Customer Reviews

Land of Cockayne

5 star:		(5)
4 star:		(2)
3 star:		(5)
2 star:		(0)
1 star:		(4)

 

 

I can understand why many people don't rate this album as highly as other later Soft Machine records, but there's still a fair bit in it.

It was really Karl Jenkins' solo project, in the sense that he wrote the music and conducted the orchestral backing. In many ways it seemed to be the beginning of him bridging from his background with Nucleus and Softs into the classical idiom. So the record has a different feel to it: it's more mellow and often slower, even soundtrack material, but there's lots of musical knowledge, wisdom and good ideas.

I love the playing of John Marshall on this record, he really nails the percussive moods and grooves and has a big say in the production. I have a few problems with Jack Bruce's bass lines, which aren't too bad but occasionally seem to lack the pace, fire and even texture that one might expect in Softs' material: no more so than the almost banal disco rhythm underscoring the opening track, Over 'n' above. But, hey, it was 1980 and it was pretty high-exposure stuff back then, and I expect that was Jenkins' idea of fun, or context or zeitgeist or.... maybe it was about lifting the audience out of conformist muzak. And it was an intro, which may have attracted non-Softs people or radio play even and then transformed a few consciousnesses.

Those bumps are pretty soon smoothed out on the delicate synth, bass flute and percussive work on Lotus Groves (#2), perhaps an homage to McLaughlin's Lotus feet, but to my mind the musical performance really lifts with Panoramania(#4), which really stays with you: rich and soaring sounds of sax and orchestra and superb snappy drumming, and a great Fender Rhodes solo by John Taylor.

The second side continues the theme: Palace of Glass reminds me of Island years' Jade Warrior before being smashed open by Marshall's drums and then a soaring mellotron-like segue into the funk mayhem that follows.Those who like the material that led up to this album might find some satisfaction with the hotter and funkier tracks towards the end of the record, Hot biscuit slim and A lot of what you fancy, embellished by great cymbal playing by Marshall. In between these two sits Sly Monkey, a platform for lyrical playing by Alan Holdsworth and Dick Morrisey's bluesy sax, by then abandoned by Jenkins.

The Land of Cockayne should be seen as a concept album about musical opulence, with the tracks aligned to take the listener into a vast range of musical moods and styles. There's heaps of soundscapes here, some good moods and emotional yet tempered playing, even if the music has less of the signature melting keyboards of the Ratledge era and appears less intense and perhaps too funkified when compared to the jazz-rock that followed it. I'd give it 31/2 stars, just to warn those die-hards that this is not what fans of previous eras of Softs might expect, but I like most of the record.

Jazz rock but not as heavy as the previous Karl Jenkins led softs e.g. Seven, softs et al. This album has some catchy tunes but surely an unfair comparison with the other classic softs albums. I would still listen to this album over and over again because it gives me bliss and enjoyment

This is Soft Machines final album, even if it doesn't have any of the original members or most of the replacement members. The album is just o.k. by my taste,you don't want to hate it but you don't want to love it. This album if also filled with some famous and obsured legends like Jack Bruce or Allen Holdsworth. Over and Above starts us off with a funky groove and a Beach Boy styled harmony chorus. Lotus Goves is a quiet almost techno like ditty. Isles of the Blessed exercises Jenkins conducting which opens to the FM staple Panoramina with a biting rift and Rhodes solo.Behind the Glass Curtain is just so odd snyth making chord changes. Side 2 opens with Palace of Glass a remake of The Floating World. Hot Biscuit Slim is another funk rifter with nice guitar by Parker. Velvet Mountain is a smooth 80's ballad. Sly Monkey is the only song with Holdsworth getting a solo which isn't that impressing but has the same structure of Hot Biscuit. Then we close with the hilarious Alot of What You Fancy. That sums it up for the Great Soft Machine. Now you have you choice of Soft Head,Soft Works,Soft Heap, Nucleus,Hugh Hopper,Elton Dean, Allen Holdsworth,Isotope,Gong,Robert Wyatt,Matching Mole or Adrimidus to choose from!

