Soft Machine Albums (24)
What The Critics Say
Listeners might be justifiably wary of a band with the word "Legacy" in its title, perhaps surmising that the group in question might be rooted a bit too strongly in the past. And in the case of Soft Machine, the group at its very best -- during the late '60s and early '70s -- confounded listeners by breaking from its own past with each album release, arguably throwing out its own nascent legacy (not to mention bandmembers) on a continual basis. In that sense, one might conclude that this 21st century band featuring Softs alumni might best capture some of the earlier group's spark and spirit by ignoring the legacy question entirely. Of course, the issue is one of balance, building on a foundation of great music even if that music is decades old, while continuing to chart new directions that are exciting and unpredictable in the present moment -- and that's exactly what happens on Steam, Soft Machine Legacy's 2007 release on Moonjune Records. Bassist Hugh Hopper, drummer John Marshall, guitarist John Etheridge, and saxophonist/flutist Theo Travis (in the difficult position of stepping into the spot formerly occupied by sadly departed saxman Elton Dean) are mindful of Soft Machine's history, and the listener certainly hears echoes (literally) of the Softs in the looping effects, fuzz bass, rhythmic inventiveness, melodic accessibility, fiery soloing, and general spirit of adventurousness. But there is also something new here: a cohesiveness and single-minded sense of purpose that elevates not only the group's "tunes," but also its approach to collective improvisation. The more straight-ahead jazz-rock material is handled capably enough and Steam can be recommended on that basis alone, but what truly perks up the ears are the several improv tracks sandwiched between the jazz-rockers, introducing a new dimension yet somehow fitting seamlessly into the whole. Following the capable but somewhat predictable post-Canterbury jazz-rock exercises "Footloose" and "The Steamer," "The Big Man" hits the listener with Etheridge's chunky distorted guitar chords that tip toward post-grunge, as Travis uses his array of electronic effects to harmonically split the notes from his soprano sax and the band heads into a murky, fuzzy swamp of sounds before the instruments emerge into an improvisational interlude and the tune simply collapses and dissipates -- and it's fantastic! What began as entirely competent -- even passionate -- jazz-rock is suddenly exploded, starting from a new place and never quite touching down in the familiar. "The Big Man" is followed by a beautiful, lyrical version of "Chloe and the Pirates" from Soft Machine's Six, and while the band is undoubtedly looking to the past here, the track is lovely and dreamlike, and a perfect palette-cleanser after the preceding track's sonic outbursts. The bright "In the Back Room" has Marshall and Hopper locked in a funky backbeat behind a unison theme cranked out by Travis (on tenor) and Etheridge, and the tune is a fine vehicle for the guitarist to unleash some typically fleet-fingered soloing over the top, followed by some soulful wailing from Travis before an extended vamp featuring multiple saxes takes over and rides into the sunset. This is a fun and perhaps somewhat lightweight tune, but once again the band defies easy expectations with "The Last Day," a return to free-form territory. Travis' skittering looped flute, Hopper's thick fuzz bass, and Marshall's rolling drumwork set an expansive mood before the bandmembers coalesce in spectacular fashion around a mid-tempo groove and brief thematic statement that is simple but dramatic, ending so quickly that the listener is hungry for more. "Firefly" is a jaunty, crisply swinging vehicle for Travis' stellar flutework, with Marshall's brief drum solo leading into tight unison riffing from everyone; the unpredictable suitelike structure here presents new thematic developments and another opportunity for Etheridge to cut loose before the number again heads into a free-form conclusion. Travis' flute remains prominent in "So English," with a free-floating intro (indeed recollecting "The Floating World" from Bundles) filled with loops and sound effects and setting a spacy mood -- but messing things up nicely around the edges with a range of tones and textures that are a bit more impolite than Karl Jenkins might have liked. Riffs and licks sail about over a spacious drone, drawing the listener deeper into extraterrestrial dialogues as Travis' soprano takes over a lead role with Etheridge following his every move and Hopper's monster bass and Marshall's accents staking out subterranean regions -- the energy flows away and Travis is left alone to wrap up the adventure with a subtle and lovely coda. "Dave Acto" follows, and with Etheridge's power chords leading into a