Any Nucleus fans?

Hi, I was curious if anyone out there besides me was a fan of Ian Carr and Nucleus.  I got into them because I found out some of the members of Nucleus went on to form Soft Machine, and now I like them a lot and am trying to get all of their albums.  If you are a fan too, what's your favorite album or track or actual member of the group?

Discuss.

Oh yes, I wonder why they aren't here yet!!!!

One of my first intro to prog, I loved and still love Solar Plexus, Elastic Rock, Labyrinth, Roots, We'll talk about it later!!!!!!

I'm not alone then, there's someone else who likes this beautiful jazz - rock - prog oriented band!!!!

Ian Carr is a genius. I'm listening to his "Belladonna" album..

___BYE___

CrazyDiamond wrote: Oh yes, I wonder why they aren't here yet!!!! One of my first intro to prog, I loved and still love Solar Plexus, Elastic Rock, Labyrinth, Roots, We'll talk about it later!!!!!! I'm not alone then, there's someone else who likes this beautiful jazz - rock - prog oriented band!!!! Ian Carr is a genius. I'm listening to his "Belladonna" album.. ___BYE___

They are here thats why I am upset that this thread got moved.  By the way I just got a vinyl copy of Belladonna and have ordered Labyrinth.  We definitely share the same sentiments and that's a good thing; Ian Carr and Karl Jenkins are both geniuses!!!

Yeah! I have Elastic Rock and We'll Talk About It Later. Great albums both! I love their elegant and calm jazz-rock style.

I was thinking about getting Live In Bremen next. Is it any good?

^ Ok, well at least Hugues Chantraine seems to like it. That's usually a good sign! Thanks, I'll check out Belladonna as well.

WiguJimbo wrote: Yeah! I have Elastic Rock and We'll Talk About It Later. Great albums both! I love their elegant and calm jazz-rock style. I was thinking about getting Live In Bremen next. Is it any good?

Live In Bremen is  freer jazz than the studio albums would suggest, harking back to Carr's work in the 60's. But will provide another dimension to Nucleus's output

WiguJimbo wrote: ^ Ok, well at least Hugues Chantraine seems to like it. That's usually a good sign! Thanks, I'll check out Belladonna as well.

Thanks Jimbo!

What a fine pupil you make!

Actually Nucleus became a breeding ground for Soft Machine ! I counted up to ten musos that played in Nucleus before becoming Machinists. I did not count one doing the reverse!

I may need help to complete their discography though!

Sean Trane wrote: Actually Nucleus became a breeding ground for Soft Machine ! I counted up to ten musos that played in Nucleus before becoming Machinists. I did not count one doing the reverse! I may need help to complete their discography though!

Sean

You need to see BBC's Jazz Britannia, the documentary run earlier this year covering  jazz development in the UK since 1950. The second part covers the roots and development of UK jazz rock, and I was surprised at the start point of some the players who became famous in the 70's.

Good point about the one way flow from Nucleus to Machine. One of several things I heard listening to the Hux records 2 2-CD set releases Soft Machine BBC, was how much Machine started to sound like Nucleus through the 70's. This is less evident in the studio compilation Out Bloody Rageous, the compiler perhaps over doing the Riley-influenced tunes in his selection.

I think Wyatt (e.g. End of an Ear) and Hopper (e.g. 1984) had some influence Henry Cow and the RIO movement  for instance.  But then between the RIO/free jazz/avante rock Hugh Hopper moved to Isotope and then Stomu Yamashta's Band. BTW there is a sort of parallel here with Stomu Yamashta and Brand X (in a couple instances via Suntreader) - although I have wondered why Gary Boyle didn't become Brand X's guitarist?? And Ratledge and Jenkins went on to produce some very successful advertising jiggles, before inventing "cross-over classics".

