Soft Machine - Softs album mp3

Soft_Machine Jazz-Rock Fusion Prog_Rock 1976 Russia

Softs is the ninth studio album by the jazz rock band Soft Machine, released in 1976. John Etheridge replaced Allan Holdsworth on guitar shortly after the release of the previous album, Bundles, and Alan Wakeman, cousin of keyboardist Rick Wakeman, took over saxophone duties from Karl Jenkins. Karl would play keyboards exclusively from this point onward.

The Soft Machine (also titled "Volume One" as a reissue) is the debut album by the British jazz rock band Soft Machine, released in 1968. Founded in 1966, Soft Machine (one of the central bands in the Canterbury scene) recorded and released this studio album during their 1968 tour of the USA. It was produced by Chas Chandler and Tom Wilson. The work on this album was one of the essential roots in progressive rock and jazz-fusion.

Producer – Soft Machine. Soprano Saxophone – Karl Jenkins. Tape Op – Pat Stapley. Tenor Saxophone – Alan Wakeman. SHSP 4056, OC 062 · 97761. Softs ‎(CD, Album, RE, RM, Unofficial).

Of course, SOFT MACHINE being SOFT MACHINE, personel changes occured once again with the departure of ALLAN HOLDSWORTH after just one album being replaced by JOHN ETHERIDGE. Also KARL JENKINS gave up the horns and concentratred to play the keyboards. ALAN WAKEMAN was hired to take over tenor and soprano saxes. Most importantly, as widely expected considering its shrinking role in the band, former leader MIKE RATLEDGE left discreetly. He is still present on SOFTS, but only on 2 tracks and the worst is that he is listed as . uest!!! MIKE RATLEDGE guesting! in his own band he created and led!!!.

Album by Soft Machine. The Tale of Taliesin. Roy Babbington: bass guitar. John Etheridge: acoustic and electric guitars. John Marshall: drums and percussion. Alan Wakeman: soprano and tenor saxophones. Karl Jenkins: piano, electric piano, pianette, string and mini-Moog synthesisers. Mike Ratledge: synthesiser on "Ban-Ban Caliban" and "Song of Aeolus".

Biography by Dave Lynch. A pioneering Canterbury psychedelic group that initially featured Robert Wyatt and Kevin Ayers, later developing into an experimental jazz-rock unit. Volume Two. Soft Machine. The Soft Machine, Vo.

1969: Volume Two. 1970: Third. The main, and crucial, difference between the Softs and Pink Floyd in their early days was that the Soft Machine never even smelled a whiff of 'commerciality' in their recordings, and compared to the band's first two albums, The Piper At The Gates Of Dawn looks a wee bit like whatever Britney Spears has to offer us nowadays.

Tracklist Hide Credits

A1	Aubade
A2	The Tale Of Taliesin
A3	Ban-Ban Caliban Synthesizer – Mike Ratledge
A4	Song Of Aeolus Synthesizer – Mike Ratledge
B1	Out Of Season
B2	Second Bundle
B3	Kayoo Written-By – John Marshall
B4	The Camden Tandem Written-By – John Etheridge, John Marshall
B5	Nexus
B6	One Over The Eight Written-By – Alan Wakeman, John Etheridge, John Marshall, Roy Babbington
B7	Etika Written-By – John Etheridge

Companies, etc.

Recorded At – Abbey Road Studios
Made By – Garrod & Lofthouse Ltd.
Printed By – Garrod & Lofthouse Ltd.
Phonographic Copyright (p) – Soft Machine Music Ltd.
Copyright (c) – Soft Machine Publishing Company Limited

Credits

Acoustic Guitar, Electric Guitar – John Etheridge
Art Direction – Peter Shepherd
Artwork [Lettering] – Brian Palmer
Bass – Roy Babbington
Drums, Percussion – John Marshall
Engineer – John Leckie
Executive-Producer, Design Concept – Sean Murphy
Lacquer Cut By – HTM*
Photography By – Guido Harari
Piano, Electric Piano, Piano [Pianette], Synthesizer [String, Minimoog], Orchestrated By – Karl Jenkins
Producer – Soft Machine
Soprano Saxophone, Tenor Saxophone – Alan Wakeman
Tape Op – Pat Stapley
Written-By – Karl Jenkins (tracks: A1 to B2, B5, B6)

Notes

Original first UK release with a laminated, glossy cover by Garrod & Lofthouse Ltd.

The only difference to Softs is the printing on label B
Track B6: sleeve credits Alan Wakeman as writer for this track, but vinyl label does not.

Additional number on sleeve: OC 062 · 97761

Recorded at Abbey Road Recording Studios, Spring 1976.
Photography - (Milano).
Artwork - Michael Mann Studios, London.

(P) 1976 Soft Machine Music Ltd.
All Titles (C) of Soft Machine Pub. Co. Ltd. MCPS.

Harvest.
EMI Records Ltd. Hayes, Middlesex, England.
Made and printed in Great Britain.
7607 TM Garrod & Lofthouse Ltd.