nearly heavy metal unison vamp with Hopper, pounding drums from Marshall, and Travis' entry on muscular tenor, it is clear that Soft Machine Legacy are a band that means business. "Dave Acto" is pure get-down heaviosity, but Soft Machine Legacy are saving a powerful punch -- of an entirely different sort -- for the finale: "Anything to Anywhere," penned by Travis (who by now has definitely earned his entry into a band with "Soft Machine" in the title), is a perfect summation, catchy and fun, light in spirit, and with the kind of circular, insistent yet unpredictable vamp that marked some of the best writing of the Softs' jazz-rock period. With a killer hook, a spectacular and dramatic solo from Etheridge, lovely soprano work and looping effects from Travis, and crisp navigation of the rhythmic line from Hopper and Marshall, "Anything to Anywhere" has it all, in a concise package that indeed sums up a monumental legacy while demonstrating continued relevance to the present day and, indeed, the future. ~ Dave Lynch, All Music Guide
'Live at the New Morning: The Paris Concert'
Release Date 7/1/2006
Tracks 10
Label In-Akustik
See Album Tracklist and Review
'Floating World Live'
Release Date 3/21/2006
Tracks 13
Label Moonjune
See Album Tracklist and Review
What The Critics Say
With the release of Floating World Live, as of 2006 there were four CDs on the market -- two studio and two live discs -- representing the peak of Soft Machine's "guitar fusion" years. Bundles and Softs (studio) and Floating World Live and British Tour '75 (live) are all recommended to anyone for whom jazz-rock fusion doesn't cause a breakout in hives, with the live discs capturing inspired performances and having an edge over the studio efforts. The expertly recorded Floating World is clear evidence that Allan Holdsworth was just what Soft Machine needed in the mid-'70s. By the time this live German show had been (partially) captured by Radio Bremen in January 1975, Holdsworth had been with the band for slightly over a year, and the Softs had already recorded Bundles with him. This is a killer live set, and Holdsworth's lightning-fast scalar runs, wide-interval leaps, and expressive note-bending over the band's vamps and composer Karl Jenkins' chordal changes -- not to mention his prominent positioning in the mix -- make Floating World a must-hear for any fans of the blurry-fingered axeman. He plays a touch of beautiful violin as well. No wonder jaws were dropping all around -- and apparently including the jaws of his bandmates, for Floating World sounds rather less like the work of a fully collaborative band and more like a live date by a guitarist-led fusion outfit than the British Tour '75 recording from later that same year after John Etheridge had joined the group following Holdsworth's departure. The flow of the overall Floating World set is at least partially to blame for any slight comparative shortcomings, particularly during the first half but redeemed by some inspired playing from all quarters at the conclusion. The group seems to have barely gotten underway when Roy Babbington's bass solo, "Ealing Comedy," makes an appearance; it's a great showcase including some Canterbury-esque fuzz in the mold of the pioneering Hugh Hopper, but its placement so soon in the proceedings somewhat derails the initial momentum of "Bundles" and "Land of the Bag Snake." And midway through, it doesn't help that "Hazard Profile," the Jenkins multi-part composition that would soon introduce Holdsworth to flabbergasted listeners upon the release of Bundles, fades out after less than five minutes -- that's where the radio station placed its commercial break. (Curious listeners are encouraged to check out the BBC Radio 1971-1974 compilation, which presents a broadcast version of the complete "Hazard Profile, Pts. 1-4" from June of 1974.) Both the Floating World and British Tour CDs feature solo Mike Ratledge synthesizer and John Marshall drum'n'gong interludes -- here respectively named "North Point" (a version of which is also on BBC Radio 1971-1974 from the June 1974 broadcast) and "J.S.M." -- but on this disc they further tilt the balance away from the full-band music and contribute to the feeling that Soft Machine had become a vehicle for solo statements with Holdsworth leading the way. Still, this is a vital document proving that the Softs were capable of some truly magnificent music during the mid-'70s -- and they were still evolving, testing the waters in live performance on a funked-up jam like "Riff III" that would later develop into "Ban-Ban Caliban" after Holdsworth bailed and Etheridge climbed aboard. Floating World Live reveals Soft Machine caught up in the excitement of a new direction thanks to an extraordinary guitarist, but not quite realizing their full potential as a collective. Nevertheless, appreciate Holdsworth for the shot in the arm he provided -- and also for suggesting Etheridge as his replacement. The new direction heard here would continue and Soft Machine would experience a final peak -- as demonstrated on British Tour '75 and to a lesser extent Softs -- before dissolution and mediocrity truly began setting in. ~ Dave Lynch, All Music Guide
