THE SOFT MACHINE

So intent was SOFT MACHINE to evolve at the speed of light into new musical territory that in only a few short years since they founded as a psychedelic pop band and then virtually establishing what would eventually be called the Canterbury Scene in the musical world that by the time they got to their THIRD album so they had practically abandoned all that had come before and dove head first into the world of free jazz and avant-garde psychedelia with only tidbits of rock still to be found throughout this sprawling and ambitious undertaking. Despite the gaudily ugly packaging and the horribly generic album titles, the music is some of the most complex and sophisticated that 1970 had to offer. SOFT MACHINE was simply ahead of the pack by first creating the Canterbury Scene of rock music well before any other takers would continue down that path but they also jumped into the seas of super complex jazz-fusion which can be heard on this bizarre and transitory classic.

THIRD has a much broader spectrum of sound than anything attempted by the band before. Still on board are Robert Wyatt on drums and vocals on the sole vocal track "Moon In June," Hugh Hopper on bass and Mike Ratledge on various keyboards but we also get Lyn Dobson on sax and flute, Jimmy Hastings (brother of Pye) on flute and bass clarinet, Rab Spall on violin and Nick Evans on trombone. The result of this expanded musical lineup is a big fat jazzy sounding album that is predominantly jazz in nature but has just enough rock and psychedelic influences to keep it firmly in the unusually experimental section on your shelf. The four tracks almost hit the 20 minute mark each but they often seem like they contain several tracks that combine to make a larger track.

"Facelift" is a live recording on the album and it starts out with very trippy sounding intro before getting into jazz-fusion territory. "Slightly All The Time" seems like a pure jazz piece in the beginning but really rocks out at the end. "Moon In June" is the only track to feature vocals and the last one of SOFT MACHINE to ever contain them. I personally think at least one track on an this mostly instrumental album adds a human touch to the bizarre soundscapes created. "Out-Bloody-Rageous" is evenly divided into four parts with the first being psychedelic, the second being jazzy, the third being keyboard oriented and the last part extremely trippy. This is simply a brilliant album from beginning to end but certainly not an easy one to digest. This one requires being well versed in both progressive rock and jazz to really enjoy. It takes many more listens than the average album to fully fall for. I certainly didn't warm up to it at first but eventually after many persistent and attentive attempts it has in the long run paid off handsomely.

I should also mention that is well worth tracking down the 2007 remastered version for not only do you get superb sound quality but a bonus disc from a concert at The Royal Albert Hall for BBC Radio Three in 1970. There are three tracks: "Out-Bloody-Rageous," "Facelift" and the previously unreleased "Esther's Nose Job." This is simply one of those albums where words fail to convey the many moods and dynamisms employed in these works. It is a must hear to understand for it is unlike anything that came before and since as far as I am aware. Classic.

The most important thing in enjoying vintage album is getting the full nuances when the album was produced. By no exception is this debut album by Soft Machine, released in 1968. Of course I was not aware by the time this album was released as my musical taste was limited to pop music, typically from Indonesia. But I am happy having been exposed to many kinds of music which at the end lands beautifully and voluntarily to PROG music. If I knew this album in the seventies, I might not be able to digest the music as it's different in typical music style dominated by pop.

In particular this debut album by Soft Machine, i was not aware that I had not reviewed anything about this album until certain point of time, maybe couple of months, my prog mate Cosmic Eargasm wanted me to write this album. My first reaction was: Yes! Will do! But then what happened I was swamped from one location to another until now I have a chance to write my view while enjoying this album. One of the reasons to write is because there is "A Certain Kind" which typically known by many people as a song by Bloodrock. Which is true, in the seventies this Bloodrock version was very famous in fact in my small city of Madiun, East Java, Indonesia.

Composition-wise this album is really excellent as it provides very definitive music that creates its own genre / subgenre even though most of us label it as Canterbury. I would say the music is a perfect blend of classic rock, psychedelic and jazz. You will find any many segments they combine each style beautifully. You might say the music is raw but you have to understand that this was released in 1968 - of course the audio technology was not that advanced compared to current situation. It's quite difficult where I can exclude my favorite tracks as I almost enjoy every single segment in any track the perform. The dominant instruments sound like drums that demonstrate very raw, performed by Robert Wyatt, hammond organ as well as bass guitar. In fact , I enjoy the album since its opening track Hope for Happiness (4:22) which has unique style, followed nicely to Joy of a Toy (2:56). Once you enjoy the music, you would not want to stop it. It's a joy enjoying this excellent music from the past. At the end of the album you will find dynamic music demonstrating solo by each member of the band ...it's really col.

Overall, this is of course an excellent prog music collection. Keep on proggin' ...!

