Customer Reviews

Softs

5 star:		(9)
4 star:		(3)
3 star:		(0)
2 star:		(0)
1 star:		(1)

 

 

There were primarily two albums from Soft Machine that really interested me: "Bundles" from 1975, and "Softs" from 1976. Despite the departure of Allan Holdsworth and Mike Ratledge after "Bundles", the quality of the compositions and playing on "Softs" continues to impress as much as its predecessor. Both albums are 4-1/2 stars.

Critics of this album often compare it to elevator music or light jazz. Listen up: forced to suffer through endless hours of listening to Muzak as a security guard during my summer job in my college days (the late 70's), I feel supremely qualified to quash that hideous "light jazz" accusation! (Don't get me humming the clarinet version of "Penny Lane" again! Aarrgh!!!)

To be sure, this is not the aggressive, "Look what I can do" jazz/rock fusion of Mahavishnu Orchestra, U.K., some Brand X, or other contemporaries of the band. There is a dreamier atmosphere that pervades "Bundles" and "Softs"; but that background is supplemented with catchy bass riffs, searing and soaring guitar solos, great drumming, and interesting melodies interspersed with some great jamming. Actually, if you combined the pre-Brand X "Marscape" album with Camel's "The Snow Goose", you'd have a pretty good idea of the sound of "Softs".

I realize I'm kind of reviewing both albums here, but "Bundles" and "Softs" really are kindred albums that bookend a unique phase of Soft Machine. They share a similar feel and scope between them, while still managing to differentiate themselves with new melodies and perspectives.

These are very good, interesting, entertaining and - dare I say - ESSENTIAL albums for the serious progressive rock/jazz fusion aficionado.

I value interesting music that is played and recorded well. This cd's rating was based on:
Music quality = 8.9/10; Performance = 9/10; Production = 8.5/10; CD length = 8/10.
Overall score weighted on my proprietary scale = 8.8 ("4-1/2 stars")

One disc 45 minutes in length approximately. The remastered sound is improved from earlier releases-clean, open, and crisp without sounding harsh. The 10 page booklet lists song titles, and band members (Roy Babbington-bass, John Etheridge-guitars, Karl Jenkins-keyboards, John Marshall-drums, Alan Wakeman-saxophones, and Mike Ratledge-synthesizer on "Ban-Ban Caliban" and "Song Of Aeolus". There's also a short synopsis of the band during the time surrounding this album, including insight from band members. There are color photos of the band members throughout the booklet.

This album, released in 1976, shows a band that had changed fairly radically from its earlier stage as a very progressive/sometimes tongue in cheek English group that used the talents of Robert Wyatt as drummer/vocalist, along with several musicians that defined the very sound of the band. From the first album through "Three", and maybe a bit beyond ("5TH" OR "6TH"), the band's sound was easily recognizable, yet not so easily defined.

This album and "Bundles" marked a real change in the bands direction. Gone were the organ/keyboard emphasis of earlier days-the guitar was becoming the dominant instrument. With the addition (he replaced Allan Holdsworth) of guitarist John Etheridge (on "Softs ") the band had a player who could step out front and solo until next Tuesday if needed. Along with Babbington's more rock orientated bass work (replacing the wonderful Hugh Hopper), and the intuitive drumming of John Marshall, the group took on a different sound-jazz rock. Where the bands earlier work was basically English progressive, this new band devised a harder sound in their compositions (written mostly by Karl Jenkins), which was a real left turn for long time "Machine" listeners.

But this album has a number of good things going for it. Certainly no one can say that Etheridge's guitar playing wasn't good if not great. He could up the fire power ("The Tale Of Taliesin") when needed, or play softly ("Etika") and mannered ("Song Of Aeolus") when called for. Jenkins various keyboards added, besides some beautiful piano ("Out Of Season"), just the right amount of atmospherics ("Second Bundle") that held his compositions together. Marshall's drumming was both the foundation for the rest of the group to work off of, and at times, almost a lead instrument in tandem with another soloist. Babbington's bass worked in tandem with Marshall to produce a rock solid background for the rest of the band. And Alan Wakeman added his horns when needed, adding extra depth to the songs. And to my ears the addition of Mike Ratledge on two tracks, definitely adds something missing from the rest of the album-a listen to the tracks he plays on is all the proof you'll need.