Barcode and Other Identifiers

Matrix / Runout (Runout A, stamped): SHSP 4056 A-1 GA
Matrix / Runout (Runout B, stamped): SHSP 4056 B-1 H
Matrix / Runout (etched in runouts): HTM
Rights Society: MCPS

Other versions

Category	Artist	Title (Format)	Label	Category	Country	Year
ECLEC 2202	Soft Machine	Softs ‎(CD, Album, RE, RM, Unofficial)	Esoteric Recordings	ECLEC 2202	Russia	2010
SEE CD 285	Soft Machine	Softs ‎(CD, Album, RE)	See For Miles Records Ltd.	SEE CD 285	UK	1990
SEE 285	Soft Machine	Softs ‎(LP, Album, RE)	See For Miles Records Ltd.	SEE 285	UK	1990
2J 062-97761, SHSP.4056	Soft Machine	Softs ‎(LP, Album)	Harvest, Harvest	2J 062-97761, SHSP.4056	Greece	1976
ND 74703	Soft Machine	Softs ‎(CD, Album, RE)	RCA	ND 74703	Italy	Unknown

Tracklist Hide Credits

A1	Aubade
A2	The Tale Of Taliesin
A3	Ban-Ban Caliban
A4	Song Of Aeolus
B1	Out Of Season
B2	Second Bundle
B3	Kayoo Written-By – John Marshall
B4	The Camden Tandem Written-By – John Etheridge, John Marshall
B5	Nexus
B6	One Over The Eight Written-By – Alan Wakeman, John Etheridge, John Marshall, Roy Babbington
B7	Etika Written-By – John Etheridge

Companies, etc.

Produced For – Círculo de Leitores

Credits

Written-By – Karl Jenkins (tracks: A1 to B2, B5, B6)

Notes

Edição especial para os sócios do Círculo de Leitores. Rua Eng.˚, Paulo de Parros, 22 - Lisboa.

Universal stereo + mono.

"HTM" etched by hand on run-out.

Barcode and Other Identifiers

Matrix / Runout: SHSP 4056

Other versions

Category	Artist	Title (Format)	Label	Category	Country	Year
SHSP 4056, OC 062 · 97761	Soft Machine	Softs ‎(LP, Album)	Harvest, Harvest	SHSP 4056, OC 062 · 97761	UK	1976
ECLEC 2202	Soft Machine	Softs ‎(CD, Album, RE, RM, Unofficial)	Esoteric Recordings	ECLEC 2202	Russia	2010
SEE CD 285	Soft Machine	Softs ‎(CD, Album, RE)	See For Miles Records Ltd.	SEE CD 285	UK	1990
SEE 285	Soft Machine	Softs ‎(LP, Album, RE)	See For Miles Records Ltd.	SEE 285	UK	1990
2J 062-97761, SHSP.4056	Soft Machine	Softs ‎(LP, Album)	Harvest, Harvest	2J 062-97761, SHSP.4056	Greece	1976

Performer: Soft Machine
Genre: Jazz / Rock
Title: Softs
Country: Russia
Released: 1976
Style: Jazz-Rock, Fusion, Prog Rock
MP3 version ZIP size: 1877 mb
FLAC version RAR size: 1905 mb
Rating: 4.5
Votes: 281
Other Formats: DTS RA WAV MP1 ASF AUD VQF

Scream_I LOVE YOU

Personaly i would describe this more of a insider album. At the time it was released complex music like this was only mostly heard by weed heads with open ears and fat hifi gear. Well,personaly i fell in love with it the first time i heard it and im exactly still there now emotionaly 41 years later.

Micelhorav

Way better than I expected it to be. True, the last true Soft Machine album was Bundles, because Mike Ratledge was still present, but by then he was the only original member left. With the next album, Softs, it's clear who is in control and that was Karl Jenkins. To me, post Robert Wyatt Soft Machine does not always get the most respect, many felt they became more of a generic fusion group, which I couldn't agree on. But without Mike Ratledge, it's basically the final nail on the coffin, at least with popular opinion. Yet when I hear it, I was simply amazed. With Allan Holdsworth out of the picture (he never sticks to one group or artist for long), they brought in John Etheridge, who really gave some super-fast guitar leads. Rick Wakeman's cousin Alan Wakeman provides sax, while Karl Jenkins sticks mainly to synths, but also saxes. I really love the approach they do here, at times the group is almost electronic, especially during those synth passages. There are some just unbelievably fast and intense passages white Etheridge playing guitar like there's no tomorrow, and same for John Marshall's drumming. I obviously didn't expect this to be another Third, and definitely not like the first two albums, and of course, you shouldn't expect the same as what the Soft Machine was doing 1968-70. I think if this was released as a Karl Jenkins solo album, rather than Soft Machine, I think it would get more respect. But the many progheads had jumped ship with Soft Machine long ago (about the time Robert Wyatt left), but fans of fusion certainly stayed on, and this is an (much better than I expected it to be) example.