Rubber Riff (豆瓣)

表演者: Soft Machine
专辑类型: Remastered
介质: Audio CD
发行时间: 1997-10-11
出版者: Blueprint
条形码: 0604388108923

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8.5

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想听在听听过

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简介 · · · · · ·

　　The Soft Machine was formed in 1966 by Robert Wyatt (drums, vocals), Kevin Ayers (bass, vocals), Daevid Allen (guitar) and Mike Ratledge (keyboards). Allen, Wyatt and future bassist Hugh Hopper had played in the Daevid Allen Trio, occasionally accompanied by Ratledge. Wyatt, Ayers and Hopper had played in a band called the Wilde Flowers, which included future members of anoth... (展开全部) 　　The Soft Machine was formed in 1966 by Robert Wyatt (drums, vocals), Kevin Ayers (bass, vocals), Daevid Allen (guitar) and Mike Ratledge (keyboards). Allen, Wyatt and future bassist Hugh Hopper had played in the Daevid Allen Trio, occasionally accompanied by Ratledge. Wyatt, Ayers and Hopper had played in a band called the Wilde Flowers, which included future members of another Canterbury band, Caravan.
　　This first Soft Machine line-up became involved in the early UK underground, featuring prominently at the UFO Club, and recorded the group's first single, as well as some demo sessions that were released several years later. They also played in Holland, Germany and on the French Riviera. In 1967, upon their return from a performance in France, Allen (an Australian) was denied re-entry to the United Kingdom, so the group continued as a trio.
　　In early 1968, eventual The Police guitarist Andy Summers joined the group, but left shortly after. Later in 1968 they toured the USA, opening for the Jimi Hendrix Experience. [3] During this tour, they recorded their first album, The Soft Machine, in New York. Disbanded after Ayers's amicable departure at the end of this tour, Soft Machine reformed with former road manager and composer Hugh Hopper on bass added to Wyatt and Ratledge, to record their second album in 1969.
　　From the odd psychedelic rock style of the early period, featuring Ayers and/or Wyatt singing on most of their pieces, Volume Two, with Brian Hopper playing saxophones, launched a transition towards a purely instrumental sound resembling what would be later called jazz fusion. Notwithstanding the disconcerting personnel changes that came about during this period, this is a fascinating period of creative tension. The base trio was late in 1969 expanded to a septet with the addition of four horn players, though only saxophonist Elton Dean (†) remained beyond a few months, the resulting so-called classic Soft Machine quartet (Wyatt, Hopper, Ratledge and Dean) running through Third (1970) and Fourth (1971), with various guests, mostly jazz players (Lyn Dobson, Nick Evans, Marc Charig, Jimmy Hastings, Rab Spall, Roy Babbington). Fourth was the first of their fully instrumental albums.
　　All members of the classic lineup were highly literate in various musical backgrounds, but foremost was the eclectic genius of Ratledge, who through composition, arrangements and improvisational skills propelled a collective output of the highest standard, in which the vocal charm and extraordinarily original drumming of Wyatt, the lyricism of some of Dean's solos and the unusual avantgarde pop angle of Hopper's pieces all had a major role. Their propensity for building extended suites from regular sized compositions, both live and in the studio (already in the Ayers suite in their first album), reaches its maximum in the 1970 album Third, unusual for its time in each of the four sides featuring one suite. Third was also unusual for remaining in print for more than ten years in the United States, and is the best-selling Soft Machine recording