The composition "The Camden Tandem" is a perfect example of the new SOFT MACHINE. Etheridge's burning guitar, playing with and over Marshall's fusion-style drumming, is far and away different than anything the "old" "Machine" would compose, let alone play. Wakeman's horn is in the then current style of modern horn players who incorporated a bit of funk into their jazz-rock sound. Definitely not the SOFT MACHINE from the late 60's/early 70's. But that's okay. This band, with vastly different personnel, had their own sound and approach to music. There were a number of bands (especially in the U.S.) playing fusion style music, using jazz as a launching pad. Indeed, Allan Holdsworth had just left SOFT MACHINE to play with the awesome (late) Tony Williams, in his new fusion-orientated band. So yes, the bands sound had changed-playing the then new fusion/jazz-rock style that was fast becoming the new "thing". And that's all right-any artists who don't grow and change will suffocate eventually. The band was playing the music that most (certainly not all) people wanted to hear.

Is this album any better of worse than the bands earlier work? No. It's different, that's all. If you're a died-in-the-wool SOFT MACHINE listener from the early years, this album might sound almost foreign to your ears. If, however, you're open to a different sound (and band), this album has a number of outstanding compositions, wonderfully played. Having heard SOFT MACHINE since the earliest days, this album took a bit to get into. But once I opened my ears and really listened-wow. If you like 70's fusion/jazz-rock played by musicians at the top of their game-give this a try. You just may be pleasantly surprised.

"Groups exist for the use of musicians" so said drummer Bill Bruford. I think that this statement applies here. Much is made of Mike Ratledge literally fading away from the group during these sessions thus effectively leaving the Soft Machine to a whole bunch of non-original members. This has no trace of the wit and wisdom of the Robert Wyatt years, or the edgy experimentalism of the mid-period band with Hugh Hopper and Elton Dean alongside Ratledge's patent organ soloing.

It does however, continue the shift towards the first class compositional and instrumental intensity delivered on it's predecessor `Bundles'. Keyboard and Reeds man Karl Jenkins is now the driving force, and (Allan Holdsworth recommended) guitarist John Etheridge takes the music to a new intensity and ferocity ably supported by the stunning drumming prowess of John Marshall. There are contrasting slower melodic passages, and time shifts, making this a thoroughly well assembled and captivating suite of compositions.

This album is often seen as the beginning of the end for the Softs, but fresh listening to this beautifully recorded and newly remastered re-issue on Esoteric reveals much to admire and plenty to enjoy in terms of breathtaking musicianship.

In truth the album becomes a little fragmentary towards the end, but the first two thirds of its duration is a tour de force of energy and propulsive Mahavishnu style intensity, contrasted with Jenkins' strong compositional abilities on the softer passages. `The Tale Of Taliesin' and `Ban Ban Caliban' in particular represent British musicianship at it's finest, while `Song Of Aeolus' occupies the melodic territory of the likes of contemporaries Focus and Camel.

Forget the name and the associations of old, and enjoy the fact that the musicians gathered here were at the height of their creativity. Recorded at Abbey Road under the auspices of engineer John Leckie, instrumental music never sounded so good.

this is soft machine's ninth release. more personel changes with the adding of john etheridge (replacing allan holdsworth) and alan wakeman (rick's brother) on saxophones. by this time, mike ratledge's role was reduced to some added keyboard effects. though as added material, it is quite good and adds to the atmosphere and flow of the compositions. overall, this is an excellent cd and esoteric did a great remastering job and added an informative booklet. karl jenkins compositions are varied and very sensitive. the strength of soft machine has always been that the musicians are all excellent and performances are superb. i know there are many critics of the latter incarnations of the group, but i find them just as competent and enjoyable as any other previous release. highly recommended if you like jazz/rock fushion type of material.

