Musicsoft Manager
Barb Magario
Soft Machine are a British rock band from Canterbury formed in mid-1966 by Mike Ratledge, Robert Wyatt, Kevin Ayers, Daevid Allen and Larry Nowlin. As a central band of the Canterbury scene, the group became one of the first British psychedelic acts and later moved into progressive and jazz rock, becoming a purely instrumental band in 1971.[2] The band has undergone many line-up changes, with musicians such as Andy Summers, Hugh Hopper, Elton Dean,[3] John Marshall, Karl Jenkins, Roy Babbington and Allan Holdsworth being members during the band's history. The current line-up consists of John Etheridge, Theo Travis, Fred Thelonious Baker and Asaf Sirkis.
Though they achieved little commercial success, Soft Machine are considered by critics to have been influential in rock music.[4][5][6] Dave Lynch at AllMusic called them "one of the most influential underground bands of their era".[2] The group were named after the novel The Soft Machine by William S. Burroughs.
Soft Machine (billed as the Soft Machine up to 1969 or 1970)[7] were formed in mid-1966 by Mike Ratledge (keyboards), Robert Wyatt (drums, vocals), Kevin Ayers (bass, vocals), Daevid Allen (guitar) and Larry Nowlin (guitar). Allen, Wyatt and future Soft Machine bassist Hugh Hopper first played together in the Daevid Allen Trio in 1963, occasionally accompanied by Ratledge. In 1964, Wyatt, Ayers, Hopper and Hopper's brother Brian, another future Soft Machine member, were founding members of the Wilde Flowers, incarnations of which would also include future members of another Canterbury band, Caravan. By 1966, Wyatt and Ayers had both left the Wilde Flowers and reconnected with Allen for a new band called Mister Head, who also included Nowlin.[8] After a few months Mister Head split, with Wyatt, Ayers, Allen and Nowlin joining with Ratledge to form Soft Machine.[9] Suggested by Ayers, the name came from William S. Burroughs' 1961 novel The Soft Machine.[10] The band became a quartet when Nowlin departed in September 1966.[11]
In late 1966/early 1967, Soft Machine became involved in the early UK underground scene. Along with Pink Floyd, they became one of the major resident bands at the UFO Club and played other London clubs like the Speakeasy and Middle Earth. According to Wyatt, the negative reactions the Soft Machine received when playing at venues other than these underground clubs were what led to their penchant for long tracks and segued tunes, since playing continuously left their audiences no chance to boo.[12] In February 1967, the band released a single, "Love Makes Sweet Music" (recorded 5 February 1967, produced by Chas Chandler), with "Feelin' Reelin' Squeelin'" (recorded January 1967, produced by Kim Fowley) as the B-side, on Polydor Records. It was a commercial flop.[12] In April 1967 they recorded nine demo songs with producer Giorgio Gomelsky in De Lane Lea Studios that remained unreleased for several years in a dispute over studio costs.[13] Polydor later released these demos in 1972 as Jet Propelled Photographs. In 1967, as well as the UK, the band also played in the Netherlands, Germany, and on the French Riviera. During July and August 1967, Gomelsky booked shows along the Cte d'Azur with the band's most famous early gig taking place in the village square of Saint-Tropez. This led to an invitation to perform at producer Eddie Barclay's trendy "Nuit Psychdlique", performing a forty-minute rendering of "We Did It Again", singing the refrain over and over in a trance-like quality. This made them instant darlings of the Parisian "in" crowd, resulting in invitations to appear on television shows and at the Paris Biennale in October 1967.[14] When returning from France, Allen (an Australian) was denied re-entry to the United Kingdom,[12] so the group continued as a trio, while he returned to Paris to form Gong.[15]
Sharing the same management as the Jimi Hendrix Experience, Soft Machine supported them on two North American tours during 1968.[16] Now signed to Probe Records, Soft Machine's first album was recorded in New York City in April at the end of the first tour, though it would not be released until December. Back in London, guitarist Andy Summers, later of the Police, joined the group. After a few weeks of rehearsals, the quartet began a tour of the U.S. with some headlining shows before supporting Hendrix during August and September 1968. By the time the Hendrix tour began, Summers had been fired at the insistence of Ayers.[17] Ayers himself departed amicably after the final tour date at the Hollywood Bowl in mid-September, and Soft Machine disbanded. Wyatt stayed in the U.S. to record solo demos, while Ratledge returned to London and began composing in earnest. One of Wyatt's demos, "Slow Walkin' Talk", allowed Wyatt to make use of his multi-instrumentalist skills (Hammond organ, piano, drums and vocals) and featured Hendrix on bass.[18]
In December 1968, to fulfil contractual obligations, Wyatt and Ratledge re-formed Soft Machine, with their former road manager Hugh Hopper replacing Ayers on bass, and recorded their second album Volume Two (1969), which started a transition toward jazz fusion. The album fulfilled the band's contract with Probe and they signed with CBS Records by the beginning of 1970. In May 1969 Soft Machine acted as the uncredited backing band on two tracks of The Madcap Laughs, the debut solo album by Syd Barrett of Pink Floyd. Shortly after the Barrett recording, Hopper's brother Brian Hopper joined the band on saxophone for a short time. In October 1969, following Brian Hopper's departure, Soft Machine became a septet with Wyatt, Ratledge and Hugh Hopper adding a four-piece horn section comprising saxophonists Elton Dean and Lyn Dobson, cornet player Mark Charig and trombonist Nick Evans, though the latter two shortly departed.