What The Critics Say
Recorded not long before their Six album, this is a nearly hour-long concert for BBC radio from July 20, 1972, in excellent sound. Consisting at this point of Mike Ratledge, Hugh Hopper, Karl Jenkins, and John Marshall, the band mixes material from their Fifth and Six records, also inserting a substantial reworking of a lengthy piece from Third, Ratledge's "Slightly All the Time." The group by this time had taken another step in their evolution from psychedelic rock to somberly ethereal fusion jazz, enough so that this couldn't really be filed, even tenuously, under the "rock" section. As such it won't interest a good percentage of the fans of the Robert Wyatt-era Soft Machine, though it's accomplished for the genre, with more of an improvisational verve than much fusion boasts. These versions do work significant improvisational changes into the compositions, as well as documenting the integration of new member Karl Jenkins (who wasn't part of the group on studio releases until Six) into the band on saxophone, oboe, and keyboards. The eight-page liner notes are unusually good for this sort of archival project, with interesting and sometimes contentious comments from several Soft Machine members. ~ Richie Unterberger, All Music Guide
'Soft Machine Legacy: Live in Zaandam'
Release Date 8/29/2005
Tracks 6
Label Avalon
See Album Tracklist and Review
What The Critics Say
On this 2003 effort, ex-members of the fabled British band Soft Machine reunite as Soft Works for a set consisting of loosely visualized pieces. And while Soft Works' roots harken back to the late-'60s to early-'70s prog rock-based Canterbury Scene, the band spanned genres including jazz fusion and free jazz during its tenure. Bassist Hugh Hopper, saxophonist Elton Dean, and drummer John Marshall are noted for their longstanding tenure with this time-honored outfit. In addition, guitar hero Allan Holdsworth periodically performed and recorded with the group during the mid-'70s and early '80s. Therefore, this eagerly anticipated outing should warm the hearts of those who've followed the Soft Machine/Soft Works' legacy amid various offshoots during the last several decades. On Abracadabra, the quartet reworks a few Elton Dean pieces, culled from his Moorsong CD, while also including guitarist Phil Miller's piece titled "K-Licks," among others. The musicians indulge in electrified and irrefutably spacious jazz grooves in concert with some ethereal treatments provided by Holdsworth's "synthaxe"-based guitar maneuvers. Yet Holdsworth's effectively designed chop chords and accentuating progressions help anchor the proceedings. Dean flexes quite a bit of muscle here, due to his hard-edged and somewhat gritty alto and saxello lines. Where many of these works feature gradually climactic cadenzas supported by Hopper and Marshall's limberly executed rhythmic maneuvers, Holdsworth conveys his infamous, doomsday chops, but the music quiets down on occasion, whereas the instrumentalists occasionally delve into the free zone. Otherwise, they turn in a spunky straight-four vibe on Dean's "Willie's Knee." As a result, many of the album's highlights are contained within the soloists' synergistic exchanges and in their ability to run on all cylinders when the situation arises. ~ Glenn Astarita, All Music Guide
What The Critics Say
By 1970, the Soft Machine were ensconced into what would become its most revered lineup and repertoire. The two performance excerpts are from one of the many European jaunts the Softs took that year. While the material leans most heavily on the band's Third (1970) album, the second and significantly longer set concludes with the finale from Volume Two (1969). These provide a fascinating timepiece of the group with a slight variation in personnel. The first extract includes an 11-minute-plus workout of "Facelift" and "Moon in June" in a hypersonic scrape-your-face-off-the-wall jam featuring Robert Wyatt (drums), Mike Ratledge (keyboards), Hugh Hopper (bass), and Lyn Dobson (saxophones). On sheer energy and vibe alone, this snippet will prove popular with enthusiasts of this particular vintage. Keen-eared listeners will note the conspicuous absence of Elton Dean (saxophones) during this show. In his liner essay, Hopper recalls that "Elton was presumably stuck somewhere else in Europe...." At the core of Live 1970 is the considerably lengthier portion that commences with "Out-Bloody-Rageous" and a potent "Facelift," recalling the intricate nature and tricky timing of the