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Singer Kevin Ayers dies, age 68

– February 20, 2013Posted in: Obituaries

English songwriter and core member of the Canterbury scene Kevin Ayers has passed away at the age of 68. Ayers recorded a series of albums as a solo artist and over the years worked with Brian Eno, Syd Barrett, John Cale, Elton John, Robert Wyatt, Andy Summers, Mike Oldfield, Nico and Ollie Halsall, among others.

After living for many years in Deià, Majorca, he returned to the United Kingdom in the mid-1990s before moving to the south of France. His last album was Unfairground, which was recorded in 2006.

British magazine MOJO reports: “Kevin Ayers possessed a voice like no other, intrinsically British and full of whimsy and mischief. This latter quality animated much of his life as well as his music.

Born in Herne Bay, Kent, in 1944, Ayers was raised in Malaysia before returning to England at the age of 12 where he attended Simon Langton Grammar School For Boys, later described as “a hotbed for teenage avant-garderie”. His first band, The Wilde Flowers, formed in the summer of ’63 and also featured Robert Wyatt and Hugh Hopper, both of whom (along with Ayers) would have a huge effect on what became known as The Canterbury Scene.

By mid-1966 The Wilde Flowers had morphed into The Soft Machine and featured Ayers on bass and vocals, Robert Wyatt on drums and vocals, Mike Ratledge on organ and Daevid Allen on guitar – the latter, both older and wiser, and a key influence on Ayers. The band’s sound evolved dramatically, as they began blending jazz influences and beat-inspired incantations to their psychedelic sound.”

Read the full obit here.

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Tags: Kevin Ayers, Robert Wyatt, Soft Machine
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Caravan: In The Land Of Grey And Pink 40th Anniversary Edition

– April 13, 2011Posted in: New releases

To celebrate the fortieth anniversary of the release of Caravan’s In The Land Of Grey And Pink, Universal is pleased to announce a special three-disc, deluxe edition of the album. The original multi-track session and album masters have been revisited by Steven Wilson (of Porcupine Tree and Blackfield) who has prepared new stereo and 5.1 Surround Sound mixes.

Disc One features the original album newly remastered by Paschal Byrne at The Audio Archive plus three new Stereo mixes by Steven Wilson. Disc Two features two previously unreleased versions of “It Doesn’t Take A Lot” and “Nigel Blows A Tune” plus four non-album tracks remixed by Wilson Disc two also includes three songs recorded live for BBC radio’s Sounds of the Seventies – “Love To Love You”, “Love Song Without Flute” and “In The Land Of Grey And Pink” plus two songs recorded live for John Peel’s Sunday Concert which included a superb cover version of Soft Machine’s “Feelin’, Reelin’, Squealin’” and Caravan’s own magnum opus, “Nine Feet Underground”. Disc Three is a DVD featuring the brand new 5.1 Surround Sound and Stereo mix of the album plus two performances recorded for German TV’s Beat Club in June 1971. “Golf Girl” was broadcast at the time but “Winter Wine” has never been seen.

Like Soft Machine, Caravan was born out of Canterbury based band Wilde Flowers, a group subject to many line-up changes. At various times the outfit featured Kevin Ayers (vocals), Richard Sinclair (guitar), Robert Wyatt (drums), and Hugh Hopper (bass). The band was augmented in 1965 when Hopper invited trainee dental technician and drummer Richard Coughlan to replace Robert Wyatt whohad chosen to sing rather than play drums. Shortly afterwards a new guitarist was also recruited, Pye Hastings, born in Banffshire, Scotland but living in Canterbury since the age of twelve. Originally an R&B band, Wilde Flowers were developing towards more of a soul direction when Dave Sinclair joined, originally playing bass, but soon switching to keyboards. Both Kevin Ayers and Robert Wyatt then departed just a few months apart, both later re-emerging in Soft Machine.

By 1968, changing their name to Caravan, the classic first line-up comprised Pye Hastings, guitar and vocals, Richard Sinclair, bass guitar and vocals, Dave Sinclair, keyboards and Richard Coughlan, drums. Caravan soon developed a unique style having begun to write their own material and began to perform outside of Kent. An appearance at Middle Earth in Covent Garden in June 1968 eventually led to Caravan becoming the first British band to sign to the New York based Verve Records. The album Caravan appeared on Verve Forecast in January 1969 and stands creatively alongside classic early British psychedelic recordings like Pink Floyd’s Piper at the Gates of Dawn, Family’s Music in a Doll’s House and Traffic’s Mr. Fantasy. Unfortunately, the album was only in the shops for a matter of months before Verve Records ceased operations in the UK.

Caravan soon found a new home, signing to Decca Records and beginning recording their second album in September 1969. The irreverently titled If I Could Do It All Over Again, I’d Do It All Over You, was released a year later. By then, Caravan had already written the new material that would make up the bulk of their next vinyl outing. In the Land of Grey & Pink was the result – arguably, their finest hour.

