THIRD

Soft Machine's third album, wittily named 'Third' was released in June 1970, and it is certainly one of the most radical shifts in style that any band could display at that time (possibly comparable to Deep Purple's from the same year, or King Crimson's perpetually changing sonic perspectives). It is also the first studio record on which there are four full-time band members (excluding, of course, the additional musicians and/or collaborators); and is also the longest record released by them, clocking in at 75 minutes, famously portrayed by the four long tracks taking up one side of the double LP.

Bedazzling, bold, manic, eccentric, and unorthodox, 'Third' is the album that marked the metamorphosis of Soft Machine from a psychedelic Canterbury Scene outfit to an unstoppable jazz monster - described as progressive rock, electronic rock, and jazz, this album is worth hearing every minute with full attention, always eagerly expecting the next grand shift, the next utterly satisfying and bewildering moment; almost like it is a different band, when compared to the pair of albums that came before 'Third', Soft Machine manage to break every bit of expectation, and instill inside the stoked listener a sense of havoc!

To the already-existing line-up of Mike Ratledge, Hugh Hopper, and Robert Wyatt, the listener has to know about the presence of their new member Elton Dean, playing both the alto saxophone and the saxello on three of the four epic tracks. The additional personnel consists of Lyn Dobson (flute, soprano sax), Nick Evans (trombone), Jimmy Hastings (flute, bass clarinet), and Rab Spall (violin).

Kicking off the album is the absolutely hazardous and unsettling instrumental live recording of 'Facelift' - a composition so vigorous and lively, it was further edited with loops and speed changes in the studio. It is so starkly different from everything else they did before, so menacing with the aggressive and protruding saxophone-keyboard interplay; brilliant rhythm sections and strong dependence on the loud-soft effects. Adding to the aforementioned qualities of the composition is the quality of the recording itself, quite harsh, unpolished and hissing; the editing is patchy and imperfection seems to be the fifth element that adds to the vitalité of 'Third'.

On side two, the listener will find 'Slightly All the Time', another very jazzy but more somber track, a sort of a 'patchworked' composition from shorter instrumentals written by Ratledge and Hopper, a very pleasing track.

Side three contains the only vocal composition, 'Moon in June', written by Wyatt; the only song on 'Third' reminiscent of their past psychedelic sound, with lyrics derived from songs from their previous studio recordings, resulting in another very enjoyable experience. This happens to be the only song that does not feature Elton Dean, and the only one that cannot be classified as jazz.

Finally, on side four, there is another mighty instrumental - 'Out-Bloody-Rageous', a very saxophone-oriented composition bookmarked by the slightly exhausting electronic soundscapes and tape loops, composed by Ratledge.

'Third' is one of the 70s albums that leaves the listener in awe and excitement and one of the most impressive achievements of the Canterbury Scene!