MINTY 2xLP ● 1970 PROMO Orig● THE SOFT MACHINE ● THIRD ● PROG JAZZ Psych + WYATT
$
88
$ 88
Sold For
Sep 18, 2022
Sold Date
Sep 13, 2022
Start Date
14
Number Of Bids
USA
Country Of Seller
eBay
Auctioned at
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Description
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- ORIGINAL 1970 PRE - RELEASE PROMOTIONAL
- DOUBLE (2-LP) HAMMOND ORGAN JAMMER !
..|/\|...............................................|/\|.. - THE SOFT MACHINE
- ..|/\|...............................................|/\|..
- USA COLUMBIA RECORDS - G 30339
see full details bottom of page, the 4 sides (double LP) are Minty clean
- ORIGINAL 1970 PROMOTIONAL
- 1970 ORIGINAL FIRST PRESSING from 52 years in thick gatefold cover, a 2 LP set, third album (just as the title implies), finding the Soft Machine in a full blown adventurous & highly creative affair.
- With 4 close-to-twenty-minute-long tracks, it's hard to come up with a brief review that is still informative. So instead will listen to the album and try to describe each track as it plays:
- "Facelift" - Opens with a loooong, deep, menacing organ note over which other keyboard lines build into a chaotic patchwork of sound. After about four minutes of this, the other instruments (bass & reeds) start to creep into the mix. Around the five minute mark, there's an audible edit (this track was constructed from two different live shows) and the song switches to a more structured section. This part sounds more like the jazz-based progressive rock that Canterbury bands are known for. Near the track's midpoint, there are a couple edits as other melodies are faded in and out. A whirling flute solo over another long organ note follows, then at the thirteen minute mark the band goes back into jazzrocking. At one point, it sounds like recordings from both concerts are playing at the same time. The track ends with a repetition of the composed bit from five minutes into the track, which shifts into some backward masking and finally fades away.
"Slightly All the Time" - Starts off with the bass sounding like it's randomly bouncing between a handful of notes, creating a catchy bass line. The drums soon join in, and then the horns state the main melody. After that there's a lengthy section of reeds backed up by bass, drums and organ. Just before the six minute mark, the track doubles its pace and then goes into a fluttering flute solo. It calms back down a couple minutes later and goes into a keyboard and sax dominated section which builds up into a ripping fuzz organ solo. Next, the song slows down and gets a little atmospheric, with swelling guitar (or is that a keyboard?) notes floating behind a smoky sax solo. During the last couple minutes the song accelerates to high speed, finally ending with a restatement of the horn theme from the beginning, this time joined by heavily distorted Hammond organ.
The track finally ends with some clanging sounds just past the nineteen minute mark. The original release of Third had an unpolished sound quality. "Slightly All the Time" and "Out-Bloody-Rageous" are the most straightforward tracks on the album, representing the jazz-rock sound that would be explored further on subsequent albums.
"Facelift" is the most radical track. The version on the album was recorded live at the Fairfield Halls, Croydon, 4 January 1970 (the first by the quintet version of the band), with a brief section from the Mothers Club, Birmingham, 11 January 1970, and some recordings from the 1969 Spaced project. While a large part of the finished product is essentially a live recording, parts involve tape collage and speeding up, slowing down, looping and backwards playing of tapes, the ending being the most memorable part, where two different treatments of the same basic riff (one from the live concert, the other, at double speed, from Spaced) are heard simultaneously, backwards. At the time of the 5-piece line-up, "Facelift" was typically expanded with solo improvisations and showcases by Lyn Dobson on flute, vocals and harmonica.
"Slightly All the Time" is a medley of different instrumental pieces, including Ratledge's "Backwards" and Hopper's "Noisette". "Backwards" later appeared on fellow Canterbury Scene band Caravan's 1973 album For Girls Who Grow Plump in the Night, as part of the "A-Hunting We Shall Go" medley.
"Moon in June" is the last song with lyrics that Soft Machine recorded, and their last look back to their progressive rock, pre-jazz sound. The song is in three parts. The first is a pastiche of vocal themes delivered in a stream of consciousness which varied in live performances. Wyatt plays all the instruments in this section. The lyrics borrow from Soft Machine's earlier "That's How Much I Need You Now" and "You Don't Remember", but largely from new vignettes recorded in a demo by Wyatt in October 1968 while on holiday in New York state. An excerpt from a different demo of Part 1, recorded in November 1968, was included on Robert Wyatt's 2001 Flotsam Jetsam archive compilation. The second part features the whole band, and is an instrumental similar to other jazz-rock pieces on the album. The third is a drone featuring Wyatt and violinist Rab Spall; Spall's part was recorded separately and was sped up and slowed down to make the violin fit the beats of the music. This section also features Wyatt scat singing uncredited renditions of two Kevin Ayers songs: "Singing a Song in the Morning" and "Hat Song"...
Side A: "Facelift" (Hugh Hopper) – 18:45
Side B: "Slightly All the Time" (Mike Ratledge) – 18:12
Including: "Noisette" (Hopper), "Backwards" (Ratledge) and "Noisette Reprise" (Hopper)
Side C: "Moon in June" (Robert Wyatt) – 19:08
Side D: "Out-Bloody-Rageous" (Ratledge) – 19:10
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CONDITION:
- The cover: rated: VG+(+) thick gatefold cover is stiff and solid everywhere, has light ring wear started on front and back while insides group photo is near M- all clean with NO shelf wear...there are no delete marks, no bends, no seam splits -- extremely rare PROMO song titles strip on front cover, good luck finding another 52 years ago pre-release of this rarity! altogether should still be a great score for any music library with the MINT clean double vinyls within.
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- The vinyl: Rated: TOP, near M- both Lp's, ALL FOUR SIDES, are all shiny smooth, playing clean all the way ! The four red/black 1970 original Columbia labels are CLEAN
A cool addition to anyone's music library!
SEE: SELLERS OTHER ITEMS (((similar grooves for "head" people...)))
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for you BEFORE leaving ANY negative feedback. Thanks! ................................................ GRADING SYSTEM:
All imperfections are noted both cover & record
GRADING SCALE: M, M-, EX, VG++,VG+, VG, VG- M Completely clean, no marks, plays clean
M- Carefully used, looks clean, plays clean, shiny gloss, plays clean
EX Faint scuff or superficial mark, near M-, high gloss, plays clean VG++ Glossy with minimal scuffing or light mark playing very nice, enjoyable
VG+ a bit more scuff or marks still plays well with very minimal surface at worse VG more marks/scratches only minor, nothing deep, no loud clicks or pops this grade is abused by many, VG here does not mean "trashed" VG- surface noise present, will not have skips or jumps ALL PAYMENTS SHOULD BE MADE WITHIN 5 DAYS Of AUCTIONS END BIDDERS PLEASE = Do Not Bid If You Are Not Serious About Following Through The Transaction! ALL ITEMS GUARANTEED FOR WINNING BID - LESS SHIPPING!
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