Soft Machine ~ England

The Peel Sessions (1969-1971 / 1990)

Continuing on with the haven't-heard-in-forever project comes The Peel Sessions by "The" Soft Machine. This is a title I recall listening in the car quite a bit upon acquiring in 1996. And not again from then on. This is one of the earlier archival releases from the band, where they have been mined extensively since, most notably by Cuneiform. The first disc of this set had been released prior, as part of the 3xLP Triple Echo album, itself an archival release. In that way this is a reissue with a whole disc of bonus tracks. Soft Machine are a lot like Tangerine Dream in that their live material is mostly improvised, thus making each album unique on its own. To be clear, Soft Machine is working much closer to their original compositions than the true improv of T. Dream. Entirely different style of music which is the primary reason I suspect. One example is the made up lyrics of 'Moon in June' calling attention to their contemporary situation on the radio, complete with adverts. 

The music is comprised of six different sessions from 1969 to 1971 (the booklet leaves out 6/1/71). The first two years capture my personal favorite era of the group, and has them at their energetic best. The 1971 jazzy free improv sections are very much present (especially on 'Neo-Calibran Grides' and 'As If'), and are a bit lesser to my taste. However the entire two disc set does encapsulate the spirit of the original Soft Machine quite well.

Many of Soft Machine's archival albums overlap and run into each other. How many I keep is still up for internal debate. But for certain this title represents an essential entry. 

Ownership: 1990 Strange Fruit USA (2xCD). Cryptic liner notes.

1996 (acquired); 7/28/25 (review)

5 / Fifth (1972)

I've long been critical of this album stating it's more of a pure jazz album, and really a free jazz album at that (see below). Thus veering far away from my interest area in the band. A careful evening listen had me more sympathetic. Rather than avant garde jazz, I heard more of an atmospheric sound. A noirish type outing. Though there are some irritating bouts of noise that I'll never warm to, mostly Fifth does remain composed. And 'Drop' is Ratledge doing what he does best - fuzz out the organ and solo wildly. I've never owned this on LP, so it's nice to finally find one in the wilds (from our last trip to Detroit). Keeping for now.

Ownership: 1972 Columbia (LP)

1999 (first acquired); 6/21/25 (review)
 

Six (1973)

Of the first seven classic Soft Machine albums, the only one I do not have a grasp of is today's feature: Six. In fact, I believe this is only the second time for me to hear the sprawling double album, the first time some 20 years ago. In hearing it again last night, my appreciation levels went up considerably and I enjoyed a +1 listen.

The first album is a live recording and is a throwback to their 1969 era of music, where each song segues into the next. Recent woodwinds member Karl Jenkins adds a new found enthusiasm, and even Mike Ratledge seems to be having fun again poking around on his antiquated organ. While it missus the dusty aura of old reel to reels, and certainly has a smoother jazz tone, this will be the closest Soft Machine gets to their original roots. Ironically it also predicts the future, as Seven continues this motif into the studio.

The second album returns us back to the Third era, with long improvised unfocused tracks, but without the free jazz tendencies of the two predecessors, albums I never warmed up to personally. Again, Ratledge's organ and Jenkins saxophone lead the solo and melody parade. And while I didn't mention it for the first LP, the crack rhythm section of Hugh Hopper and John Marshall also sound energized. An excellent album overall.

Ownership: 1973 Columbia (2xLP). Gatefold.

2003 (first acquired); 11/21/23 (review)

Third (1970)

I had a colleague once who insisted that this one album - yes this one - is the greatest album of all-time. I had been turned off by Soft Machine early, having unfortunately started with Fourth and Fifth. That wasn't my thing then... and honestly they still aren't. Way too much free jazz, which I know many of you enjoy, but we all have our filters. But he was persistent, and let me borrow his commodity CD that I took to work with me everyday for a week. Back then I was still a computer programmer (~1992), so I brought my Discman and just let 'er roll throughout the course of the day. Over time, I understood where he was coming from. It would never be a favorite for me, but at least I could appreciate the inventiveness - and yes it's distinctive enough to be a favorite album for the right listener - I could see that. It was their transition from psych / prog to jazz. Because of this experience, I eventually bought the first two albums, ones I enjoyed immediately. But yea, for 1970 this is some extraordinary material. 

Ownership: 

1970 Columbia (2xLP) Gatefold

2007 Sony Japan (2xCD). Includes the full Live at Proms 1970 album.

1992 (first acquired); 5/10/13; 1/9/23 (review)

Softs (1976)

By 1976, Soft Machine - as one may have known them - were no more. Mike Ratledge was still hanging around but wasn't very involved. By this time you essentially had Nucleus calling themselves Soft Machine. And musically that holds true too. Soft Machine had gone from psych to prog (or Canterbury if you will) to jazz to jazz rock and now onto fusion. As with all the best albums in the latter genre, Softs gets a gold star due to the melodic songwriting versus any kind of show-offy chops display. The album is frontloaded with the best tracks like 'The Tale of Taliesin' and 'Ban-Ban Caliban'. John Etheridge's guitar is the highlight of the instrumental roster. I have friends that never cared much for Soft Machine, but enjoy this album since it intersects with their interest in all things jazz fusion.

Ownership: 1990 See For Miles (CD). Historical liner notes.

7//04 (acquired); 9/26/22 (review)

Volume Two (1969)

---12/20/18

A very unusual album, in that there's about 16 minutes of brilliant music and a lot of downtime / incidental sounds. The fact that it ends on a high note I think leads to a higher rating / reputation, but a focused listen reveals a lot of gaps. I'm hardly trashing the album at 4 stars - but I do feel I was also swayed by the strong ending as well. Side 1 in particular is pretty weak except for the monstrous 'Hibou, Anemone and Bear' which was a live staple for years. If wanting to hear this album in a more dynamic fashion, I would recommend the superb archival CD Noisette from Cuneiform.

---1/17/23

This listen confirms that sentiment. I think Volume Two has maxed out for me - not seeing how it goes to the first division. Too inconsistent, but the highs go way high here.

Ownership: 1969 Probe / ABC / Command (LP). Gatefold. 

1994 (first acquired); 12/20/18 (review); 1/17/23 (update)

Backwards (1970 / 2002)

Cuneiform are the gold standard for all things Soft Machine, and their dogged determination to release anything and everything worthwhile is to be admired. And in my world, anything pre 1971 is worth investigating, and then after that, it's hit or miss. Most of this album was recorded from concerts in May 1970, performed in London. In effect, it's Soft Machine Third live. The band is beginning to really stretch out into jazz norms, something they eventually crossed the threshold over to wholly - and less to my personal interest. I won't claim this one to be essential, like say Noisette is, but for the hardcore faithful, it most certainly is. 

Ownership: 2002 Cuneiform (CD). Historical liner notes.

2002 (acquired); 1/10/16 (review)

Other albums I own and still need to review: The Soft Machine; Seven; Bundles; Virtually; Noisette; Live at Proms.

1/10/16 (new entry)