Monday, April 23, 2007

Soft Machine

Few English bands from the mid-60's had the mystique of the original Soft Machine. Several have acquired it in retrospect - the Soft Machine actually had it (albeit uninternationally) at the time. They may have lost it in time (through musical self indulgence) but there is no denying their place in the cultural history of 'those days'.

The Soft machine formed in 1966 but their story starts several years earlier at the Simon Langton School in Canterbury, whose pupils at the time included Robert Wyatt, Mike Retledge and Hugh Hopper - all of varying ages, but sharing a common interest in jazz. Much has been made, over the years, of the idyllic and liberal atmosphere of the school and its influence on a Canterbury supposedly on the brink of turning into a kind of English Haight-Ashbury. But Robert Wyatt has since dispelled the myth by saying: 'It was an extremely dull grammar school and I can't remember a single stimulating thing about Canterbury.'

Around this time Wyatt and Hopper met a genial Australian by the name of Daevid Allen. Aged 21, Allen was a fully fledged beatnik - he knew and had worked with William Burroughs and the then unknown Terry Riley in Paris; He had taken LSD and had long hair. With Hopper playing bass and Wyatt learning the drums, the three of them performed occasionally as an avant-garde trio but spent much time in Paris, on Allen's houseboat, working on tape-loops with all manner of new delights.

By 1964, with the Beatles and the Stones sweeping all before them, Canterbury was developing its own healthy music scene. At the center was a group called the Wilde Flowers, the initial line-up of which comprised Hugh Hopper, his brother Brian on saxes, Robert Wyatt, Richard Sinclair on guitar and Kevin Ayers - who had been recommended because he was the only other long-hair in Kent - on vocals. The Wilde Flowers played a strange mixture of R&B, soul and experimental jazz. The band continued in various incarnations until mid 1966, when Allen and Ayers took off to Majorca for the summer.On their return they discovered that Ratledge - a brilliant keyboard player, heavily into contemporary classical music - had left Oxford University and wanted to form a new band. One half went on to become Caravan in 1968. Ayers, Wyatt and Allen joined up with Ratledge and eventually became the Soft Machine. The name was Allen's idea, coming from the title of a William Burroughs novel; He actually phoned Burroughs for permission to use it.

Initially the new band's repertoire wasn't vastly different from that of the Wilde Flowers, but they soon became totally original, performing Ayers' and Wyatt's own compositions. Ayers' were prototypes for the quirky but oddly philosophical songs for which he later became known; Wyatt was already writing about the minutiae of his daily life, both were singing, in their different ways, in very English accents, providing that it was possible to sing in a rock band without affecting a mid-Atlantic drawl. Apart from the songs, they were developing an interest in improvisation, largely through Ratledge. By the end of 1966 their music was, in both style and execution, way beyond most of their British contemporaries.

The timing was perfect - through Allen and his connections with the international freak set, the band were able to find gigs in the newly-emerging underground. They played on the same bill as Pink Floyd at the International Times launch party in October 1966 and went on to become regulars at UFO. For these early gigs they were supplemented by an American guitarist, Larry Nolan, a mysterious character who was, apparently, the veteran of various Californian bluegrass bands alongside David Lindley.

Like many of the more adventurous bands of the period, the Soft Machine suffered from audience incomprehension and hostility almost every time they played out of London or at a non-underground gig. As a result, shortly after their memorable performance at 'The 14 Hour Technicolor Dream' at the Alexander Palace in April 1967, they shifted their base of operations to the South of France, their popularity in Europe dates from this period. On their return at the end of the summer, Allen was refused entry as an undesirable alien, the band continuing as a three-piece. How ever, they have already recorded a single, the classic 'Love Makes Sweet Music', on which Allen played.

In April 1967, shortly after the release of the single, the band entered De Lane Rea studios in Soho to cut the tracks that became known as the 'Jet Propelled Photographs' album. Opinions differ as to the purpose of the sessions. Certainly they were demos, but Giorgio Gomelsky (who paid for the recording and subsequently held on to the tapes) claims they were to be the basis of a proper album. Wyatt remembers it differently, claiming that they were more in the nature of publishers demos and that the majority weren't being seriously considered as material for the band to perform on stage. Indeed several were written by Hugh Hopper, who although still a friend, wasn't actually in the band.

So what about the actual music. To be fair no one could suggest that it's the best stuff the band ever recorded and over the years the album has been subjected to an awful lot of criticism, much of it valid. The production qualities are minimal, some of the playing is sloppy (especially Allen's guitar-playing, which only if one was being very king could be called 'atonal') and overall conveys little or non of the magic and power of the band could generate at the UFO. In its favour the album has enthusiasm, not a little excitement, some great songs and now and again, snatches of something very special. Daevid Allen once remarked that he was eternally embarrassed by his performance but that the whole thing was redeemed by Wyatt, whose vocals and drumming Allen described as 'magnificent'. Which is probably true. The tapes, of course, vanished for years but although an album based on them never materialised, most survived in one form or another.