Peace on earth and mercy mild - GW

OK. Call me a SOFT MACHINE slut for giving their first two albums 5 stars but damn! I really love these guys and a belated introduction to their musical output hasn't dampened my enthusiasm to their sound one bit. In fact it may have enhanced it. I, like countless others, weren't around at the time of these releases to comprehend their musical meisterhood and it seems like many a music fan of the era didn't get to appreciate their ingenious jazz-fusion whimsy at the time of its release. SOFT MACHINE continued their evolution on VOLUME TWO by ratcheting up all the unusualness of their first album and keeping just enough of the familiar poppiness to give a musical structure to embellish upon. The whimsical glee exerts itself full throttle on the first track with their childlike playfulness meets their adult contemplative spirituality on "Pataphysical Introduction." You know you are in for something special right away.

There had been a few personal changes from Volume One to VOLUME TWO. Robert Wyatt was still in charge of drum duties and lead vocals. Mike Ratledge stayed on board for as keyboardist, but on this release bassist Kevin Ayers was out and Hugh Hopper who guested on the first album was now in. This time around Hugh's brother Brian Hopper guested on the sax (both soprano and tenor.) This album is really two long tracks but because of the advise of Frank Zappa the band broke those two longer tracks into many because of the fact one could reap more royalties that way. The album is actually very short clocking in at just over a half an hour but there is so much going on in that time that it actually feels longer to me.

VOLUME TWO is the logical evolution from "Volume One." Instead of just jettisoning the psychedelic pop leaning template that had begun before their first album and still utilized on the debut, the band keeps this as a template and simply expands the avant-garde and jazz-fusion tendencies developed on their debut. The result is another superbly excellent album that is short but sweet. The jazz factor is ratcheted up quite a few notches but the underlying flow of the album remains comparable to the debut. As with the previous album this is a grower. No SOFT MACHINE album unleashes its secrets easily. One must listen attentively to let the magic unfold at his or her own time. For me personally, I find this an excellent successor to the debut and a logical bridge between the debut and the even more jazz infused developments of "Third." Yeah, the only totally unoriginal thing about this band is that they could have been more creative in naming their albums!

It's always wonderful accidently rediscovering an album in your collection that you simply forgot you had, perhaps coming across it again after finding it was put back in the wrong place what feels like a lifetime ago! Case in point for me, Soft Machine's final work (with the exception of endless compilations and archive releases), `Land of Cockayne', a record that often causes much derision from die-hard fans of the band. Looking back now, this was the first Soft Machine related album I owned, at a time right at the start of my prog collecting when I had no patience or the frame of mind for anything jazz/fusion related. Coming back to it now, with an appreciation and better knowledge of the various Soft Machine incarnations, I find while it's a perfectly worthy and distinctive release from the group, full of restrained but tasteful playing by a bunch of consumate professional musicians (now including members from bands such as If, Nucleus, Cream) that you can only admire. It may be a world away from the ragged psych early days, the sonically violating noisy exploratory middle years or the driving fusion after that, and yes, it's smooth, pleasant and often a little too squeeky-clean, but there are still moments scattered throughout where the band really simmers, and at the very least, there's almost nothing that's actually terrible on the entire LP.

The opener `Over 'N Above' is actually one of the poorest moments, a repetitive and slightly bland AOR fusion-lite plodder that's at least twice as long as it should be. There's some silly orchestral strings over part of it that sound like it's wandered in from an Alan Parsons Project album, but I suppose the sighing wordless harmonies give it a slightly recognizable Canterbury sound. Tinkering programmed loops and raindrop-like synths patter `Lotus Groves', sounding more like something off a later Ashra disc with an almost New-Age influence, but there's some nice (if slight) fretless bass from Jack Bruce murmurring away drowsily in the background, and drifting flute gives it a mysterious old-world sound. `Isle of the Blessed' is a dramatic cinematic orchestration that grows more impressive as it progresses, eventually taking on a sweeping romantic quality. `Panoramania' is the first real workout on the disc, a sax fuelled mid-tempo jog with a tasty extended Rhodes electric piano solo spot from John Taylor in the middle (that just becomes a little politely unhinged in a few momens as nicely as possible!), droning harmonies, gentle synths/orchestration, and John Marshall's peppy drum-work - pretty tasty stuff. The first side closes with a brief electronic and sax lament interlude.

The perky uptempo jazz/fusion of `Hot-Biscuit Slim' has enough punchy busy drumming, driving spirited sax-work and a sprinkling of glistening electric piano to bring some catchy and foot-tapping grooves. `(Black) Velvet Mountain doesn't really go anywhere, just a soaring powerful orchestral melody over a Pink Floyd-like solid drumbeat and a nicely played but somewhat unthrilling lead electric guitar run from Alan Holdsworth. He makes a better impression on the twisting guitar of `Sly Monkey', a little more playful and energetic number with infectious sax melodies and gulping bass. All the players get little moments to shine in this compact little arrangement. Sadly the album closes on a wretched piano and sax interlude `A Lot of What You Fancy' that is so cosy it practically comes with an oversized knitted Christmas sweater from your Mum to keep to warm in winter. Thanks a lot, Mum.

