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Search Result for Artist SOFT MACHINE
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B 171LP
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Side one recorded for John Peel's Top Gear Show 05/12/1967; side two recorded 10/06/1969. Robert Wyatt, drums and vocals, Mike Ratledge, organ, electric piano and flute, Kevin Ayers, vocals, guitar and bass, Hugh Hopper, bass and alto saxophone, Brian Hopper, soprano sax. Clear vinyl in PVC sleeve with purple lettering. Limited edition 500 copies.
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B 159LP
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Technically "proto-Soft Machine", recorded live in London in the early sixties. "The very earliest known recordings by the men who would unwittingly go on to found the influential Canterbury scene and its premiere band, Soft Machine! Culled mostly from sax player Brian Hopper's personal vault of early rehearsal tapes and live performances circa 1962-63 - over 3 years prior to Soft Machine's official formation. In 1962, Brian's younger brother Hugh was still attending the Simon Langton Grammar School For Boys near Canterbury, as was classmate, Robert Wyatt. Mike Ratledge, had been a classmate of Brian's and Daevid Allen was just a freewheeling Australian music lover who was renting a room at Wyatt's parent's house. The Hopper brothers, Wyatt and Ratledge were drawn in by Allen (who was older) with his Sun Ra records, beat poetry, and tales of the bohemian life in Paris, all of which soon led to talk of starting a band together... as these things often do. The very earliest line-up was Wyatt on drums, Allen on guitar, and Hugh on bass. They called themselves the Daevid Allen Trio. 'Dear Olde Benny Green Is A-Turning In His Grave' is a tune that comes from one of their first live performances at London's Marquee club in 1963." 140 gram LP. Clear vinyl in PVC sleeve with blue lettering and red label. Limited edition 500 copies.
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2LP
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VL 901240LP
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"Recorded live in Breda, Netherlands in January of 1970, this double LP represents the only existing recording of a very rare and short-lived quintet version of the band. Sax/flute player Lyn Dobson was the fifth member here, left over from the band's days as a septet. Just three months later Dobson would move on, leaving the classic Ratledge-Dean-Hopper-Wyatt line-up in place. Dobson's contributions to a 22-minute long version of Hopper's 'Facelift' as well as 'Backwards' are of particular interest here, as is a tentative version of 'Out-Bloody-Rageous', which was still a work in progress at this stage. Includes liner notes by band member Brian Hopper."
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2LP
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VL 901226LP
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"Recorded in April of 1970, just a few months before the release of Third (soon destined to become their most successful album), this memorable performance marks a significant turning point in the band's history, when Soft Machine had begun exploring in earnest a type of music that would soon become simply known as 'fusion'. As rock artists began incorporating traditional jazz instruments (like saxophones) into their groups, jazz artists (most famously, Miles Davis on albums like Bitches Brew) began bringing in electric guitars and wah wah pedals. It seemed for a moment that music had managed to transcend genre. Here the band, which now was made up of Hugh Hopper on bass and Elton Dean on keys (in addition to Wyatt and Ratledge), focuses on tunes culled primarily from the upcoming Third as well as their most recent album, Volume Two." On 180 gram vinyl.
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LP
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CRP 111LP
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"Cherry Red Phonograph is proud to present a fully re-mastered edition of the classic 1976 album Softs, by one of the most influential exponents of the British underground, Soft Machine. This album was the band's second for the Harvest label (Pink Floyd and later Wire) and featured a new line-up of Karl Jenkins (piano, synthesizers), John Marshall (drums), Roy Babbington (bass), John Etheridge (guitar), and Alan Wakeman (sax). Seven of the album's eleven tracks were composed by Jenkins, who had taken over keyboard duties from Mike Ratledge (who makes his last appearance here on 'Song Of Aeolus' and 'Ban-Ban Caliban'), so the band at this stage was largely a vehicle for Jenkins' own vision. Also, taking Alan Holdsworth's place on guitar is John Etheridge, whose jaw-dropping speed and prowess made it quite obvious that he was no second fiddle. This is an album of exquisitely executed instrumental jazz fusion that has unfortunately often been overlooked over the years (leaving it un-issued on vinyl for over two decades)! Re-mastered from the original tapes and featuring the original artwork."
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LP
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CRP 107LP
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"Originally released in 1975, Bundles marked a turning point for the band, not marked by the fact that this album was the first to have an actual title, instead of just a number. This would also be the last album to feature the brilliant keyboard playing of Mike Ratledge, the last surviving member of the original 1963 Wyatt-Allen-Ayers line-up, but whose playing here takes a backburner to the prominent role played by brand new guitarist (and another ex-Nucleus member) Allan Holdsworth. Holdsworth's hardworking guitar style breathes new life into the band after the relatively weary sounding Seven. Although, much of what came after Fourth has been dismissed as past-prime by many Softs fans, Bundles is that one bright star on the post-Wyatt horizon, and along with absolutely brilliant musicianship all around, this is some of the best fusion jazz to be found from that or any other period."
