|
|
|
|
|
|
|
|
|
|
|
|
|
2CD
|
|
LC2CD 5084CD
|
Soft Machine, live from the Théâtre de la Musique, Paris on March 2nd, 1970. Despite their gradual dissolution in the late '70s, Soft Machine's stock has never been higher thanks to a steady stream of archival recordings that continue to surface and throw light on the importance of varying line-ups. The quintet version of the band, captured at the Théâtre de la Musique, Paris on March 2nd, 1970 for France's Pop Deux TV show features that short lived and often lamented line-up of Lyn Dobson and Elton Dean on their respective reeds accompanying the obligatory Hopper, Ratledge, and Wyatt. The Paris date in March caught Dobson near the end of his tenure which came two weeks later. Suffice to say, the historical value of this recording is undoubted while rooted in the five-man line-up that was joyous, but sadly all too brief. London Calling bends your ear with a rare, captivating performance from our beloved Softs, live in Paris, 1970. Covering their first two albums and songs exclusive to performances from this period. Includes the entire Pop Deux TV broadcast. Visually interesting, but moreover, stunning to hear. Personnel: Mike Ratledge- Lowrey organ, Hohner pianet; Robert Wyatt - drums, vocals; Hugh Hopper - bass; Elton Dean - alto sax, Saxello; Lyn Dobson- soprano sax, flute, voice, harmonica. Includes full color, eight-page booklet with background liners and rare images. Digitally remastered for greatly enhanced sound quality.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
NK 202106LP
|
These Soft Machine recordings for John Peel's Top Gear program took place in June 1969 when the band was at the peak of their psychedelic revolution and during their first transition towards an unprecedented form of psych rock jazz. These historical sessions, including a great version of Robert Wyatt's masterpiece "Moon In June", show the great potential of the band's early line ups featuring Hugh Hopper (bass), Kevin Ayers (vocals, guitar, bass), Robert Wyatt (vocals, drums), and Mike Ratledge (organ, electric piano, flute).
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
DBQP 015LP
|
Live In London In The Early Sixties features the early mythical Soft Machine in the trio line-up of Kevin Ayers, Mike Ratledge, and Robert Wyatt, captured live in the full swinging London atmosphere. These were the band's psychedelic days, when their original magic potion was composed of unconventional songs and freaky organ, bass and drums improvisations. The group was exploding throughout the London club scene, delivering one of the most innovative and influential sounds of that musically and culturally fertile era.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
SEC 117LP
|
"Limited edition LP (500 copies) of Soft Machine tracks from 1967, featuring Mike Ratledge, Kevin Ayers, Robert Wyatt and Daevid Allen on side one, and from 1969/70 featuring Mike Ratledge, Robert Wyatt, Hugh Hopper and Elton Dean on side two. Pressed on 180 gram vinyl."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
CRP 111LP
|
2011 release. "Cherry Red Phonograph is proud to present a fully re-mastered edition of the classic 1976 album Softs, by one of the most influential exponents of the British underground, Soft Machine. This album was the band's second for the Harvest label (Pink Floyd and later Wire) and featured a new line-up of Karl Jenkins (piano, synthesizers), John Marshall (drums), Roy Babbington (bass), John Etheridge (guitar), and Alan Wakeman (sax). Seven of the album's eleven tracks were composed by Jenkins, who had taken over keyboard duties from Mike Ratledge (who makes his last appearance here on 'Song Of Aeolus' and 'Ban-Ban Caliban'), so the band at this stage was largely a vehicle for Jenkins' own vision. Also, taking Alan Holdsworth's place on guitar is John Etheridge, whose jaw-dropping speed and prowess made it quite obvious that he was no second fiddle. This is an album of exquisitely executed instrumental jazz fusion that has unfortunately often been overlooked over the years (leaving it un-issued on vinyl for over two decades)! Re-mastered from the original tapes and featuring the original artwork."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
CPLP 4500HLP
|
Gatefold 180 gram reissue, licensed to Universal. "The Soft Machine deftly combine '60s psych-pop, jazz, and rock into a unique sound that stands up to repeated listenings more than most music today. The instrumentals are awesome -- interplay between organ, drums, bass and vocals make for intricate rockers with priceless moments. Wyatt's lispy voice is off-putting at first, but endearing on more listens, aided by his clever and often witty lyrics. Songs like 'A Certain Kind,' 'Save Yourself,' 'Lullabye Letter,' and 'Why Are We Sleeping' are great '60s psych-pop, with good hooks, but still original sounding."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
CPLP 4505LP
|
Exact repro reissue of Soft Machine's legendary second album, originally released in 1969, bridging the gap between avant-rock, psych, jazz and stream-of-consciousness weirdo absurdism. "The Soft Machine plays music for the mind. In its strictest sense, it may impose some cerebral responsibility on the listener, because you can't really hum along or have the tune pass through head as you walk in the streets. But the ultimate good feeling that the Machine generates will always remain with you, and the final emotional benefit is well worth the thinking toll."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2CD
|
|
VP 233CD
|
"You may well ask, why release yet another live recording of a Soft Machine concert when there are already several available. Quite simply according to the line up which included Mike Ratledge, Robert Wyatt, Hugh Hopper and Elton Dean and in their opinion it was one of the best performances they had done together. It was made in the middle of the classic Soft Machine period and contains all the major items that made up their repertoire of the time. The recording was made by Brian Hopper from the audience and as can be heard from the enthusiastic reception by the audience at the end, this was an outstanding Soft Machine offering, with an 'authentic' live sound exactly as it was actually experienced, heard here in glorious lo-fi, but a performance to treasure and above all to enjoy. It is the spirit and energy which comes through in a performance that is critical and if these are at a high point as they were in this concert then any shortcomings in sound quality can be ignored. Elton's playing was especially lyrical with a soaring, expressive fluency especially on 'Out- Bloody-Rageous', 'Backwards', 'Hibou Anemone & Bear' and 'Pigling Bland'. Hugh, as ever, underpinned everything with rock solid bass whilst displaying sensitivity and drive ? very necessary with the complex patterns being thrown around by the other three. Robert as a drummer, Robert as a vocalist, Robert as a musician -- all are inseparable. It is his total immersion in music that enables Robert to project his personality into all he does on stage and on record Mike's uncompromising strings of notes, leaps of musical structure and texture and complex time signatures all characterize a style not heard before (or since) in any band. The concert followed conventional practice with two sets separated by an interval. It was therefore appropriate to place the two halves on separate CDs to maintain the feel of the overall performance. This CD will be a must for the huge Soft Machine fan base especially with this brilliant line up."
|
|
|
|