At the end of the year the Soft Machine embarked on a gruelling six-months tour of the States with Jimi Hendrix and after this they recorded their first album, Soft Machine. Although everything was completed in one take, it was a stunning album, containing charmingly silly Wyatt songs and slightly more disarming numbers by Ayers, linked by pieces of improvisation. Despite its quality, it remained unreleased in the UK until the mid Seventies. The tour virtually killed off the band. however; Ayers disappeared, but Ratledge and Wyatt recruited Hugh Hopper, who had roadied for them, to play bass - and a new band came together in July 1968 to rehearse for a second album.

Ratledge had felt that the original band was too 'poppy'; although adventurous and bizarre, the new line-up was to be considerably more serious. Nevertheless, the two 'aspects' co-existed for a while, as is demonstrated by the second album, 'Volume Two' (1969). Despite more technical problems, it was another classic album, this time with the added dimension of Hopper's roaring fuzz bass. By the end of the year, the limitations of the three-piece led to the addition of a four-piece brass front-line. On a good night they were amazing, but the sheer originality of the first line-up had virtually disappeared; they were moving towards a jazz-rock norm. Unable to sustain such a large unit, they dropped back to a four-piece, only Elton Dean on alto sax remaining from the big band. This line-up produced 'Third' (1970), in many ways their most polished album - though, with the exception of Wyatt's "Moon In June', most of the humour and what the French saw as 'Dadaist' qualities had gone.

Shortly after the release of 'Third', the band played at the Promenade Concerts, much to the chagrin of the dinner-jacketed audience. It wasn't a good gig, but it was significant in that it showed that the band have become the 'intellectuals' of the rock set and were taken up by the establishment. Ratledge, in particular, was starting to concentrate more and more on 'technical expertise'. Wyatt's contributions, especially the vocals, were being cut back virtually to nothing. He left the band, returning briefly to drum on 'Fourth' (1971), a rather flaccid version of 'Third'.

With Wyatt gone, the charm of the original band had disappeared completely. Even new recruit Elton Dean left; an improviser by choice, he found little room to move in Ratledge' increasingly tight compositions. the next line-up, with John Marshall on drums and Karl Jenkins on saxes, recorded 'Fifth' (1972) and 'Six' (1973), both cold jazz-rock albums.
By May 1973 Hopper had left and been replaced by another jazz-rocker, Roy Babbington. At This point Ratledge should seriously have considered dropping the name Soft Machine but, undaunted, the band went on to make 'Seven' (1973) and 'Bundles' (1975). Even the addition of a guitarist, Allan Holdsworth, had made little difference to the sound. Ratledge himself quit in January 1976, but Jenkins and Marshall held on to the name and, with various additional musicians, made the albums 'Softs' (1976), 'Alive And Well In Paris' (1978) and, after a gap when everyone thought that the name had gone for good, "Land Of Cockayne' (1981).

For music of the Seventies, the band bearing the name Soft Machine bore little relation to the original.aspects of the original ideas lived in the work of ex-members, notably in Gong, the anarchic - if self indulgent - band led by Daevid Allen.

Throughout the late Sixties and early Seventies, Kevin Ayers tottered on the brink of success with a string of solo albums, but seemed happier sunning himself in Majorca. Wyatt formed Matching Mole, a sort of radical version of Soft Machine. Following an accident in which he fell from a window, causing him to be paralysed from the waist down, he was unable to drum any more, but such releases as 'Rock Bottom' (1974) and a series of singles on the Rough Trade label in the Eighties have shown that his distinctive vocal style, once so important in the Soft Machine, remained unimpaired. =>>>>>>>>>>>

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Hugh Hopper.
Mike Ratlidge.
Robert Wyatt

@ The Ninth National Jazz and Blues Festival. - 8th August 1969
The Softs were a bit unlucky , as they bore the brunt of the technical problems on the opening night . Power failures led to much of this set being dogged with problems. Just how long they performed for is debatable. However, an audience tape exists of 10 minutes of their set and If I can find it I'll review it .