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LP
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CPLP 4500HLP
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$16.50
NOT IN STOCK, SPECIAL ORDER
Gatefold 180 gram reissue, licensed to Universal. "The Soft Machine deftly combine '60s psych-pop, jazz, and rock into a unique sound that stands up to repeated listenings more than most music today. The instrumentals are awesome -- interplay between organ, drums, bass and vocals make for intricate rockers with priceless moments. Wyatt's lispy voice is off-putting at first, but endearing on more listens, aided by his clever and often witty lyrics. Songs like 'A Certain Kind,' 'Save Yourself,' 'Lullabye Letter,' and 'Why Are We Sleeping' are great '60s psych-pop, with good hooks, but still original sounding."
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CD/DVD
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RUNE 305/06CD
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$21.00
NOT IN STOCK, SPECIAL ORDER
"By the time this remarkable document was recorded, Soft Machine were hugely appreciated in Europe for their unique sound. This previously unreleased show was recorded for Germany's famous NDR Jazz Workshop series and it features Mike Ratledge (electric piano, organ), Karl Jenkins (oboe, baritone sax, soprano sax, electric piano), Roy Babbington(bass) and John Marshall (drums) joined by two special guests for the majority of the performance: Art Themen (tenor and soprano sax) and Gary Boyle(electric guitar). This long sought-after performance has never been seen since its original broadcast over 35 years ago -- not even in poor quality bootlegs. It is the best quality video document that exists of the group, featuring clear and beautiful visuals and superb live stereo sound! Soft Machine were one of the classic UK avant/jazz-rock bands of all time, and their work continues to be name-checked by today's hip experimentalists, such as Tortoise, Jaga Jazzist, Jim O'Rourke and others. Will appeal to fans of: Dennis Chambers, Miles Davis, Allan Holdsworth, Jaga Jazzist, Mahavishnu Orchestra, John McLaughlin, Pat Metheny, Niacin, Nucleus, Passport, Return To Forever, Weather Report." NTSC all-region format DVD.
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2CD/CD-ROM
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REELR 014CD
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Born of the Beat Generation & Beat music, sacrificed on the clichéd tracks of jazz-fusion, the music in between by the classic quartet of keyboardist Mike Ratledge, saxophonist Elton Dean (1945-2005), bass guitarist Hugh Hopper (1945-2009) and drummer Robert Wyatt is mercurial genius manifest. That the recordings made of Britain's Soft Machine remain as rewarding and inspirational today as the moment of their making, qualifies the group's international stature as the most expressively intelligent of rock music's progressive epoch. Still and all, a creative apex where the music attained a "whole greater than its sum parts," occurred on the evening of February 28th, 1971 at the Henie Onstad Art Centre in Oslo, Norway. Here, the group was afforded a rare crucible for their collective creativity by virtue of an intimate concert space, accurate amplification, and an appreciative audience. Also in Henie Onstad for his own art exhibition was Soft Machine's friend Mark Boyle (1926-2005), who projected his sensory films during this concert. Thankfully, the performance was professionally recorded using classical ambient technique, and safely archived until the Henie Onstad Art Centre, and the musicians, granted Reel Recordings the honor and responsibility to present this magnificent recording for CD release. The results sound as demonstrably the finest stereo recording of Soft Machine ever captured on tape. To celebrate and contextualize this 2CD release, a CD-ROM including extensive notes and concert photographs is included, in addition to an extensive essay; The Soft Machine Sound: An Electronic Acoustic Experience Examined, chapters on Mark Boyle's light shows by Sebastian Boyle, a transcript of the Soft Machine's 1970 experimental BBC Radiophonic Workshop session, and numerous photographs of Mark Boyle's art exhibition and Soft Machine's concert at Henie Onstad Art Centre. Live At Henie Onstad Art Centre 1971 is not simply another fascinating addition to a series of archival Soft Machine releases; it stands as nothing less than a gift.
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LP
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CPLP 4505LP
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Exact repro reissue of Soft Machine's legendary second album, originally released in 1969, bridging the gap between avant-rock, psych, jazz and stream-of-consciousness weirdo absurdism. "The Soft Machine plays music for the mind. In its strictest sense, it may impose some cerebral responsibility on the listener, because you can't really hum along or have the tune pass through head as you walk in the streets. But the ultimate good feeling that the Machine generates will always remain with you, and the final emotional benefit is well worth the thinking toll."
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