Sessions for the album began at Decca Studios in West Hampstead in September 1970 where Caravan worked on first versions of what would become such legendary songs in their repertoire. On this occasion, Pye Hastings sole song writing contribution was “Love To Love You” explaining his relative lack of material thus; “For the first two albums I wrote most of the material, and Dave Sinclair also wrote a lot. When it came to Grey & Pink the others had a big backlog of material. Dave especially was advancing way ahead of the rest of us in terms of musical development, so he had a lot of say on the album. Richard Sinclair also had a pile of good material. I only contributed one entire track, but offered bits to some others.”

The first song recorded was Richard Sinclair’s “Group Girl”, aka “Golf Girl”. Another Richard Sinclair composition to grace the album was “Winter Wine”, a song of fairy tales and dreams. “We tended to come up with the music first and the lyrics were usually the last thing to be finished,” explained Pye. “I think ‘Winter Wine’ is probably the finest song Richard Sinclair has every written.” The remaining sessions in September 1970 were dedicated to “Dave’s Thing”, a major composition that became “Nine Feet Underground”. The 22 minute opus was recorded in five distinct sections and skilfully edited by David Hitchcock and engineer Dave Grinsted. In December 1970 the band moved to the newly opened AIR London studios in Oxford Street. These AIR sessions saw “Golf Girl” re-recorded, with a superb piccolo solo from Pye’s brother, Jimmy Hastings plus the remaining titles, including “Grey and Pink” and Hastings’ ‘Love To Love You’. The work at AIR also produced Richard Sinclair’s long
unreleased “Frozen Rose (I Don’t Know It’s Name Alias The Word)”, now one of the bonus tracks on Disc Two.

The album’s final mixing was completed at Decca studios in January 1971, its initial single, released on February 12th 1971, coupling “Love To Love You (And Tonight Pigs Will Fly)” with “Golf Girl”. In The Land Of Grey And Pink followed in April 1971 on Decca’s progressive rock label Deram. It was the inaugural release in Deram’s “deluxe” series, its gatefold sleeve featuring a striking Tolkien-esque illustration by Anne-Marie Anderson. Both the music within and the album sleeve created a stunning impression but, despite failing to register on the official UK album chart, In The Land Of Grey And Pink has remained on catalogue since its 1971 release and is Caravan’s biggest selling album. It’s splendid fusion of folk, jazz and rock – tinged with the band’s humour – created an album that is still highly regarded. Forty years on, In The Land Of Grey And Pink is, perhaps, Caravan’s defining moment.

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Tags: Caravan, Kevin Ayers, Soft Machine
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Soft Machine Legacy – Live Adventures [MoonJune, 2010]

– April 4, 2011Posted in:

Soft Machine Legacy - Live AdventuresSoft Machine Legacy’s Live Adventures draws you in slowly, almost imperceptibly. You hear a guitar drone, then Theo Travis’s lonesome flute over John Marshall’s lightly tinkling cymbals. John Etheridge’s increasingly assertive guitar adds more mystery. Thus begins “Has Riff II,” an elaborate variation on Mike Ratledge’s “As if” (previously heard on Legacy’s Live at the New Morning).

The album adds to the Soft tradition while including some of the band’s more familiar songs. Recorded live in Austria and Germany, it meets a receptive audience. Of the four neo-Softs, only Travis did not serve with the original group. The CD features the Soft Machine Seven rhythm section of Roy Babbington (bass) and the estimable John Marshall (drums), plus the aforementioned John Etheridge, who appeared on Softs and Paris (plus Rubber Riff).

Everyone performs well here: Travis adds a new dimension, being the Softs’ first flautist since Lyn Dobson played on Soft Machine Third (I personally would not count Land of Cockayne). He often gives the material a Jade Warrior-like feel. Babbington’s bass work is especially subtle and often lyrical; he never plays more than he has to or less than he needs to. Often confined to ostinatos in the past, he branches out admirably on this set. Marshall is, as always, wonderfully propulsive and supportive, really socking those tom-toms. John Etheridge frequently lets fly with rivers of notes that nonetheless tell stories. A more disciplined player than in the distant past, he has gained in maturity and depth.

All that said, Travis does sound a tad uncertain in certain places, specifically on sax. You wish he could put a bit more bite and sass into his playing, rather like Elton Dean, his predecessor (he does hold his own most of the time, however).

The CD features four new or less familiar originals by Etheridge and sax/flautist Travis, plus five Soft chestnuts. The eldest of these is a three-minute “Facelift,” the most recent a version of Karl Jenkins’ “The Nodder” from Live and Well in Paris. Some may balk at the shortened “Facelift” (originally a 19-minute extravaganza on Third), but it’s one of the album’s major highlights. After stating the theme, Travis and Etheridge perform a haunting and serpentine duet that will keep you riveted. Marshall’s soft drum rolls enhance the sense of drama.