Depending on your preferred version of the band, this album may be as far removed from what your interpretation of Soft Machine should be as possible. I actually find it a perfect background listen to enjoy, especially if I'm not in the mood for their earlier blistering feedback dirges and honking hell! `Land of Cockayne' may not be greatest album to properly end on for the Soft Machine, but it's varied and eclectic, and all the musicians involved here delivered a respectable and perfectly enjoyable listen with their dignity intact.

Three and a half stars.

All one has to do is listen to the demos (available as Jet-propelled Photographs) recorded the year before to hear how quickly THE SOFT MACHINE was evolving their sound. It had been a wild ride since the days of the Wilde Flowers for drummer Robert Wyatt and bassist Kevin Ayers to get to this point. Mike Ratledge joined the band in 1966 when they officially formed as keyboardist and fellow ex-Wilde Flower veteran Hugh Hopper (bass) joins in on a few tracks here. Hugh would later join the band as a full member.

Originally the band also included Larry Nowlin on guitar but by the time we get to this debut album there is no guitarist to be found and just as well. It allows the band to emphasize how much a band can do with just a bass, keyboards and drums. Although Daevid Allen (guitars and vocals) was out and would begin his own Canterbury powerhouse Gong, on this debut we get a mixture of his own beatnik philosophy that he left behind, the psychedelic rock that was in fashion at the time and a new found appreciation for jazz that is incorporated into the nooks and crannies of the song structures creating a very new and exciting kind of music.

I personally believe that the sudden evolution can be attributed to the musical genius of Jimi Hendrix with whom SOFT MACHINE would tour. Hendrix was a major catalyst in the musical world at large and such a close proximity to his world surely must have served as an energizing lightning bolt for the band catapulting them suddenly into the more progressive interpretations of their earlier psychedelic pop churned out just a short time prior their debut. The band tackles the songs quite creatively. I love how the leading track "Hope For Happiness" is really one long track but in the middle they insert another track titled "Joy Of A Toy." That strategy is repeated throughout the album making a smooth. flowing album from beginning to end. The melodies are catchy, the musicianship is excellent and the arrangements are quite brilliant. Ayers and Wyatt trade off vocals complementing each other quite well.

This one was certainly a grower. Upon first listen most of the complexities passed me by and I was more focused on the psychedelic pop aspects of the music. To fully appreciate SOFT MACHINE albums takes patience and dedication to fully unlock the brilliance embedded into the music. Although I liked this album on the first listen, I have grown to really love it for its bold and daring display of creativity as well as for its long lasting influence on not only the Canterbury side of jazz-fusion but for the evolution of progressive music in general. A belated 5 star masterpiece in my world but one that will firmly remain in that status. You'll know you're hooked when "Hope For Happiness" becomes the dominant ear worm beckoning you to put on the album time and time again!

Although these demos of the first lineup of SOFT MACHINE were recorded as far back in 1967, they wouldn't see the light of day until this compilation was released in 1972 under the title "Faces And Places Vol 7." For some strange reason, not content with simply re-releasing these 10 tracks under the same name over the years, it has also been released under the following titles: "Jet-Propelled Photographs," "Jet Propelled," "At The Beginning," "Memories," "Soft Machine 1967 Demos," "London 1967,"Les génies du Rock n°042: At the Beginning"and simply "Soft Machine." Almost as many titles for this compilation as there are tracks!

These tracks which were supposed to be SOFT MACHINE's first album are all that exist of the 1967 lineup with Daevid Allen, Kevin Ayers, Mike Ratledgte and Robert Wyatt. What we get here is a sound not too far removed from the Wylde Flowers' version of jazzy pop songs that have a slight progressive edge to them but light-years away from the more masterfully developed debut album that would finally emerge after the departure of Daevid Allen.

These tracks are actually pretty good as far as 60s pop oriented songwriting goes and I find this to be a gleeful little listen every now and again. Nothing else at the time sounds like this and although this isn't even close to the full on jazz-fusion that would take off in just a few short years, it is an interesting relic of history that shows a legendary band finding their own sound. A few of these would be spruced up to be included on the first album and some of them would be used on solo albums by individual members. Hardly essential but certainly sufficiently entertaining and a glimpse into their inchoate ideas.

It's that time of the year again (June) when I usually reach for this CD. (The old vinyl is still here too, but .my turntable is long gone to Heaven.) So, why this album? Simple. For the track "Moon in June". On the side, it's also a gentle reminder of this excellent band that hasn't received much attention lately in the reviews.