Soft Machine were a fairly inpenetrable band, you either loved them or loathed them .Originally the Softs featured the well known 60s rock eccentrics Daevid Allen and Kevin Ayers, but they left fairly early on in the piece . I used to like them quite a bit and I saw them once at the Top Rank in Swansea in either late 1969 or early 1970. Now I fnd their music a bit mechanical, but they had great chops and were masters of the extended prog rock number. Their third album, titled, strangely enough - Third , is a very good example of this and is generally considered the best of their efforts. After this they became progressively more jazz orientated, Wyatt left soon after and after a few years none of the orgiinal members were left in the line-up.This show would be in their middle period, where Wyatt took the vocals. Most of their set would have been instrumental with Wyatt ( who has a very strange, but somehow lovely voice) occasionally chiming in with brief vocal interludes. =>>>>>>>>>>>

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@ Wiki
The Soft Machine was a pioneering English psychedelic, progressive rock and jazz fusion band from Canterbury, named after the book The Soft Machine by William S. Burroughs. They were one of the central bands in the Canterbury scene.

Beginnings and the "classic quartet"
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. 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.

The post-Wyatt era
After differences over the group's musical direction, Wyatt left (or was fired from) the band in 1971 and formed Matching Mole (a pun on machine molle, the French for soft machine). He was briefly replaced by Australian drummer Phil Howard, but further musical disagreements led to Howard's dismissal after the 1971 recording of the first LP side of Five (1972) and, some months later, to Dean's departure. They were replaced respectively by John Marshall (drums) and, for the recording of Six (1973), Karl Jenkins (reeds, keyboards), both former members of Ian Carr's Nucleus, and The Softs' sound developed even more towards jazz fusion.

In 1973, after Six, Hopper left and was replaced by Roy Babbington, who had already contributed with double bass on Fourth and Five and took up electric bass successfully. This new quartet of Babbington, Jenkins, Marshall and Ratledge recorded the next (and last) three official Soft Machine studio releases. After they released Seven (1973) without additional musicians, the band switched record labels from Columbia to Harvest. On their 1975 album Bundles, a significant musical change occurred with fusion guitarist Allan Holdsworth adding guitar as a very prominent melody instrument to the band's sound, sometimes reminiscent of John McLaughlin's Mahavishnu Orchestra, setting the album apart from previous Soft Machine releases, which had not featured guitars. On the last official studio album Softs (1976), he was replaced by John Etheridge. After Softs, Ratledge, the last remaining original member of the band, was also gone. Other musicians in the band during the later period were bassist Steve Cook [5], saxophonist Alan Wakeman, and violinist Ric Sanders. Their 1978 performances and record (titled Alive and Well, ironically) were the last for Soft Machine as a working band. The Soft Machine name was used for the 1981 record Land of Cockayne (with Jack Bruce and, again, Allan Holdsworth, plus Dick Morrissey on tenor sax), and for a few live shows in 1984, but these featured Jenkins and Marshall with groups assembled just for those performances.

The Soft Machine legacy
Since 1988, a wealth of live recordings of Soft Machine have been issued on CD, with recording quality ranging from excellent to poor.

In 2002 four former Soft Machine members - Hugh Hopper, Elton Dean, John Marshall and Allan Holdsworth - toured and recorded under the name Soft Works. In 2005, with John Etheridge replacing Holdsworth, they toured and recorded as Soft Machine Legacy, three albums of theirs have been released: Live in Zaandam (2005), the studio album Soft Machine Legacy (2006) and Live at the New Morning (2006). On their tour in summer 2006, Theo Travis (formerly of Gong and The Tangent) replaced Elton Dean, who died in February 2006. Both of these groups performed some pieces from the original Soft Machine repertoire as well as newer material....... =>>>>>>>>>>>

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@ Calyc Club
Soft Machine was formed in 1966 by Robert Wyatt, Mike Ratledge, Kevin Ayers and Daevid Allen. Wyatt had already worked with Allen in the Daevid Allen Trio (which Ratledge occasionally jammed with) in 1963, and with Ayers in the Wilde Flowers in 1964. Although the band had its roots in Canterbury, it soon became a London-based band.

In January 1967, the band's one and only single ever was recorded : it had two songs on it, "Loves Make Sweet Music" and "Feelin', Reelin', Squeelin'". Three months later, a collections of demos was recorded at DeLane Lea Studios with producer Giorgio Gomelsky, but not officially released until 1971 (on two compilations on the French Byg label). At that time, Soft Machine had already become something of a 'cult' band on the London psychedelic scene, gigging at places like the Roundhouse or the UFO. On April 29th, 1967, they took part in an event set up by the underground paper 'International Times', which also featured the Pink Floyd, and was given the name, '14 Hour Technicolor Dream'.

During the summer, the band was involved in an avant-garde theatre project in St.Tropez, on the French Riviera, and it was on the way back that Daevid Allen was refused re-entry to England. So he stayed in France, moving on to various projects before forming Gong two years later, while Wyatt, Ratledge and Ayers decided to carry on as a trio.

