There are very few bands who have impacted the progressive scene like (The) Soft Machine, who are still enthralling and challenging audiences more than 50 years since their debut. Over the years they have had numerous incredible musicians through their ranks, with multiple different line-ups, and while there will always be some disagreement about which was the best, there is no doubt that the tenth version of the band can lay claim to that accolade. While Lyn Dobson was with the band just long enough to record one track on ‘Third’, it was the remaining quartet of Elton Dean (alto sax, saxello, Hohner pianet), Hugh Hopper (bass), Mike Ratledge (Hohner pianet, Lowrey Holiday Deluxe organ, Fender Rhodes) and Robert Wyatt (drums, vocals) who completed that seminal work and then went on to record ‘Fourth’.
In February 1971, Soft Machine performed two concerts at the Henie Onstad Art Center near Oslo, Norway, as part of an art exhibition by the Boyle family, with Mark Boyle’s films projected during the performances. Mark Boyle, with his partner Joan Hills and their Sensual Laboratory light show, had accompanied Soft Machine on many of theirs gigs in the band’s early years, and this was a reunion of sorts. The set came mostly from ‘Third’ and the newly-released ‘Fourth’, with a few extras—“Neo-Caliban Grides,” soon to appear on Elton Dean’s self-titled solo album; ‘All White’, the only new composition in the set (and the only one to utilize Ratledge’s newly-acquired Fender Rhodes piano); and “Pigling Bland,” which, despite appearing alongside “All White” on 1972’s ‘Fifth’, actually dated back to 1969, having been written as a new ending for the septet arrangement of “Esther’s Nose Job.” Both nights were recorded by Meny Bloch with a tape machine connected to the mixing desk, but it was some years before they were made available, with Michael King releasing the second night as ‘Live At Henie Onstad Art Centre 1971’ in 2009. That has long been unavailable, while the first night has not previously been available at all, but that has now changed.
Ian Beabout was given the job of mixing and mastering the tapes, and an amazing job he has done. The best way to listen to this is on headphones, and when one really has the time to do just that, as this release is nearly three hours long, broken into four sets of continuous music. There are long periods where Wyatt shows incredible restraint and control by not playing at all, leaving it to the musicians in front of him to bounce ideas off each other. There is no doubt that the best way to appreciate The Softs is in a live environment, and thanks to Cuneiform we now have the opportunity to revisit four musicians at the height of their powers, and from their performance no-one would believe that in a few short months after this recording that this line-up would be no more with the departure of founder Wyatt.
It is arguable that the second night has more of a togetherness about it, but one would expect that given they had played in the same venue the previous night so were able to get back into the connections more easily, but all four discs show a band very much at the height of their powers. This is Canterbury progressive rock at its very finest, and Cuneiform have provided a lot of information and photos in the booklet, telling the story of the nights and how the recordings were rediscovered. The result is something which is absolutely indispensable to anyone who enjoys this style of music, as Ratledge and Dean combine to create interweaving melodies which bounce off each other, Hopper does much more than “just” play bass as he provides incredible foundations and groove and then at the back is one of the more under-rated drummers from the scene who was then in the prime of his health.
Here we have a wonderful set showing just why Soft Machine have had such a major influence on so many others and why they continue to be an important force in the present day, even if the current line-up has no-one in common with the one from 1971. According to ProgArchives, the most highly rated album by the band is ‘Third’ (and rightly so), and here we have that line-up doing what they did best, performing incredible music in front of an appreciative audience. Now we are able to experience it for ourselves. 10/10 Kev Rowland
Album features performances by Steve Morse, King Crimson violinist David Cross, GnR guitarist Ron “Bumblefoot” Thal, and keyboard legend Patrick Moraz plus members of Weather Report, Utopia, Angel, Soft Machine, Gong, and more!
Los Angeles, CA – As longtime guitarist and co-writer for the powerhouse rock hitmaker Billy Idol, Steve Stevens is widely celebrated as a master of composing forceful, electrifying rock melodies that balance their intensity with an undeniable mainstream appeal. It’s that melodic sensibility matched with an impressive technical mastery that has made Stevens one of the most sought after collaborators in music today. Recently, Stevens accepted an invitation to contribute to the new album from The Prog Collective and the result is one of the purest expressions of Stevens’s creativity ever captured.
For the uninitiated, The Prog Collective, founded and helmed by producer/multi-instrumentalist and famed bassist for Yes Billy Sherwood, has united some of the finest musicians of rock, jazz, metal, pop and everything in between since its founding in 2012. The group’s newest studio effort, entitled Dark Encounters, takes a deliberate turn toward a more brooding and melancholic musical path, filled with haunting ambience and eerie melodic passages. All of this makes Stevens the perfect partner for an exploration into the darker side of prog rock. Check out the album’s first single and the album’s leadoff track, “Darkest Hour,” which is released today on all music platforms.
