I confess, aside from the Looney Tunes stuff, the DVD that I’ve gotten the most serious pleasure from in the past couple of weeks is from the label Voiceprint, and it’s called The Soft Machine Alive In Paris 1970. The Softs began as a Canterbury-twisted psychedelic pop trio in the late ’60s, their name taken from, as was the fashion in those days, a WIlliam S. Burroughs novel. By the time of this recording, they’d toured the States opening for Hendrix (and, on certain occasions, The Monkees), shed founding singers/guitarists Daevid Allen and Kevin Ayers, and transmogrified into an outfit specializing in a fairly cerebral but still somewhat trippy rock-jazz, with organist Mike Ratledge splitting the lead instrumental voice with altoist Elton Dean. Actually, as this recording indicates, bassist Hugh Hopper, when not expertly approximating Jimmy Garrison, was a lead voice too; when he turned on the fuzz effect on his bass he soloed quite eloquently. (On recordings I always assumed it was Ratledge.) For this concert, shot for French television, they’re joined by Lynn Dobson, who’s convincing on soprano sax and even flute, but less compelling on harmonica—that funky timbre doesn’t quite mesh with the predominant sound.
The early color video has its flares and glitches, which actually contribute to the not-unpleasant curio-like nature of the whole package. The mono soundtrack, rejiggered by Canterbury-rock archive stalwart Michael King, is beautiful. Of course we Softs fans are invariably fans of drummer/singer Robert Wyatt, who’s featured here in multifarious glory.
Wyatt was a remarkable drummer, not very show-offy at all—it’s not for nothing that Jimmy Cobb was/is one of his favorites—but he’s indefatigable, untiring, always inventive. He anchors the group for the most part, but when he drifts off, and into a vocal improvisation…he provides a disinction, a personality that even the ever-inspired Dean is hard-pressed to match.
Art-rock adepts know that in a few years Wyatt would leave Soft Machine, much against his will, form the punning Matching Mole, make two great albums with then, and then become a paraplegic after a fall, and lead an exemplary, still-thriving, still-inspiring singing and writing career from that point on. Wyatt then (left) and now (right):
“You know, I’m really enjoying this,” said My Lovely Wife, as we were halfway through the DVD. She’s not generally warm to this kind of music. “Maybe it’s that it’s on video,” she said facetiously, but I think that’s it, in part. These musicians are concentrating, playing their asses off, making a statement. The statement isn’t much more than, in Ornette Coleman’s phrase, “This is our music,” but watching them make the music renders it something palpable. It’s also a kick to see the band’s Paris audience. Predictably, almost all male. Perhaps not so predictably, almost all teenagers.
Would kids this young turn out for music like this these days? Those were different times, indeed. (Soft Machine’s third album did in fact crack the Billboard Top 50 back in the day.) Of course it could just be that I don’t get out much. Maybe some of those math rock bands I hear about get the young’uns. Anyone out there been to a Battles show recently? Please advise.
In any case, for those with a jones for this kind of thing, and I bet you know who you are, this disc is the best fix I’ve found in a dog’s age.
They do indeed go to Battles. Have no fear.
Good to know.
I rather like Battles. May check ’em out live myself some time.
In my youth I was a Rocket from the Tombs kind of kid. Soft Machine bored the shit out of me, but that may have been because I was on full set tweak 24 hours a day. My taste still runs towards the fast and nasty, though. I have heard Battles and I am trying to quelch the urge to call them wankers. Get with some Starlite Desperation or Cheap Time. But some sex back into your life.
SOLD! I love Soft Machine and had no idea this disc was out and about. And kudos to your Lovely Wife for enjoying it, too. I love My Own Lovely Wife dearly, but whenever I play Soft Machine (THIRD being my favorite Soft Machine, and now also my favorite Portishead), I hear comments like “How can you like this music? It isn’t ABOUT anything.” As the Kennys seem to know, Yes, it is – it’s about making something out of nothing and riding it over the rainbow, with élan.
Incidentally, there’s a biography of the band out in the UK and it’s well worth reading: SOFT MACHINE – OUT BLOODY RAGEOUS by Graham Bennett.
If you’re looking for good modern prog, I’d recommend the Grails. No Soft Machine connection, but their new album DOOMSDAYER’S HOLIDAY sounds at times like the Melvins covering King Crimson’s RED. Only with more beauty and quiet passages than that description would indicate.
I’ll keep this in mind. I saw The Soft Machine open for Hendrix as a matter of fact, late Summer 1968.
Thanks for the heads up Glenn,
Looking forward to picking this up!