Soft Machine
BBC sessions 67/71

THE REVIEW

The BBC has always accustomed us to impeccable recordings by artists in their peak period, so when we talk about one of the best English bands ever, the rule can only be confirmed.

The double disc I'm about to describe was released by Hux in 2003 and contains almost all the radio sessions held by Soft Machine during their Wyatt era and was released alongside another double CD that offers sessions from the following period, from '71 to '74. Needless to say, any Soft Machine fanatic cannot afford not to secure this duo, especially since inside there are recordings that sometimes surpass the studio versions in beauty: the most striking case is the famous "Moon in June" from their third epic and magnificent album. In this version, the lyrics are completely rewritten for the occasion, and the performance with the continuous alternation of clean and distorted sounds of bass and organ is of a practically perfect balance, and it contains one of Wyatt's best vocal works...

"Playing now is lovely here in the BBC"

There is also a nearly 30-minute medley that includes "Mousetrap/Noisette/Backwards/Esther's Nosejob" supported by the brassy backing of Elton Dean, Mark Charig, and Nick Evans, and a beautiful version of that magnificent 11/8 swing that is "Slightly All Time"... there are also two solo exploits by Robert Wyatt: "Instant Pussy" here two years ahead of the version by Matching Mole and a "Dedicated To You But You Were Listening" for solo voice and echo.

In addition to these pieces ranging from the "2nd" period to the "4th", at the beginning of the CD, we find five pieces from the period with Kevin Ayers, including a primitive "Clarence In Wonderland", later resumed by Kevin in his "Shooting At The Moon", the unreleased "We Know What You Mean" and a nice version of "Certain Kind", one of the most beautiful pieces from the first album.

The second disc focuses on the final phase of the Wyatt era, with the perhaps weakest pieces of the lot: it's a shame that there's no performance of "Teeth", the most beautiful piece from the fourth album...

Nonetheless, this is an essential document that demonstrates the immense artistic value of the performances but above all the compositions of the group, bolstered by the unwavering rhythmic precision of Hopper's bass, the Classical/Jazz compositional and executional rigor of Ratledge, and the wild creative fantasy of Wyatt... The Soft Machine, gentlemen, perhaps my absolute favorite band.