin (7:17) - Jenkins's atmospheric and hypnotic keyboard ostinato leads to an exotically tuneful head. This sails along gorgeously for a while before being abruptly interrupted by a brutally-shredded odd time guitar solo section.

Once the listener is beaten into submission the band slows back to the head, leading to a grandiose outro. (At the time of writing there is an outstanding YouTube live clip of this tune with a young Alan Holdsworth playing superbly, as John Etheridge does on this version). At this point they are sounding like an instrumental prog band with fusion influences). My favourite track on the album.

3. Ban-Ban Caliban (9:22) - the other epic-y piece, starting with a stereo-toggled electro synth sequence. This early early part of the the track reminds me of Passport's Ataraxia album - if Jazz Krautrock fusion isn't a category, it probably should be. New saxophonist, Alan Wakeman, soon enters and has his first chance to stretch out on the album, with some fine soprano work.

As the tune progresses the album for the first time sounds like the old Soft Machine of old before a bizarre, jarring change heralds in John Etheridge for another fast, old-time shred-fest duel with the similarly hyperactive Marshall.

Bassist Roy Babbington continues to play selflessly, holding the mayhem together akin to Rick Laird's anchor role on MO's Birds of Fire. Then a return to the "Krautrock fusion" Passport feel leading to the end with added drive and marimba. Excellent.

4. Song of Aeolus (4:31) - slow, atmospheric 6/8 tune in the vein of Jeff Beck's Goodbye Pork Pie Hat cover or John McLaughlin's The Unknown Dissident (which almost certainly took the same inspiration) but with more of a Floydish spaceyness. Luscious, soulful music. Excellent.

5. Out of Season (5:32) - Karl Jenkins loved beautiful, stately, hypnotic piano ostinatos, seemingly inspired by Philip Glass's minimalism. Etheridge joins with a melodic and sophisticated head and the rest of the band work around the ostinato. Nice.

6. Second Bundle (2:37) - starts with more of Karl Jenkins's psychedelic new-agey keys (move over Miquette Garaudy) - enjoyable background music without being naff

7. Kayoo (3:27) - drum solo piece by John Marshall. Musical use of bells and space early gave way to cacophonous shredding. At this length, it would probably work well live but is wasted in the studio IMO (maybe should have been a coda consisting of just the first minute)

8. The Camden Tandem (2:01) - drum duet between the two Johns - Etheridge on guitar and Marshall on drums. I guess it wouldn't be Soft Machine album without at least some fierce harshness. This tune is seemingly inspired by Mahavishnu Orchestra's Noonward Race and, especially so, by King Crimson's Groon (which I much prefer to either).

9. Nexus (0:49) - a lovely grandiose introduction to the next tune. Why did they make it a separate tune? No one knows.

10. One Over the Eight (5:25) - let's get down, baby, it's Funkytime! Well, it started out funky and again reminded me of Ataraxia's edgy moments with a stylish and intelligently-built sax lead. The jam gradually loosens and intensifies until a new bass riff is introduced and, with Wakeman's tenor by now honking, wailing and squawking we're sounding more like the old Soft Machine again before the entire thing falls into a horrid cacophony that thankfully, bot not too soon, shifts into a 6/8 outro. As a drummer, I find that cacophony is far more fun to play than to listen to. Otherwise excellent.

11. Etika (2:21) - during this era it was fashionable to let the guitarist have an acoustic tune for variation. This is that track, arguably better than most, and enough edge to be more than background.

There were primarily two albums from Soft Machine that really interested me: "Bundles" from 1975, and "Softs" from 1976. Despite the departure of Allan Holdsworth and Mike Ratledge after "Bundles", the quality of the compositions and playing on "Softs" continues to impress as much as its predecessor. Both albums are 4-1/2 stars.

Critics of this album often compare it to elevator music or light jazz. Listen up: forced to suffer through endless hours of listening to Muzak as a security guard during my summer job in my college days (the late 70's), I feel supremely qualified to quash that hideous "light jazz" accusation! (Don't get me humming the clarinet version of "Penny Lane" again! Aarrgh!!!)

To be sure, this is not the aggressive, "Look what I can do" jazz/rock fusion of Mahavishnu Orchestra, U.K., some Brand X, or other contemporaries of the band. There is a dreamier atmosphere that pervades "Bundles" and "Softs"; but that background is supplemented with catchy bass riffs, searing and soaring guitar solos, great drumming, and interesting melodies interspersed with some great jamming. Actually, if you combined the pre-Brand X "Marscape" album with Camel's "The Snow Goose", you'd have a pretty good idea of the sound of "Softs".

I realize I'm kind of reviewing both albums here, but "Bundles" and "Softs" really are kindred albums that bookend a unique phase of Soft Machine. They share a similar feel and scope between them, while still managing to differentiate themselves with new melodies and perspectives.

These are very good, interesting, entertaining and - dare I say - ESSENTIAL albums for the serious progressive rock/jazz fusion aficionado.

Now usually after an artist release their best work, like Pink Floyd with The Wall, or The Mars Volta with Frances The Mute, stuff like that. They usually, afterwards, don't really make something that's as good or is bad afterwards. Not saying people still might not like them as much as their previous magnum opus, but most people especially hardcore fans might get disappointed and might drop the band before any more albums that might be actually good comes into play. However some bands manage to stand on thin ice and made it too the snowy forests safely. Look at Yes and Close to the Edge. Close to the Edge is one of the best Prog rock albums ever conceived and a lot of people both Yes fans or not regards it as their best work. After that album, they made Tales From Topographic Oceans, an album, while not as impressive as Close to the Edge, still brought out brilliant sounds into play. And it's both a surprise but a pleasantry that Soft Machine managed to do the same with their album, Softs, which came after Bundles, which too me, was their best work ever. So here are my views on the album.