This atmospheric album, Soft Machine's last, is the best thing they ever recorded. It has a mood like no other, it perfectly plends orchestration with improv, and it is a contender for best jazz album ever. Highly reccommended.

not a trascendental work as the early soft machines, but a unique kitsch gem from the doom jazz rock era....now it seems an elegant, cool autoparody of that type of music...maybe is the forgotten masterpiece of the elevator music genre

This, the final album recorded under the name Soft Machine, has been much maligned as being extraneous to the legacy of a band who forged a unique and truly progressive path through the late sixties and seventies. The truth of the matter is that it really is a Karl Jenkins project in all but name, but it should not be unfairly filed alongside the library music of the posthumously issued `Rubber Riff'.

One look at the players listed here should tell anyone that this not a bland collection of half-baked instrumentals, but quite a feast of surprisingly strong musical sketches. Jenkins leads (as keyboardist and conductor) such talents as the mighty Jack Bruce and Allan Holdsworth and twin sax maestros Ray Warleigh and Dick Morrissey. John Taylor contributes some first class Fender Rhodes, while Softs cohort John Marshall is as reliable and vibrant as ever on drums.

The album is a suite of varied instrumental pieces ranging from appealing, sunny pieces for sax and wordless vocals, melodic ambient excursions, string sections, and strong themes which allow ample time for quality soloing from the giants gathered here. Yes, it is easy on the ear, but it carries a gravitas which relates back to Jenkins' compositions for earlier incarnations of Soft Machine. The extended `Panoramania' and `Hot Biscuit Slim' both recall the joy of a beautifully scored head theme ushering in a collection of solos by musicians who by virtue of their pedigree make every note count. `Black Velvet Mountain' is a wonderful showcase for Allan Holdsworth's ability to get inside a melody, which like his work with the Bruford band of this era, exude the authority of a seasoned player. `Sly Monkey' offers further evidence that an Allan Holdsworth solo is a thing of great joy, especially when complemented by the equally majestic saxophone of Ray Warleigh.

It may not be groundbreaking, but sure as hell it's worth it just to hear these players do what they do best. Much underrated and well worthy of reinvestigation, just don't expect `The Moon In June'.

esoteric done it again, doing an excellent job remastering and adding an informative booklet to this wonderful cd. the title of this cd is based on a medieval vision, Land of Cockaigne, a poor man's paradise of effortless abundance. i've been a soft machine fan for decades and absolutely loved the progression in style this band developed. to my constant surprise are those critics to dislike the changes this band had made. change is the only thing permanent in life people. this cd is very melodic, and romantic, with added strings from the composition and musical direction of karl jenkins. jack bruce on bass, john marshall drums, john taylor, allan holdsworth, alan parker, dick morrissey and ray warleigh round out the band. most of the music is very beautifully composed and gentle. there are a couple of pieces that "rock" to round out the balance of style on this cd. sadly this is the last of the modern line up of soft machine cds. there has been a lot of older material being issued, which too is wonderful. but if you're a fan of progressive jazz, this is a delightful cd to own.

This was the last release for the Softs, and barely recognizable as a Soft Machine product. The monniker had always been a great brand name for jazz inflected progressive music. The music here is melodic, safe, and would not be out of place as TV themes, Muzak (wouldn't offend a patient in a dentist office), or as any background type thing in general. There is not much edgey quality to it, that was always a Softs trademark. The sax work from Dick Morrissey is too mainstream and pretty for this band. Jack Bruce however is in fine form on fretless bass. Alan Holdsworth gets star billing, but his prescence is rarely felt. Still a pleasant and polite record.Fusion fans looking for something more challenging need to here the "numbered" (Soft Machine through "Seven")records, and "Bundles" which is pretty good also.

This was Soft Machine's last original studio album, and another Softs
masterwork. The music contained here is simply brilliant, with the finest playing to be found on any 1981 release. If you're a Softs fan, this is absolutely necessary to own. If you're a jazz fan, this is a must-have. As a matter of fact, if you like great music period, "Land Of Cockayne" would be a smart purchase. A forgotten masterpiece.

Sometimes Weather Report, Corea's Return to Forever and a helping of Crusaders makes this one the finest Soft Machine ever. Karl Jenkins proves he is the guiding light behind this group of fine musicians. A shame this was the last as it is certainly the best! Wake up one star bores!