studio version. The alternately delicate and brash reed work of Dean is showcased here as he vacillates between beautifully gnarled passages and straightforward power blows. The extended non-ensemble section of "Facelift" careens back into a forceful band interaction. A brief solo from Wyatt introduces the Volume Two medley containing "Pig," "Orange Skin Food," "A Door Opens and Closes," and "10:30 Returns to the Bedroom." While these renderings are by and large instrumental, there are a few audible moments of Wyatt's trademark rhythmic, wordless vocalizations, although he doesn't seem to have been singing into a proper microphone. In contrast to the earlier bombast, "A Door Opens and Closes" is a breezy fusion of jazz and prog rock. It collides into a decidedly Dadaist "10:30 Returns to the Bedroom," which allows the band to stretch out and get weird before a suitably heavy ensemble conclusion. When coupled with the thoroughly excellent Live at the Paradiso 1969 (1995), Live 1970 is an accurate depiction of the Soft Machine's free-form fury running on all sonic cylinders. ~ Lindsay Planer, All Music Guide
'Live at the Paradiso 1969'
Release Date 1/1/1995
Tracks 13
Label Voiceprint
See Album Tracklist and Review
What The Critics Say
This 45-minute live fragment captures the Soft Machine at the Paradiso Club in Amsterdam circa 1969. The second incarnation of the band included Hugh Hopper (guitar/bass/vocals), Mike Ratledge (keyboards), and Robert Wyatt (drums/vocals). The trio heard here had originally been joined by Kevin Ayres (guitar) on the group's major-label debut Volume One (1968). Not only did that leave the band minus a lead guitarist but a primary contributor to the material as well. The songs are derived from Volume Two (1969), which had been recorded but not yet issued when the Soft Machine set out on tour. While the album is not replicated in its entirety, Live at the Paradiso 1969 (1995) presents a vast majority of the LP with a lean and ravenous capital A Attack. The disc commences with a swirling and swaggering reading of the Hopper-driven medley "Hulloder," "Dada Was Here," "Thank You Pierrot Lunaire," "Have You Ever Bean Green?," and "As Long as He Lies Perfectly Still." This miniature suite was abandoned prior to the creation of the Third (1970) and subsequent repertoire. Those familiar with the original studio platter will note on paper what would appear to be a slight shift in the performance order. Although the credits claim "Hulloder" and "Dada Was Here" are the first two tracks, the opposite is actually the case. This is reversed from the Volume Two rendering as well. As heard here, it works as a cohesive segue with the removal of the free-form "Out of Tunes" and the surreal acoustic ballad "Dedicated to You, But You Weren't Listening." As enthusiasts of the group are aware, this show has circulated as a bootleg for well over two decades prior to this sanctioned CD release. However, sound quality was never really an issue as a majority of the various incarnations and titles that have circulated were derived from the same source. Consumers should not be confused as the contents are also available as Live Paradise (1995). ~ Lindsay Planer, All Music Guide
What The Critics Say
The Cuneiform issue of Soft Machine's Paris Olympia Theatre concert is a straight reissue of the One Way set released in 1995 and quickly deleted. It features the short-lived but compelling lineup of Elton Dean, Hugh Hopper, Mike Ratledge, and drummer John Marshall. Marshall was in fact the second drummer to be hired after Robert Wyatt's departure in August of 1971 (Phil Howard was the first), and this edition of Soft Machine recorded merely half an album together. It is one of the few documents of an entire Soft Machine concert available, and the sound quality is unusually good (as Soft Machine live recordings go). The material on the set is split pretty much cleanly between the albums Third and Fifth, with the band's fourth album being completely ignored -- Dean was writing wildly knotty jazz-rock stuff at the time and Marshall was just coming into the band from a stint with Jack Bruce. That said, this wonderfully spacy open jam material is solid, showcasing a band utterly comfortable with improvisation and in command of its use of space. For a stellar example check "Slightly All the Time" on disc one, where Ratledge and Dean weave through and around one another in the middle and simultaneously solo, taking the tune into the stratosphere without losing its focus. Another fine example is the stellar version of "Facelift" that kicks off disc two with elastic drum work by Marshall and a burning solo by Dean. All in all, though, these are ensemble performances, the sound of a band working together to get to they know not where but knowing how to travel. Highly recommended. ~ Thom Jurek, All Music Guide