I love pretty much all incarnations of Soft Machine. At this point they leave their early psychedelic approach and delve into Canterbury/ Jazz-Rock without compromises . Four long tracks on this double album (none much under 20 mins) are quite a mouthful to digest. Mainly because these tracks command due attention. This is not a criticism from my part, but one is to allow sufficient time to duly pay attention in place of listening to music on the run. It also helps if one is in the mood.

Having taken care of the bulk of this album (3 tracks!), I'd like to reflect on "Moon in June" which is perhaps one of Robert Wyatt's finest moments before forming Matching Mole. Here he sings softly and plays multiple instruments onto a dynamic beat. Truly charming and effective. Then the second half of the song turns into a full blown instrumental jazz run typical of that era of British approach. How these two widely different halves merge so well is a bit of a mystery, but they sure do. It's almost sexual and in a way I am reminded of Robert Fripp's skills of creating tension and release in some early KC tunes. But this piece is almost in the reverse of that. Like gentle foreplay followed by furious and sustained activity. This piece alone is worth your purchase. but the whole album is pretty good, nevertheless.

Easley one of the trickiest records I have in my collection and always makes me feel confused and disorientated. Those who know the genre Canterbury Scene know it stands for long, stretched out jams, weird melodies and that strange fuzzy organ sound. Its almost pop, but at the same time not even close. Almost jazz, but mutated into something beyond recognition. Soft Machine is Canterbury Scene at its most extreme and I don't know their records that well because I rarely have the energy to listen to them. To be completely honest I think this was the first time I listened through whole this record, I can't really recall having heard the last track before. A bit strange and funny, but at the same time, how could I tell? It sounds pretty much as the rest of the record.

Just the opening is enough to scare most people off, its about four minutes of weird organ noises. Only people looking for something slightly disturbing to listen to would sit through this intro (Yes, I had one of those nights, so I was pretty stimulated). Then comes the bass and drums and starts of some kind of jam, which is kind of nice for the first couple of minutes. But soon you realise this jam goes on for the rest of the 18 minutes long song and nothing really happens.

I admit it, this record has a lot of great moments, but most of the time it doesn't sound like the musicians are reflecting over what they are playing. All the four songs are over 18 minutes, but I don't think there is enough interesting ideas to stretch any of them that much. Except from a moment in the third song "Moon in June", which has a bit of vocals (Robert Wyatt's voice is fantastic!), its all mostly just a long and a bit annoying jam. A lot of organs and saxophone, noises and wild rhythms, but nothing really happens.

I would recommend this to anyone who thought National Health or Matching Mule (other Canterbury Scene bands) wasn't extreme enough. But for those who love Robert Wyatt's solo material or Caravan I have to say: Be careful around Soft Machine.

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.

"Bundles" is the 8th full-length studio album by UK experimental/fusion/jazz rock act Soft Machine. The album was released through Harvest Records in March 1975. Keyboard player Mike Ratledge was at this point the only founding member left in the lineup and even his involvement in Soft Machine was dwindling at this point. His writing contributions to "Bundles" is limited to two short tracks. Most of the material on the album are composed by Karl Jenkins (oboe, soprano sax, acoustic & electric pianos).

Musically "Bundles" also marks a pretty big shift in direction compared to the last couple of more jazz oriented releases. It's especially the inclusion of the, at the time, only 19 years old guitar prodigy Allan Holdsworth and his considerable contributions to the album, that make "Bundles" such a different sounding album to it's predecessors (Soft Machine's music hadn't featured guitar since their earliest days). The energy and the rythms make this a much more contemporary sounding fusion album than the more jazz oriented albums that came before it (think acts like jazz rock/fusion period Gong and Return to Forever).

The musicianship is not surprisingly top notch. These guys are professionals but not the type of professional musicians who are devoid of emotion because of it. It's probably an aquired taste if you can appreciate the change in sound and Allan Holdsworth's frantic shredding, but I guess people's opinions on "Bundles" will very much reflect how they feel about the preceeding releases. Personally "Bundles" appeal much more to me than anything Soft Machine released between "Third (1970)" and this one, so I'm happy as a pig.

The sound production is powerful and organic, which suits the music well. So upon conclusion "Bundles" is a high quality jazz rock/fusion album by Soft Machine. Tracks like the "Hazard Profile" suite and "Four Gongs Two Drums" are great jazz rock/fusion and the rest of the material are for the most part equally exciting. The ambient closing track "The Floating World" is a bit too longdrawn and to my ears a bit of an anti climatic way to end an otherwise greatly energetic release but I guess that's an aquired taste. A 4 star (80%) rating is deserved.