The album starts off with this pretty little acoustic and woodwind song, Aubabe. It is a pretty and soft introduction to the album. It is like the calm before the storm in this case for Soft Machine. Relaxing but builds things up for the album. Speaking of which, we got our next song, The Tale of Taliesin. This song is kinda villainous for Soft Machine. You can definitely hear in their playing, it is laced with some evil in it. The guitars, the piano, even the drums sound a little evil, and I love it. It's like a villain in a superhero was just introduced and ready to make 'business' with the hero. After that we got Ban-Ban Caliban, which is such a cool track. That bass groove and shaker percussions, plus the drums make this feel so speedy and fun. It's sounds super nice and every instrument compliments each other nicely so well. After that lovely song, we now got Song of Aeolus. This song is a bit more in line with traditional Prog rock. Slow moving, slow building, with some space like synths and some amazing drum and guitar playing. It also sounds a little somber, like this a ballad of weeping instruments. It's honestly beautiful. After that we have Out of Season. This song is also slow moving, however it sounds more hopeful, like it's saying to stop crying, take my hand, and keep moving forward. It's so enigmatic in it's wake. After that somber yet joyful ride, we have Second Bundle. Another minimalistic track by the band. It is very keyboardy and has some interesting synthy noises in the back. It's like a river of noise, calm, but abundant. After that we have Kayoo. If you liked the drum solos on 5, and Bundles, you'll like this guitar/percussion solo on Softs. It's a good solo, I like it. Speaking of solos, The Camden Tandem. This is a really wild song, it has such a shredding guitar and drums, and the instruments compliment each other perfectly. Seriously Soft Machine's guitar work is fantastic the lot of the time. Now after that, we got Nexus, a prelude of sorts, building up the next song with guitars, pianos, and drums, like a drumroll sorta thing for the next jam. Speaking of which, we got One Over the Eight. It goes back to Soft's jazz sound they're best known for with some stellar horn work and drumming. It's a blast that emulates the past. Very nice. However everything must come to an end, and so does this album. The final track, named Etika, is a very sweet yet somber guitar playing. It's not big or grand, it's just something, a bow, to tie up a amazing record. However a little sad that this couldn't go any longer, but yet, it is still fantastic. I love it.

So yeah, if you haven't guessed, this album is amazing and definitely a must have for Soft Machine or Canterbury or any Prog rock fan. It's honestly surprising this record isn't as popular as any other album by Soft Machine cause this, this right here is greatness in the ears.

Softs is the 6th studio album by Soft Machine. While not regarded as band's best work, It contains some of the best instrumental music from post-Robert Wyatt era.

1. Aubade (1:51) is a little number played on sax and acoustic guitar. It is pleasant, sets the mood nicely. A good opener. (9/10)

2. The Tale of Taliesin (7:17) composition is constructed over the leading piano melody, which is present during almost all running time of the song (with exception of fast-paced middle section), much darker than the first song, is a contrast mood-wise. This feels like a gradually evolving ballad with excellent instrumentation by all of the band members. The middle section has an impressive guitar solo by Etheridge which builds tension that will resolve near the end in a grandiose manner. This is a fantastic song, my favourite on the album. (9,5/10)

3. Ban-Ban Caliban (9:22) is a very cool jazz rock/fusion track. It is an extended jam at 9 minutes in length, the arranging is very good, containing nice transitions between sections. You can tell it's gonna be a great number for live performances and further improvisations. John Marshall's drumming is the highlight for me here. (8,5/10)

4. Song of Aeolus (4:31) has a windy intro, it is a slow moving composition with melodic guitar playing and the dominating mood seems melancholic to me. It is beautiful though.(8,5/10)

5. Out of Season (5:32) is another slow tempo composition but a bit happier than the previous one. It also contains some playfulness mood wise. Appreciate the gentle guitar playing and piano melody at the very end of the song. (9/10)

6. Second Bundle (2:37) is a short electronic synth piece, a very relaxing transition to the next song. (4/5)

7. Kayoo (3:27) is the showcase moment for Marshall on this album, starting with intricate percussion sounds and evolving into a drum solo. Man, this guy is a beast on drums! The track blends into the next one. (4,5/5)

8. The Camden Tandem (2:01) is a duet of drums/guitar with Etheridge's shredding lines while Marshall compliments and adds percussion to his playing. Impressive! (5/5)

9. Nexus (0:49) is a short mostly keyboard oriented piece which serves as a transition to the next song. (4/5)

10. One Over the Eight (5:25) is a very energetic jazz-rock/fusion track, quite funky due to that bass by Roy Babbington. From the start I'm into the groove! Some tasty sax by Alan Wakeman takes the lead. Great playing by all members. Definitely one of the standouts on here. (9/10)

11. Etika (2:21) is a nice, pleasant acoustic playing by Etheridge to finish the album. (8,5/10)

Softs by Soft Machine is always a joy to listen to. Without keeping in mind from what Soft Machine era this album is and just by analysing the music on here, I have to say that artistry and playing on here is quite impressive, can tell it influenced a lot of modern prog bands. It is a very feel good record for me so there is some bias on my part.

I highly recommend checking this album out!