In February 1968, Soft Machine embarked on a 3-month US tour (opening for the Jimi Hendrix Experience), recording their first album in New York in four days in April, with production handled by Tom Wilson and Chas Chandler, former Animals bassist and Hendrix's producer. Although quickly made (most tracks are first takes) and not particularly well-recorded, "The Soft Machine" is now considered a classic of the extraordinarily creative post-psychedelic, pre-progressive, period of the late 60's... and quite rightly so!

In May, a guitarist by the name of Andy Summers (also on the earlier Hendrix US tour, backing Eric Burdon... later in The Police, of course!) joined, for the second leg of the American tour (July-September), but left mid-tour. Disagreements on the musical direction began to arise between Ayers and Wyatt-Ratledge, leading to their parting company after the tour was completed. Wyatt stayed in Hollywood to work with Jimi Hendrix, while Ratledge and Ayers flew back to Europe. In December 1968, Wyatt was contacted by Probe, who had just released the first album, to discuss possible live dates by the band to promote it. With Ayers unavailable, Hugh Hopper was asked to join (he was about to sell his bass!), and after a month of rehearsal, the new line-up made its live debut at the Royal Albert Hall in February, a few days before entering Olympic Studios to record the second album.

For "Volume Two" and most of the subsequent gigs, the trio was augmented by Hugh's brother, Brian, who played tenor saxophone. This was the symptom of the band's gradual evolution towards jazz, clearly apparent on the album. In the Autumn of 1969, a permanent brass section was recruited from pianist Keith Tippett's jazz band : Elton Dean on alto sax, Marc Charig on trumpet, Nick Evans on trombone. Another sax (and flute) player, Lyn Dobson, was added following Dean's recommendation. The resulting septet was only together for a few weeks, recording BBC sessions in November and touring France quite extensively towards the end of the year; Evans and Charig then left to pursue successful careers on the European jazz scene (although they guested on subsequent albums).

During the first months of 1970, Soft Machine recorded "Third", a double album which included four sidelong compositions. Hugh Hopper's angular "Facelift" was a collage of live performances made in January, and is the only track featuring Lyn Dobson, who had left by the time the studio sessions for the other four sides had begun. Mike Ratledge contributed two sides : "Slightly All The Time", a progressive jazz masterpiece made all the more successful by the inclusion of the "Backwards" theme (bookended by Hopper's transition theme "Noisette") from previous live medleys; and "Out-Bloody-Rageous", which showcased the band's use of tape loops and featured strong group interplay. Finally, "Moon In June", Robert Wyatt's side, was something of a farewell to Soft Machine's original style, the last piece by the band ever to feature vocals; it was actually a montage of several old songs, some of them dating back to the 1967 Gomelsky sessions, but superbly linked together (Wyatt had recorded a demo of the suite in the USA in 1968). A good indication that the rest of the band weren't too keen on pursuing that kind of direction was that, although uncredited as such, "Moon In June" was largely a solo performance by Wyatt, who played organ and keyboard bass as well as drums and vocals. Hopper and Ratledge only appeared for a brief instrumental extravaganza at the end of the main part; Wyatt didn't even ask them to play on the rest.

So by mid-1970, Soft Machine had become a purely instrumental band; Wyatt being the only member wanting vocals in the music, the majority won... During the summer, Wyatt recorded his first solo album, "The End Of An Ear", on the sleeve of which he described himself as an 'out-of-work pop singer'... But a collection on pop songs the album was not : no lyrics, no conventional singing, rather a very experimental collection of mainly improvised material (the titles of the tracks referred to several Canterbury figures : "To Caravan And Brother Jim" etc.) except for a cover of Gil Evans' "Las Vegas Tango", with the voice used as an instrument and heavily treated, mostly through tape speed alterations. The results were, depending on one's taste, unlistenable or startlingly original and unique.

In the autumn, following a controversial appearance at the Royal Albert Hall for the famous 'Promenade Concerts' in August, the 'classic' line-up of Wyatt , Hopper, Ratledge and Dean recorded "4", in fact their first and last studio album as a quartet, although this incarnation would more or less survive for one more year. This effort carried on in the vein of "Third"'s instrumental tracks (with a welcome return to the septet format on the extraordinary "Teeth" and "Virtually"), and in this respect was an impressive achievement, although the complete lack of vocals made some listeners wonder if the band could still go on under the name Soft Machine... If only they'd known how many changes of personnel and musical direction were still ahead of them!!!

