The Soft Machine Vol One and Vol Two(mp3@320)[rogercc][h33t]
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The Soft Machine Volume One
DescriptionTHE SOFT MACHINE VOLUME ONE & TWO Quote:
A wild, freewheeling, and ultimately successful attempt to merge psychedelia with jazz-rock, Soft Machine's debut ranges between lovingly performed oblique pop songs and deranged ensemble playing from drummer/vocalist Robert Wyatt and organist Mike Ratledge. With only one real break (at the end of side one), the songs merge into each other not always smoothly, but always with a sense of flair that rescues any potential miscues. Wyatt takes most of the vocals, and proves himself a surprisingly evocative singer despite his lack of range. Like Pink Floyd's The Piper at the Gates of Dawn, Volume One was one of the few over-ambitious records of the psychedelic era that actually delivered on all its incredible promise.
Recorded in just a few days in New York while Soft Machine were touring America, this debut album is really a reflection of the band's live sets at the time : a collection of psych-flavoured pop songs linked together by instrumental, sometimes improvised, interludes. Although the arrangements don't have the sophistication of later ones, what strikes one when listening to this album is how unique a style Soft Machine had already come up with at the time. Granted, there is some naivety in both the lyrics and music sometimes (some of the songs date from the Wilde Flowers years), but also an impressive maturity as a group of players. The interplay between Ratledge's organ and Wyatt's drums is of an intensity rarely paralleled in Soft Machine's later, more jazz-oriented efforts. Kevin Ayers' contributions are concentrated on the second side, the highlights of which are the absurdly repetitive "We Did It Again" and the Gurdjieff-inspired "Why Are We Sleeping?", both of which have since remained favourites of Ayers' solo gigs. Quote:
Volume Two by Soft Machine, first released in 1969. A jazz influence is introduced to the humour, dadaism, and psychedelia of The Soft Machine
The album was inspired by Frank Zappa's Absolutely Free, and consists of two long compositions with "As Long as He Lies Perfectly Still" and "Dedicated to You" serving as interludes. Acting on a recommendation from Zappa, the band split the main tracks into smaller pieces that were given arbitrary names taken from sound effect tapes in the studio. Kevin Ayers' departure after the lenghty American tours of 1968 almost caused Soft Machine to break up. But when Wyatt and Ratledge were offered to play a few gigs to promote the newly released first album in February 1969, they brought in former roadie Hugh Hopper and reformed the band. This new start provided Ratledge with the impetus to really have a go at composing, and the result is his lengthy "Esther's Nosejob" suite, which totals 11 minutes and makes up most of side two of Volume Two. The arrangements are of an unprecedented sophistication, combining Ratledge's keyboards with the dual saxophones of the Hopper brothers (former Wilde Flowers leader Brian later augmented the trio on most of their 1969 gigs), and the music is largely experimental. Side one is also made up of segued more song-based tracks, most of them Hopper-Wyatt collaborations, bearing the collective title "Rivmic Melodies". They are humorously introduced by a spoken statement by Wyatt presenting them as a collection of songs "from the official orchestra of the College of Pataphysics". Particularly funny is Wyatt's two-part "Concise British Alphabet". The album includes two other songs, "As Long As He Lies Perfectly Still", a tribute to former bandmate Kevin Ayers, alluding to his macrobiotic food addiction as well as directly quoting from "Why Are We Sleeping?" and "Lullabye Letter"; and "Dedicated To You, But You Weren't Listening", a exquisitely weird Hopper song that Wyatt singing suitably oblique lyrics to an unorthodox open-tuning acoustic guitar chord sequence. Trackers
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