The resulting Soft Machine quintet (Ratledge, Wyatt, Hopper, Dean and Dobson) continued until March 1970, when Dobson departed. The remaining quartet recorded the double album Third (1970) and its single album follow-up Fourth (1971). Third was mostly instrumental save for Wyatt's "Moon in June", the last Soft Machine song with lyrics. From Fourth onwards, the band became completely instrumental on record, and then on stage following Wyatt's departure soon after the album's release. Their propensity for building extended suites from regular-sized compositions, both live and in the studio (already displayed on the first two albums), reached its apogee in Third, unusual for its time with each of the four sides featuring one suite.[3] Over time Third has become Soft Machine's biggest selling album. During this period, the band received unprecedented acclaim across Europe, and they made history by becoming the first rock band invited to play at London's Proms in August 1970, with the show being broadcast live on national TV.[19]
After differences over the group's musical direction, Wyatt left (or was fired)[20] in August 1971 and formed Matching Mole (a pun on machine molle, French for soft machine; also said at the time to have been taken from stage lighting equipment "Matching Mole").[3] He was briefly replaced by Australian drummer Phil Howard. This line-up toured extensively in Europe during late 1971 and began the recording of their next album Fifth, but further musical disagreements led to Howard's dismissal at the beginning of 1972, with the album being completed with his replacement, John Marshall. Fifth was released in 1972, with side one comprising tracks recorded with Howard and side two comprising tracks recorded with Marshall. Later that year, Dean left the band[3] and was replaced by Karl Jenkins, who also played keyboards in addition to saxophone. Both Marshall and Jenkins were former members of Ian Carr's Nucleus. The band's next album was a half-live half-studio double album Six, released in early 1973.
After the release of Six, Hopper left the band.[3] He was replaced by Roy Babbington, another former Nucleus member, who played 6-string bass. During this period, Jenkins began to take over as bandleader and main composer. After they released Seven in late 1973, the band switched record labels again, this time moving from CBS to Harvest Records, a sub-label of EMI Records. At the end of 1973, another former Nucleus member Allan Holdsworth was added to the band, their first guitarist since Andy Summers' brief tenure in 1968. Their next album, 1975's Bundles, placed strong emphasis on Holdsworth's playing and was oftentimes reminiscent of John McLaughlin's Mahavishnu Orchestra. Holdsworth was replaced by John Etheridge in the spring of 1975, while saxophonist Alan Wakeman (cousin of Yes keyboardist Rick Wakeman) was added at the beginning of 1976.[3] Wakeman's time with the band was brief, but did record with them on the next album Softs (1976), the first album without Ratledge, the last remaining original member of the band, who left in March 1976. Other musicians in the band during the later period were saxophonist Ray Warleigh, violinist Ric Sanders and bassists Percy Jones (of Brand X) and Steve Cook.[21] Their 1977 performances, documented on the live album Alive & Well released early the following year, were among the last for Soft Machine as a working band, their last performance (until the 1984 reformation) being the only Soft Machine concert of 1978, at the Sound & Musik Festival in Dortmund, Germany on 8 December, with a line-up of John Marshall, Karl Jenkins, Steve Cook and Allan Holdsworth.[22][23]
The Soft Machine name was resurrected for the 1981 album Land of Cockayne. Soft Machine also briefly reformed for a series of dates at London's Ronnie Scott's Jazz Club in the summer of 1984,[nb 1] featuring John Marshall, Karl Jenkins, Ray Warleigh, John Etheridge, bassist Paul Carmichael and pianist Dave MacRae.