1971 was a year of experimentation, as one can tell from listening to the radio sessions recorded on this period. Several musicians (various brass players, string-bassist Roy Babbington and drummer Phil Howard) were sometimes added to the basic quartet, furthering the evolution towards jazz. That same year, Elton Dean released his first solo album, in much the same vein, with his own Elton Dean Band musicians (Howard and bassist Neville Whitehead), and Ratledge among the guests.

When Wyatt finally left in July, later forming Matching Mole, Phil Howard was a natural choice as replacement, but he rapidly left, midway through the sessions of the "5" album - his style was considered too 'free' by Hopper and Ratledge... and a good majority of the audiences who had seen the band play that autumn. He was in turn replaced by John Marshall, one of the very best drummers in Britain, formerly of Nucleus among other bands. With Marshall in, Soft Machine rapidly moved away from the straighter jazz feel of "5", into more 'jazz-rock' territory, which apparently wasn't to the taste of Elton Dean, who left in May 1972. He subsequently worked with mainly acoustic jazz ensembles, although he was also (quite surprisingly) involved in the Dutch 'progressive rock' band Supersister in 1973-74.

Ex-Nucleus pianist/reeds player Karl Jenkins wasn't really a replacement for Dean, as his multiple talents, including that of composer, rapidly made him the co-leader of Soft Machine with Ratledge. With the impressive Hopper/Marshall rhythm section at their disposal, the pair could allow themselves any level of complexity and musical variety. "Six Album", released in early 1973, was a double half-studio, half-live set. The latter showcases the interplay between the four musicians, while the former is more experimental, focussing on Jenkins and Ratledge's dual keyboard patterns and the use of Echoplex, most notably on the hypnotic "The Soft Weed Factor".

In May 1973, Hugh Hopper decided that four years in Soft Machine was enough and that it was time to move on to pastures new. He had just released his first solo album, "1984", and went on to release several others, and work with countless jazz and progressive bands throughout the decade, and again from the mid-eighties onwards after he stopped playing for five years. Roy Babbington, who had guested on a couple of Soft albums a double-bass player, was a natural replacement, except for the fact that he now concentrated on his 6-string bass guitar. The resulting line-up recorded "7", a natural progression from the studio album of "Six Album", with shorter compositions and even less jazz influence.

Perhaps sensing that, for the first time in the band's existence, Soft Machine's music tended to repeat itself, it was decided to add guitarist Allan Holdsworth to the line-up in December 1973. The resulting quintet (which toured North America in early 1974) was a fusion powerhouse, with possibly the best British drummer and guitarist at that time. Consequently, the music took a decidedly 'rocky' character, as documented on "Bundles", recorded in the summer of 1974 but only released in the spring of 1975. This was the first Soft album not to bear a number, a sign that times were surely changing : the band had left CBS for EMI/Harvest, and also left the underground scene for a more mainstream approach at a time when American fusion bands were a dominant force (and reached their commercial peak).

Holdsworth left shortly after the release of "Bundles", and recommended fellow guitarist John Etheridge as a possible replacement. This proved satisfactory and in the summer of 1975 Soft Machine embarked on an ambitious, but ill-fated, package tour of European arenas with the likes of Caravan and the Mahavishnu Orchestra. From then on, the band's popularity waned as it failed to sustain the momentum initially gathered by its new orientation. Ratledge, the last remaining founding member, left in March 1976, leaving Soft Machine's reins in the hands of Jenkins and Marshall. "Softs" appeared later that year, with Alan Wakeman (the cousin of famous keyboard wizard Rick) on saxophone; a shortlived addition as he left after less than six months, to be replaced by a violin player, Ric Sanders. Babbington also left after a last appearance in Edinburgh, and was replaced first by Brand X's Percy Jones, and finally Steve Cook (ex-Gilgamesh/Mirage). The live album "Alive And Well, Recorded In Paris" (1978) documented a series of French gigs in July 1977. Soft Machine subsequently ground to a halt, perfoming its last gig in Bremen in December 1978.

Soft Machine was active again for one more album - the purely studio affair, "Land Of Cockayne" (1981), with an all-star line-up featuring Allan Holdsworth and Jack Bruce alongside Jenkins and Marshall, but a rather uninspiring mixture of American fusion and orchestral 'muzak' - and a series of gigs at London's Ronnie Scotts club in the summer of 1984, with a line-up of Jenkins, Marshall, John Etheridge, Dave MacRae and bassist Paul Carmichael. Plans for further studio and live projects never materialized and indeed probably never will, as Karl Jenkins has found far more lucrative activities in the field of library, TV and advertisement music, most notably with his Adiemus project. =>>>>>>>>>>>

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Soft Machine @ You Tube

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