Softs

Even though this album has been out for a while (and has been reviewed), it's worth bringing to people's attention who might've missed it the first time.One disc 45 minutes in length approximately. The remastered sound is improved from earlier releases-clean, open, and crisp without sounding harsh. The 10 page booklet lists song titles, and band members (Roy Babbington-bass, John Etheridge-guitars, Karl Jenkins-keyboards, John Marshall-drums, Alan Wakeman-saxophones, and Mike Ratledge-synthesizer on "Ban-Ban Caliban" and "Song Of Aeolus". There's also a short synopsis of the band during the time surrounding this album, including insight from band members. There are color photos of the band members throughout the booklet.This album, released in 1976, shows a band that had changed fairly radically from its earlier stage as a very progressive/sometimes tongue in cheek English group that used the talents of Robert Wyatt as drummer/vocalist, along with several musicians that defined the very sound of the band. From the first album through "Three", and maybe a bit beyond ("5TH" OR "6TH"), the band's sound was easily recognizable, yet not so easily defined.This album and "Bundles" marked a real change in the bands direction. Gone were the organ/keyboard emphasis of earlier days-the guitar was becoming the dominant instrument. With the addition (he replaced Allan Holdsworth) of guitarist John Etheridge (on "Softs ") the band had a player who could step out front and solo until next Tuesday if needed. Along with Babbington's more rock orientated bass work (replacing the wonderful Hugh Hopper), and the intuitive drumming of John Marshall, the group took on a different sound-jazz rock. Where the bands earlier work was basically English progressive, this new band devised a harder sound in their compositions (written mostly by Karl Jenkins), which was a real left turn for long time "Machine" listeners.But this album has a number of good things going for it. Certainly no one can say that Etheridge's guitar playing wasn't good if not great. He could up the fire power ("The Tale Of Taliesin") when needed, or play softly ("Etika") and mannered ("Song Of Aeolus") when called for. Jenkins various keyboards added, besides some beautiful piano ("Out Of Season"), just the right amount of atmospherics ("Second Bundle") that held his compositions together. Marshall's drumming was both the foundation for the rest of the group to work off of, and at times, almost a lead instrument in tandem with another soloist. Babbington's bass worked in tandem with Marshall to produce a rock solid background for the rest of the band. And Alan Wakeman added his horns when needed, adding extra depth to the songs. And to my ears the addition of Mike Ratledge on two tracks, definitely adds something missing from the rest of the album-a listen to the tracks he plays on is all the proof you'll need.The composition "The Camden Tandem" is a perfect example of the new SOFT MACHINE. Etheridge's burning guitar, playing with and over Marshall's fusion-style drumming, is far and away different than anything the "old" "Machine" would compose, let alone play. Wakeman's horn is in the then current style of modern horn players who incorporated a bit of funk into their jazz-rock sound. Definitely not the SOFT MACHINE from the late 60's/early 70's. But that's okay. This band, with vastly different personnel, had their own sound and approach to music. There were a number of bands (especially in the U.S.) playing fusion style music, using jazz as a launching pad. Indeed, Allan Holdsworth had just left SOFT MACHINE to play with the awesome (late) Tony Williams, in his new fusion-orientated band. So yes, the bands sound had changed-playing the then new fusion/jazz-rock style that was fast becoming the new "thing". And that's all right-any artists who don't grow and change will suffocate eventually. The band was playing the music that most (certainly not all) people wanted to hear.Is this album any better of worse than the bands earlier work? No. It's different, that's all. If you're a died-in-the-wool SOFT MACHINE listener from the early years, this album might sound almost foreign to your ears. If, however, you're open to a different sound (and band), this album has a number of outstanding compositions, wonderfully played. Having heard SOFT MACHINE since the earliest days, this album took a bit to get into. But once I opened my ears and really listened-wow. If you like 70's fusion/jazz-rock played by musicians at the top of their game-give this a try. You just may be pleasantly surprised.

Softs was recorded in 1976. It is 1970s jazz-rock fusion and is reminiscent of the Mahavishnu Orchestra circa 1971. There are no vocals. I saw most of this line-up play some of this album live in 1975. John Etheridge plays the McLaughlin role of guitar virtuoso. Etheridge had recently replaced Allan Holdsworth, who had recommended him to the band. He is the star instrumentalist and the rest of the band support him. Alan Wakeman (cousin of Rick) has a few sax solos.Karl Jenkins (keyboards), John Marshall (drums), and Roy Babbington (bass) had been in the jazz-rock band Nucleus and started as jazz musicians. Wakeman also came from the jazz world. Most of the compositions are by Jenkins, who would later write advertising jingles and then go on to become a popular classical composer in Britain.The players were not good enough musicians to really compete with the heavyweights of the jazz-rock field, in terms of virtuosity. Jenkins was not Chick Corea and Marshall was not Billy Cobham. Soft Machine became over reliant on Holdsworth and then Etheridge. However, Jenkins could write good tunes. Softs is a record of its time, but is still worth hearing.

this is soft machine's ninth release. more personel changes with the adding of john etheridge (replacing allan holdsworth) and alan wakeman (rick's brother) on saxophones. by this time, mike ratledge's role was reduced to some added keyboard effects. though as added material, it is quite good and adds to the atmosphere and flow of the compositions. overall, this is an excellent cd and esoteric did a great remastering job and added an informative booklet. karl jenkins compositions are varied and very sensitive. the strength of soft machine has always been that the musicians are all excellent and performances are superb. i know there are many critics of the latter incarnations of the group, but i find them just as competent and enjoyable as any other previous release. highly recommended if you like jazz/rock fushion type of material.

I was reluctant to get this album for years because I've heard bad things about post-Allan Holdsworth Soft Machine, but this album is actually pretty good. It's still 1970's Soft Machine with a good lineup of Nucleus alumni.

A fantastic album, though strange in their discography as being 'when is a Soft Machine not a Soft Machine, but primarily a Nucleus?' Was sad, somewhat, to read in the liner notes that Ollie Halsall had not become the replacement for Holdsworth. The world of what ifs...

Phenomenal group captured live. So happy to find this lp.

Oh man, this is a great record...just buy it.

Excellent! from start to finish a must for lovers of all good music ! this remastered version is certainly worth the money. Buy this now .

definitely classic fusion at its peak...and this is definitely SOFT MACHINE SPIRIT! echoes of the Vol.2 and Third are still here...just the sound, production and time has changed a bit...

Very good

Performs as expected. Does the job well.

really good

Excellent