TURNS ON VOL. 2

The Soft Machine

•

Canterbury Scene

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The Soft Machine Turns On Vol. 2 album cover

2.14 | 9 ratings | 1 reviews | 11% 5 stars

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Boxset/Compilation, released in 2001

Songs / Tracks Listing

1. Moon In June (2:23)
2. I Should've Known (13:30)
3. A Certain Kind (4:02)
4. Save Yourself (2:02)
5. Lullaby Letter (9:00)
6. Organistics (5:21)
7. Lullaby Letter/Priscilla/Lullaby Letter (Reprise) (8:02)
8. We Did It Again (1:37)
9. Why Are We Sleeping? (5:20)
10. Joy Of A Toy (3:06)
11. Hope For Happiness (4:19)
12. Clarence In Wonderland (1:52)
13. Moon In June (6:24)
14. Esther's Nose Job (6:19)

Total Time: 73:17

Line-up / Musicians

- Robert Wyatt / drums, voice
- Mike Ratledge / organ, piano.
- Kevin Ayers / bass, guitar, voice

Releases information

VOICEPRINT (VP234)

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THE SOFT MACHINE Turns On Vol. 2 ratings distribution

2.14
(9 ratings)

Essential: a masterpiece of progressive rock music(11%)
Excellent addition to any prog rock music collection(22%)
Good, but non-essential (0%)
Collectors/fans only (33%)
Poor. Only for completionists (33%)

THE SOFT MACHINE Turns On Vol. 2 reviews

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Collaborators/Experts Reviews

Review by fuxi
PROG REVIEWER

I bought this album because it was recommended in OUT-BLOODY-RAGEOUS, Graham Bennett's invaluable Soft Machine biography. Neither the BBC nor the official recording studios ever did justice to the early Softs' exuberant sound, Bennett says, and he clearly has a point. TURNS ON VOL. 2 is an important historical document which actually captures the power trio of Mike Ratledge, Kevin Ayers and Robert Wyatt live in their heyday, at their most vibrant and unhinged. If you love the Softs' debut album and VOLUME TWO (as I do) and if you think you KNEW the band but never heard them live (I never had, either) you owe it to yourself to give this a spin, at least once. You'll hear "A Certain Kind", "Lullaby Letter" and all those other psychedelic classics in incarnations you just couldn't imagine!

Whether you'll play this album more than once is a moot point, though. The whole damn thing sounds as if it was recorded in a huge hall, on a tiny portable tape recorder, with dozens of people chatting around the microphone, and with one or more HUGE BRICK WALLS between the tape recorder and the band! In other words: as an aural experience, this album's value is almost zilch. Most Canterbury freaks will find the music fascinating, but even to them I can only recommend the album with reservations.

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