Dark Encounters is set for release on March 29 and includes contributions from a number of notable musicians and creative geniuses from the legendary Steve Morse, violinist David Cross, and guitar wizard Bumblefoot to keyboardist Patrick Moraz, Utopia’s Kasim Sulton, Gong’s Steve Hillage, and more!
Track List: 1. Darkest Hour with Steve Stevens 2. Ominous Signs with Steve Morse 3. At The Gates with David Cross 4. Dark Days with Ron “Bumblefoot” Thal, Patrick Moraz & Omar Hakim 5. Lonely Landscape with Kasim Sulton 6. The Long Night with Frank Dimino & Marco Minnemann 7. The Quasi Effect with Billy Sherwood 8. The 11th Hour with John Etheridge 9. Between Two Worlds with Steve Hillage & Gregg Bissonette 10. Distant Thunder with Todd Sucherman 11. Dark Money with Joe Bouchard 12. For All To See with Pat Mastelotto 13. Beyond Reason with Chad Wackerman BONUS TRACKS [CD ONLY] 14. I Saw the Light – Todd Rundgren with Rick Wakeman 15. I’m Not In Love – Nektar with Rick Wakeman
Soft Machine, arguably the greatest bunch of people in circulation, featuring legendary musicians John Etheridge, Theo Travis, Roy Babbington, John Marshall, is touring this Fall, mostly in the UK and there are two shows in The Netherlands.
Next year, there will many shows around Europe, and hopefully in South America as well.
FALL 2019 TOUR DATES SEP 13 – LOWESTOFT, ENGLAND (Lowestoft Jazz Festival, The Seagull Theater) OCT 10 – YORK, ENGLAND (The Crescent) OCT 11 – KINROSS, SCOTLAND (Backstage at the Green Hotel) OCT 13 – AMBLESIDE, ENGLAND (Zefferellis) OCT 16 – WOLVERHAMPTON, ENGLAND (Robin 2) OCT 17 – MANCHESTER, ENGLAND (Band On The Wall) OCT 22 – MILTON KEYNES, ENGLAND (Wavendon Stables) OCT 24 – NOTTINGHAM, ENGLAND ( Bonington Theater) OCT 26 – LONDON, ENGLAND (HRH Prog 8 Festival, Empire Shepherds Bush) OCT 27 – SHEFFIELD, ENGLAND (HRH Prog 8 Festival, Academy) OCT 30 – CARDIFF, WALES (Earl Haig Club) OCT 31 – NEWCASTLE UNDER LYME, ENGLAND (New Victoria Theater) NOV 10 – GLASGOW, SCOTLAND (Mono) NOV 11 – NEWCASTLE ON TYNE, ENGLAND (The Cluny) NOV 14 – CAMBRIDGE, ENGLAND (Storey’s Field Center) NOV 21 – BRIGHTON, ENGLAND (Komedia) NOV 29 – TILBURG, THE NETHERLANDS (Paradox) NOV 30 – ZOETERMEER, THE NETHERLANDS (De Boerderij) Thank You for Your supportLeonardo / MoonJune / Soft Machine
And we have plans to make a new album, sometimes in the late Summer of 2020, to be released in early 2021. And then, besides many more gigs across Europe and the UK, the band will go back to Japan and Asia in 2021 and as well, to the USA and Canada.
Worldwide booking/management and booking coordination:: MoonJune Music <noanoamusic@moonjune.com>
There can be few British bands that can say that they have had as much impact on music as the mighty Softs, and here a mere 37 years after their last studio album they are back with a new one. Originally formed in 1966, with their debut album in 1968, they have continued to be at the cutting edge of fusion and have had some incredible musicians pass through their ranks. The band officially disbanded in 1978, then reformed briefly in 1981 and then 1984 before returning as SoftWare in 1999, which in turn became Soft Works, before morphing into Soft Machine Legacy in 2004, and then at the end of 2015, they decided to drop the word “Legacy”. But given that guitarist John Etheridge, bassist Roy Babbington and drummer John Marshall were all in the same line-up(s) in the Seventies, they have a more than valid claim to the name. The only member of the band who wasn’t involved back then is Theo Travis, who provides sax, flute and Fender Rhodes. But, he joined Soft Machine Legacy as long ago as 2006, when he replaced Elton Dean after he had passed away.
Anyone who admits to enjoying Canterbury progressive rock or fusion will have multiple Soft Machine albums in their collection, and this one fits right in. John Etheridge is an incredible guitarist, and it takes someone very special indeed to step into the shoes of Allan Holdsworth, not once but twice. He is lyrical, dramatic, restrained yet over the top, simple yet complex, allowing the music to take him where it will. Every musician is an absolute master of his craft, and they push the envelope in so many ways. Jazz, prog, fusion, call it whatever you like but this is intricately crafted music that is both awe-inspiring yet inviting, eclectic yet so very easy to get inside of, and the more time spent with it the greater the rewards. Some of these guys are nearly 80 years old now, yet show no sign at all of slowing down. This is an essential purchase.
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