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The Soft Machine Man In A Deaf Corner - Anthology 1963-70 (CD)

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(2004/SANCTUARY) 26 Tracks more

The Soft Machine: Man In A Deaf Corner - Anthology 1963-70 (CD)

(2004/SANCTUARY) 26 Tracks

Article properties: The Soft Machine: Man In A Deaf Corner - Anthology 1963-70 (CD)

  • Interpret: The Soft Machine

  • Album titlle: Man In A Deaf Corner - Anthology 1963-70 (CD)

  • Label CASTLE

  • Year of publication 2004
  • Genre Beat

  • Artikelart CD

  • EAN: 5050159189724

  • weight in Kg 0.2
Soft Machine - Man In A Deaf Corner - Anthology 1963-70 (CD) CD 1
01 Belsize Parked The Soft Machine
02 Dear Olde Benny Green Is A Turning In His... The Soft Machine
03 Frenetica The Soft Machine
04 Orientasien The Soft Machine
05 Da-Da-Dee/Bolivar Blues The Soft Machine
06 Man In A Deaf Corner The Soft Machine
07 We Know What You Mean The Soft Machine
08 I Should've Known The Soft Machine
09 Hope For Happiness The Soft Machine
Soft Machine - Man In A Deaf Corner - Anthology 1963-70 (CD) CD 2
01 Hulloder The Soft Machine
02 Dada Was Here The Soft Machine
03 Thank You Pierrot Lunaire The Soft Machine
04 Have You Ever Been Green The Soft Machine
05 Pataphysical Introduction (part 2) The Soft Machine
06 Hibou, Anemone And Bear The Soft Machine
07 Pig The Soft Machine
08 Orange Skin Food The Soft Machine
09 A Door Opens And Closes The Soft Machine
10 10.30 Returns To The Bedroom The Soft Machine
11 Facelift The Soft Machine
12 Moon In June The Soft Machine
13 Mousetrap The Soft Machine
14 Noisette The Soft Machine
15 Backwards The Soft Machine
16 Mousetrap (reprise) The Soft Machine
17 As Long As He Lies Perfectly Still The Soft Machine
Soft Machine evolved through various jazz-oriented per-sonnel. The group took their name from... more
"The Soft Machine"

Soft Machine evolved through various jazz-oriented per-sonnel. The group took their name from William Bur-roughs' novel after Australian guitarist, Daevid Allen, brought the influence of Terry Riley and tape-loops to the basic Kentish line-up of Kevin Ayers (bass, vocals), Mike Ratledge (keyboards, born 1943) and Robert Wyatt (drums, vocals).

They appeared regularly opposite the Pink Floyd in London, participated in a couple of abortive recording ses-sions in 1967, and presented their music (free improvisation over a rock base, plus vocals) in France with great success. Allen was refused re-entry to Britain because of visa and passport difficulties, and it was as a trio that the band under-took a gruelling American tour with Jimi Hendrix in 1968; they broke up after cutting their first LP for Probe in New York. When the album proved successful, they re-formed with Hugh Hopper (born 1945, a sympathetic sideman from. the days when they called themselves the Wilde Flowers) re-placing Ayers on bass. More albums (on CBS /Columbia) followed, featuring Wyatt's songs and Ratledge's angular experiments with time-signatures.

Four jazz hornmen were added for a French tour, and saxophonist Elton Dean stayed with them; their now strongly jazz-influenced sound, with fewer Wyatt vocals, represented rock at the London classical music Proms in 1970, and Wyatt left to form Matching Mole in September, 1971, shortly after an appearance at the New-port Jazz Festival. The jazz flavour remained, with Phil Howard then John Marshall on drums, Roy Babbington re-placing Hopper, and Karl Jenkins (keyboards, oboe and baritone saxophone) replacing Dean; on the Six album, jazz riff structures and Rileyesque pieces rub shoulders. More recently, jazz guitarist and violinist Alan Holdsworth has injected a slightly more urgent feeling into their brilliantly Played, carefully structured improvised rock, as on their 1975 Harvest album.

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