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Rating:
Hang your ears on the handles of your umbrellas, you will be hit by a rain of electric and reckless sounds!!
These "Dadaist" inspired tracks form, in my opinion, the most innovative musical moment of Soft Machine.
It's 1969. The audience at London's Ufo is finding its psychedelic champion in the young Syd Barrett, and Wyatt's group alternates with Pink Floyd's performances on the same stage and during those same years. The risk, however, is that the entire rock scene, after the death without resurrection of the last Beatles, becomes populated with visionary ferrymen who, in order to wave the flag of originality at all costs, lose contact with the musical dimension from which to draw to create new things.
From this varied underground world, Soft Machine emerges, musicians of jazz training from the so-called "Canterbury scene." Primarily characterized by a high level of musical technique and a taste for experimentation. But they are also remembered for the use of tenor and soprano saxophones in a rock formation, complex arrangements associated with noise and disturbing sound effects, and the irony of lyrics in the style of Frank Zappa, which will find their peak in the magnificent Gong of Daevid Allen (former Soft Machine).
Let's get to us. What I like about this album compared to the subsequent Third idolized and magnified by everyone is the fact that music is the undisputed protagonist, and the desire to astonish is present but held in check like the stick of an airplane during the most spectacular aerobatics.
The very short tracks “Pataphysical Introduction - part I and II” echo Rithm and Blues and sound as modern as an acid jazz piece by a black musician. It’s no coincidence in II the reference of the winds to a very famous jazz standard “These Foolish Things”. The ability of this group to draw from the past, rework it, and even revolutionize it is more alive than ever. There are extremely enjoyable interludes like “A Concise British Alphabet” where the alphabet is recited by Wyatt's amused voice, which here still does not have the dark shades of his future solo albums. From the time changes of “Hibou, Anemone and Bear,” perhaps more typically anticipating the classic “prog rock,” to the vocal arrangements of “Dada was Here” and “Have You Ever Bean Green?” In particular, I believe the latter is a masterpiece of melodic intertwining, suspended harmonies, and sudden seemingly senseless rhythmic breaks, all in less than 1 minute and 20 seconds of music.
I must also say a word about the justly famous “Dedicated to You But You Weren’t Listening.” Acoustic guitar and voice: it leaves you speechless. Listen to it, and tell me if you still think that being original requires synthesizers, screams, and hyper-fast drums (I don't want to argue with Dream Theatre fans, heaven forbid). Ratledge's tracks “Orange Skin Food” and “A Door Opens and Closes” are certainly those with the most fusion imprint, a thread which will then develop after the third album with its conclusion in the 6th and 7th volumes.
In my opinion, this is the most interesting album, although I love the entire discography of the group. Wyatt is very inspired and is an excellent singer. Artistically he reaches his peak here, only to get a bit lost in experimentation for its own sake in Third and drift toward a slow decline in the following years. However, it must be said that although they lost originality, Soft Machine refined themselves more and more in the seventies as first-rate musicians. In particular, I really appreciate the ability to compose original instrumental music by mixing it with jazz improvisation and pop song. We should be interested in these rare musical realities in an era rich in image but very poor in sound and musical research.
Tracklist Lyrics Samples and Videos
06 Dada Was Here (03:25)
Por qué trabajas tú por all?
Por qué no estas aquí en casa?
La la la, yo no sé... sólo me pregunto
Porque no soy feliz en la escuela?
Es que puedo confiar en alguien que no est?
Yo no sé...
Es que puedo fumar cuando soy ma viejo?
Es que puedo creer en el ídolo que queremos?
Digame si es justo que no estés aquí?
Para ayudarme, yo no sé, sólo me preguntan
Yo no sé, no sé, no sé...
12 Dedicated to You but You Weren't Listening (02:32)
Famous parabolic versions
Songs that promise:
Beauty, sleep, love, sadness.
Do I dream that something's missing?
Hungry, thirsty, open off-peak mind
Give me the truth, give me the truth,
give me the truth, tell me...
Songs and versesa,
Handy captions,
Photographs of
Real-life action, horror, madness.
Can it be that something's happening?
Wash me, paint me, but please don't taint me
Give me a chance, give me chance,
give me a chance...
When I was young, the sky was blue
And everyone knew what to do
But now it's gone, the telly's here
Mass media, the sewer too
Universal maximillion
Eight rare cases
Chickenpox and crawling gladness
Seemingly it's nothing happening
Cure my doctor
don't swallow him down
Give me the cure, give me the cure,
give me the cure...
The night was cool, the moon was bright,
The air was clear with oxygen
The stars were there, and in my eyes
Were thousands of chrysanthemums
Don't use magnets -
Geophysics carry you back
Wholesome, healthfood, homepride
Satisfied
Something outside gives out hunger
Face my mirror
Electricity...
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Other reviews
By SALMACIS
The album is structured like a long suite inspired by Pataphysics, the science aimed at finding solutions to imaginary problems.
"Hibou Anemone and Bear" is a true gem, fresh and ingenious, invigorated by Wyatt’s original drumming.