First of all, know what I really like about the Bundles album cover? That it's deceiving. It shows an old man in a field releasing a bird from a box and calmly watching it fly free... and then you actually listen to the MUSIC and realize that it completely rocks your socks off the moment "Hazard Profile Part One" comes on and doesn't resemble the album cover in any way, shape or form, haha.

Wiht Softs, their follow-up album released in 1976, perhaps it's almost impossible to believe, but this stuff rocks even *harder* than a good portion of Bundles! I seriously kid you not.

Listen to a song like "Ban-Ban Caliban" and prepare yourself for the electric guitar solo in the middle. It's *extremely* intense, sophisticated, and every single line is sizzling hot and totally off the charts (quite similar to a Mahavishnu Orchestra or Pierre Moerlen Gong track). The saxophone jam is pretty heavy as well, and once again the saxophone and guitar come together to create mind-bogglingly heavy and interesting results. A jamming delight, at over 9 minutes it's honestly pure perfection.

Then a song like "The Tale of Taliesien" has ANOTHER intense guitar jam, though sadly only a couple minutes long this time. Perhaps the only downfall to this particular song is that the 3-minute intro is repetitive, but melodic- let's not forget the obvious instrumental melodies surrounding the guitar jam! "One Over the Eight" will probably remind you of one of those straight up late night smoky barroom jazzy type songs. It's extremely melodic too.

Nope, the Soft Machine never lost a beat from their very first album all the way until Softs. THAT my friends, is hard to top and makes the Soft Machine one of the best jazz/progressive rock bands of the 60's and 70's.

Excellent! from start to finish a must for lovers of all good music ! this remastered version is certainly worth the money. Buy this now .

This is probably the album including Bundles and Two were Soft Machine actally sounds like there doing this for jaming and grooving. Even if Mike Ratelege left he still makes apperences on the synth. Albade is a folk song with John Etheridge and Karl Jenkins on oboe. Tales of Taliesin is a aventuerous jam with a moody piano intro then a shredding solo from Etheridge ending with a rift that grows and grows with layers of keyboards,guitar and bass. Ban-Ban Caliban is a fun grooving track with the same formula as Taliesin and with a great sax solo by Wakeman. Song of Aeolus is a slow mild piece with the piano somewhat off beat. Side two opens with the lush and beatiful acostic turn electric Out of Season. Seocond Bundle continues with the synth loops like Floating World,Between or the French or German Lesson. Kayoo is a drum solo and Camden Tandem is were Etherigde shreds with Marshall still soloing. Nexus is just a vechicle to the funky bass ladden One Over the Eight. Then we go to Etheridge's closer Etika with its jazzy folk flavor. A very nice album,great for anytime of the day. Highly recommended if you can find it.

Although Mike Ratledge, the last original member of the Soft Machine, called it quits prior to the recording of this 1976 album, his departure did not hurt the bands sound. The album is loaded with great music, composed primarily by Karl Jenkins, and supported by the talents of John Marshall, Roy Babbington, and guitar great John Etheridge.

too intelligent just superb performances by these musicians. jazz rock prog fusion or what on earth have they come up with this album.BRILLIANT!!!!

This is the first album that I listened to the Soft Machine on radio in my high school age in 1976. I recorded the radio program in a cassete tape and repeated listening it. A few years later, I purchased an analog LP of it finally and repeated listening it. About ten years later, I purchased a CD of it and ....

Thus this is one of my favorite albums of the Soft Machine and it will remain as it is through my life. This is truely one of the best Jazz-Rock albums of all. I recommend it not only to the Soft Machine fan, but also every 70's progressive rock funs.