KARL JENKINS: RUBBER RIFF

Only serious fans of Soft Machine who can't live without hearing every single note they played should buy this. It's best described as a Carl Jenkins sketchbook - short ideas jotted down and played by a late line-up with John Etridge on board. To be honest, its a bit of a stinker!

Karl Jenkins' music is very far removed from the Softs of Wyatt and Ayers, this hardly really passes as a 'Soft Machine' album. As the other reviewers have pointed out, the later stuff is really forgettable.

As with my assessment of "Land Of Cockayne", I apparently go against the norm with "Rubber Riff". I think that this album, while certainly not similar to anything else ever released by the Softs, is absolutely essential to understanding their evolution. These pieces are lovely, intriguing and inventive, and the playing is typically outstanding (if a bit underdeveloped in a few places). "Rubber Riff" was not intended as the followup to "Softs", more as an apocryphal addition to their discography, and should be seen and heard as such. Prog? Well, no, I guess not. But amazing and beautiful nonetheless, and it's appeal should be across the board.

A low point for the Softs. Really, what it is is a collage of musical sketches composed by Karl Jenkins. The interesting thing is that according to John Etheridge, the guitarist at the time, says that all of these pieces were played live in the studio and completed in one day. This album has some pretty catchy instrumental passages, but also has some schmaltsy parts (e.g. Melina). Without a doubt, Softs is a much better album, but I feel that is harsh to give this a one star review because it does show Jenkins versatility as a composer and arranger. Besides, the music on hear was composed as "library music." I bought this not having high expectations, but, in the end, I found myself enjoying some of the compositions. This album should only be purchased bycompletists of Soft Machine's discography. Don't start here, considering this is the low point of the Softs career (na matter what lineup). Two stars.

How this album got released to the public I'll never know, not because the music is generic,but because DeWolfe recordings are meant for muzak companies and jingles. Rubber Rift was just a experiment to see if Karl Jenkins could make it in the jingle buisness in 1976 with the Soft Machine name. He still does make these banal little records,but unreleased to the public. The songs are basically rifts with melodies that don't sound that bad. The album sounds a little muuddy too,it's like they took out the EQ and made it sound hackeyed. iIf you are a Soft Machine fan purchase with caution.

A stain on a good band's reputation.

I am not sure if the band knew that these tapes was going to be released under the Soft Machine monicker. According to the biography, several members was in the dark here during the recording.

Karl Jenkins needed to make some jingles and small pieces of music. So they recorded this tape in one day. I am not sure if Karl Jenkins passed the jingles test or if he got the BBC job. But this job interview does have a couple of good tunes. Unfortunate, the average song length is around 2.40. Only a couple of tunes have the faintest Soft Machine sound/ feeling. The rest is just small pieces of music which leaves my soul dead in the water. This is not Soft Machine as I want to remember them.

After the excellent Softs, it is a shame that this album was released. This collection of small pieces of music has no purpose and no life. I agree with the two stars because the musicians is doing the best they can with what they have. A couple of the tunes here are even good. That's all I can say about this socalled Soft Machine album.

2 stars

Rubber Riff is mystic Soft Machine's album, recorded in 1976 (more or less at the same time as Six),but never released as band's album till 1994.There were plenty of different rumors circulated in Soft Machine fans circles about this release ,some bootleg tapes were available as well.Reality is quite prosaic - initially this album wasn't recorded as band's release,even if musicians line-up is very similar to Soft Machine's line-up of that time (the last musician from Soft Machine's classic line-up Mike Ratledge left the band already and is mentioned as "guest" on album's cover).

Rubber Riff was first of all demonstration of Karl Jenkins composer abilities, and in 1976 was recorded as "library music" album under the name Karl Jenkins - "Rubber Riff" (on UK label De Wolfe). Many years later,on the peak of Soft Machine's archival re-releases fashion,it was re- released by Blueprint as Soft Machine studio album.

Musically it contains what you should expect from album of such concept - relaxed fusion- based pleasant music,very close to new age. It could be used perfectly as back-up music for weather broadcasts,geographic documentaries,etc, but hardly is interesting as independent musical release.

After commercial release of this album it became obvious where from real last Soft Machine's album " Land Of Cockayne" roots comes - first new age fashion was demonstrated by Karl Jenkins-led Soft Machine incarnation still in year 1976!

Album strictly for completionists.

Rubber Riff is above all else two things: firstly, it is a selection of Karl Jenkins compositions performed by Karl and some Soft Machine bandmates in order to be sold on as "library music" - the sort of incidental music intended to be licensed cheaply, usually for use as background music for weather forecasts and cheap adverts and things like that.

Secondly, and more enragingly, it is a nasty little fraud perpetrated by Blueprint, who reissued it in 1994 as a lost Soft Machine album. It is nothing of the sort and was never intended to be anything of the sort; the bland light fusion muzak pieces on here were never intended to be full Soft Machine pieces, they were a side project lashed together quickly in order to make some extra scratch.

As a Karl Jenkins solo album, the music here is anonymous, forgettable, and trite. As a package offered to the CD buying public, it is a scam and an outrage. Do not be fooled. I am no fan of the Karl Jenkins-led incarnation of Soft Machine but even I wouldn't besmirch their reputation by passing this rot off as a Softs album.

I love this album. Similar to the 1976 recording "The Guitar of John Renbourn" this is just a collection of pre-muzak snippets to be used to play in libraries. Not imaginative, not exciting, boring, dull, pedestrian, many adjectives can be used to describe this entry in Soft Machine's catalog. I purely enjoy this as background music, this album has a definite niche in my library. Morning newspaper and a glass of milk and some uninspired playing from seasoned vets. What a way to start the day.

Honestly, I'd give this four stars if my own criteria were used to judge the album. However, three stars seems more appropriate. I can see why some prog fans out there give it one star, it is middling and untidy. If you like background sounds, try "The Guitar of John Renbour" which is very relaxing.

It's inevitable this album is trashed on a prog site. Progressive rock was never made to be incidental music - the foundation of the earliest progressive rock was making a loud, landscape altering sweeping statement. Therefore, this made for background "library music" doesn't really fit the billing.

If approached with open ears, this can be a worthwhile experience for sure if used for its intended purpose. There's some riffs and some floating, and after I put this on while I'm stretching or making a salad I'm in a good mood.

I don't think the appeal would be as strong for me if this was labeled a Karl Jenkins solo record. He's magnificently talented but always seemed like an interloper and I don't much care for his solo records I've tried.

I really like the tunes "A Little Floating Music" and "Splot". "Melina" is a low point, and "Gentle Turn" isn't far behind - both sound like weak theme songs to a poor 1970's US television sitcom.

Two stars for the prog recommendation, four stars in my catalogue, three it is overall. I feel exactly the same about this album as I do similar albums on here "Codename Wildgeese" by Eloy, "Blitz" by Thirsty Moon and "Visa" by Duncan Mackay good activity music and mild instrumental prog curiosities.