The Soft Machine The Soft Machine - (LP Colored Vinyl Gatefold)

Preview: The Soft Machine - (LP Colored Vinyl Gatefold)

The Soft Machine - (LP Colored Vinyl Gatefold)

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catalog number: SLP5341C
weight in Kg 0.2

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(Sundazed) 13 tracks, colored vinyl, 1968 - Gatefold The first two albums by England's... more

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The Soft Machine: The Soft Machine - (LP Colored Vinyl Gatefold)

(Sundazed) 13 tracks, colored vinyl, 1968 - Gatefold

The first two albums by England's legendary Soft Machine, originally released in 1968 and 1969, remain among the most innovative and influential releases of that musically fertile era. These seminal LPs offered a visionary psychedelic-progressive-jazz-rock mix that helped to make the Soft Machine one of Britain's first significant underground bands, as well as a key force in the birth of both progressive rock and jazz-rock. A product of the same fabled Canterbury scene that spawned such beloved cult acts as Caravan and Hatfield and the North, the Soft Machine was the rare art-rock combo whose members possessed the instrumental skills to execute their ambitious musical ideas, as well as a playful sense of humor that balanced the band's complex compositions and adventurous improvisations. By the time they began making albums, the Soft Machine was already a sensation in the budding U.K. rock underground, thanks to their now-legendary performances at such fabled London clubs as the UFO, the Speakeasy and Middle Earth, where they shared stages with the likes of Pink Floyd and Tomorrow.

The Soft Machine, co-produced by Chas Chandler and Tom Wilson, announced the band's arrival on the international scene in fine style. With an unusual three-man lineup comprised of Kevin Ayers on bass and vocals, Robert Wyatt on drums and vocals, and Mike Ratledge on keyboards, the album was recorded in New York, while the band was touring North America with the Jimi Hendrix Experience. In contrast to the extended pieces that would later dominate the Soft Machine's repertoire, the album focuses on shorter, more concise songs that nonetheless provide plenty of room for the musicians to demonstrate their varied abilities. This landmark vinyl gem has been out of print for decades, but now it is back in this meticulously packaged Sundazed edition. Mastered from the original analog tapes and pressed on pristine high-definition vinyl, this lovingly restored vintage gem sounds as powerful and imaginative as ever.

Article properties: The Soft Machine: The Soft Machine - (LP Colored Vinyl Gatefold)

Interpret: The Soft Machine
Album titlle: The Soft Machine - (LP Colored Vinyl Gatefold)
Genre Rock'n'Roll
Label SUNDAZED
Preiscode VLP2
Geschwindigkeit 33 U/min
Vinyl record size LP (12 Inch)
Record Grading Mint (M)
Sleeve Grading Mint (M)
Artikelart LP
EAN: 0090771403216
weight in Kg 0.2

Soft Machine - The Soft Machine - (LP Colored Vinyl Gatefold) LP 1
01	Hope for Happiness	The Soft Machine
02	Joy of a Toy	The Soft Machine
03	Hope for Happiness	The Soft Machine
04	Why Am I So Short?	The Soft Machine
05	So Boot If at All	The Soft Machine
06	A Certain Kind	The Soft Machine
07	Save Yourself	The Soft Machine
08	Priscilla	The Soft Machine
09	Lullabye Letter	The Soft Machine
10	We Did It Again	The Soft Machine
11	Plus Belle Qu'une Poubelle	The Soft Machine
12	Why Are We Sleeping?	The Soft Machine
13	4 Lid	Box 25

Soft Machine evolved through various jazz-oriented per-sonnel. The group took their name from... more

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"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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