Superbly recorded, the album lets you hear everything with clarity. The older material gets some energetic treatments, especially Mike Ratledge’s “Gesolreut,” one of my old favorites. John plays a rip-roaring solo that tears the guts out of the thing. “Song of Aeolus,” another of my great favorites, gets a welcome expansion and evocative soloing. Travis’s flute adds a new layer of pathos, with Etheridge’s guitar well evoking the loneliness and angst of the original (on which he played, of course).

The group gives Karl Jenkins’ “The Nodder” a relentless workout, with appropriately urgent (and fluid) sax and guitar work. Of the newer ones, Travis’s “The Last Day” is a standout, very moody and a fitting closer to the album. His flute floats over Etheridge’s rippling guitar in a way that makes you think the future may be as good as the past. Legacy on this occasion doesn’t quite have the edge of classic ‘60s/ ‘70s Soft recordings; it lacks that wildness that often suffused previous Softwork. At times it sounds almost polite. Nonetheless, it is a worthy addition to the Softs’ heritage.

Mason Schaefer

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Rare Soft Machine recordings to be released in november

– October 11, 2009Posted in: General news, New releases

Reel Recordings is pleased to announce the imminent release of the finest recording of the classic Soft Machine quartet ever committed to tape. There was never another band that rose to the heights that Mike Ratledge, Elton Dean, Hugh Hopper, and Robert Wyatt did, nor are succinct descriptions of their music applicable here.

Therefore, with much to celebrate about this exciting double cd set, Reel Recordings have complimented this simply stunning concert performance with a specially designed CD-ROM. This colourfully presents an extensive eight-chapter essay: The Soft Machine Sound: An Acoustic Electronic Experience Examined, replete with previously unseen photos and unheard recording extracts.

Hats off to the Henie Onstad Art Centre in Oslo, Norway for allowing the label to care for their extraordinary direct-to-Studer, two-track ambient recording. Additionally, Reel Recordings offer their deeply felt appreciation to Robert and Mike, as well as Elton’s and Hugh’s estate, for their enthusiastic approval. The label hopes they have done justice to the distinguished history of the Henie Onstad Art Centre and the Soft Machine recorded legacy, with the listeners’ approval in mind. These historically important recordings will be released on November 1, 2009.

SOFT MACHINE ~ LIVE AT HENIE ONSTAD ART CENTRE 1971
(Reel Recordings RR014/015) Two compact discs with bonus CD-ROM

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Soft Machine icon Hugh Hopper dies

– June 8, 2009Posted in: Obituaries

Bass guitarist Hugh Hopper has died at the age of 64, it was announced yesterday. The Kent-born musician is best known as the bass player in Soft Machine which he joined in 1968. He remained with them until 1972 but later became an important part of Soft Machine Legacy which has toured the world in recent years.

Before Soft Machine Hopper worked with Daevid Allen and Robert Wyatt in the Daevid Allen Trio, before forming the Wilde Flowers with his brother Brian, Robert Wyatt, Kevin Ayers and Richard Sinclair. It was with Wyatt, Allen, Ayers and Mike Ratledge that he was to make his mark on the history of progressive rock and forward-looking jazz-influenced psychedelic groups of the period and since with his innovative fuzz-bass sound.

After Soft Machine, Hopper worked with a range of groups including the influential Gilgamesh and Isotope and began an association with free jazz saxophonist Elton Dean who joined Soft Machine in 1969. Later important collaborations also included work with the late Pip Pyle, Phil Miller’s In Cahoots and since 2002 with Soft Works which later became Soft Machine Legacy. Hopper had been suffering from leukaemia in recent years. A benefit was held for him at the 100 Club in London last December.

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New Soft Machine Legacy album

– June 11, 2007Posted in: New releases

The new studio album of SOFT MACHINE LEGACY “Steam” is available now and ready to be shipped on Wednesday, June 13. For more information about this exciting album, recorded in studios of the legendary UK drummer Jon Hiseman, and to hear audio clips, please go to: http://www.moonjune.com/MJR016.htm

The groups new release, “Steam”, combines collective freely improvised jams with new writing from Hopper, Etheridge and Travis. Gone are the keyboards that so defined 1970s Soft Machine. In their place are modernistic sampling/looping and sonic processing, creating expansive soundscapes not possible during Soft Machine heyday. Between Etheridge broad sonics, Hopper’s legendary bass loops and “fuzztonics” and Travis system of ambitronics – allowing him to sample his saxophones and flutes in real time and naturally layer unpredictable harmonies – Soft Machine (Legacy) often sounds larger than a quartet.

The CD is available for sale for $14 for USA/Canada buyers and $17 for the rest of the world. And that includes all shipping and handling charges.

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