However, a bit of an  enigma. Why did Chris Spedding shift out of Nucleus, and after doing some nice blues rock with Free's Andy Fraser in Sharks, be responsible for sounding Sex Pistols'  first recorded riff............................?

meurglysIII wrote: Dick Heath wrote: Sean Trane wrote: Actually Nucleus became a breeding ground for Soft Machine ! I counted up to ten musos that played in Nucleus before becoming Machinists. I did not count one doing the reverse! I may need help to complete their discography though! Sean You need to see BBC's Jazz Britannia, the documentary run earlier this year covering  jazz development in the UK since 1950. The second part covers the roots and development of UK jazz rock, and I was surprised at the start point of some the players who became famous in the 70's. Good point about the one way flow from Nucleus to Machine. One of several things I heard listening to the Hux records 2 2-CD set releases Soft Machine BBC, was how much Machine started to sound like Nucleus through the 70's. This is less evident in the studio compilation Out Bloody Rageous, the compiler perhaps over doing the Riley-influenced tunes in his selection. I think Wyatt (e.g. End of an Ear) and Hopper (e.g. 1984) had some influence Henry Cow and the RIO movement  for instance.  But then between the RIO/free jazz/avante rock Hugh Hopper moved to Isotope and then Stomu Yamashta's Band. BTW there is a sort of parallel here with Stomu Yamashta and Brand X (in a couple instances via Suntreader) - although I have wondered why Gary Boyle didn't become Brand X's guitarist?? And Ratledge and Jenkins went on to produce some very successful advertising jiggles, before inventing "cross-over classics". However, a bit of an  enigma. Why did Chris Spedding shift out of Nucleus, and after doing some nice blues rock with Free's Andy Fraser in Sharks, be responsible for sounding Sex Pistols'  first recorded riff............................? These are the times when I wish I lived in Britain.   Six is where the Nucleus feel can be felt IMO.  After Seven, the Nucleus feel was certainly still there, but Soft Machine started to lose focus, although I still enjoy the albums from this period.  I'm glad that you noted Jenkin's "jingles"; I didn't know Ratledge did them as well.  Jemkins really is a great instrumentalist and composer and doesn't always get the recognition he deserves.  By the way, have you heard Soft Machine's new album (with Dean, Holdsworth, etc...)?

Now that this thread got putback in the main forum

I think that you are right about Six being the most-Nucleus-like! It is probably why it is my favorite if the midlle era Machine.

But I beg to differ about them losing focus after this !

They just went into another metamorphosis (the fourth after the psych larva , the Canterbury catterpillar , the jazz fusion cocoon and now the jazz-rock fusion butterfly)

Listen to Bundles or Softs, when the guitars make a comeback after a lenghty absence - since Daevod Allen had left in the alcyon days. Both albums are excellent!

 

Sean Trane wrote: meurglysIII wrote: Dick Heath wrote: Sean Trane wrote: Actually Nucleus became a breeding ground for Soft Machine ! I counted up to ten musos that played in Nucleus before becoming Machinists. I did not count one doing the reverse! I may need help to complete their discography though! Sean You need to see BBC's Jazz Britannia, the documentary run earlier this year covering  jazz development in the UK since 1950. The second part covers the roots and development of UK jazz rock, and I was surprised at the start point of some the players who became famous in the 70's. Good point about the one way flow from Nucleus to Machine. One of several things I heard listening to the Hux records 2 2-CD set releases Soft Machine BBC, was how much Machine started to sound like Nucleus through the 70's. This is less evident in the studio compilation Out Bloody Rageous, the compiler perhaps over doing the Riley-influenced tunes in his selection. I think Wyatt (e.g. End of an Ear) and Hopper (e.g. 1984) had some influence Henry Cow and the RIO movement  for instance.  But then between the RIO/free jazz/avante rock Hugh Hopper moved to Isotope and then Stomu Yamashta's Band. BTW there is a sort of parallel here with Stomu Yamashta and Brand X (in a couple instances via Suntreader) - although I have wondered why Gary Boyle didn't become Brand X's guitarist?? And Ratledge and Jenkins went on to produce some very successful advertising jiggles, before inventing "cross-over classics". However, a bit of an  enigma. Why did Chris Spedding shift out of Nucleus, and after doing some nice blues rock with Free's Andy Fraser in Sharks, be responsible for sounding Sex Pistols'  first recorded riff............................? These are the times when I wish I lived in Britain.   Six is where the Nucleus feel can be felt IMO.  After Seven, the Nucleus feel was certainly still there, but Soft Machine started to lose focus, although I still enjoy the albums from this period.  I'm glad that you noted Jenkin's "jingles"; I didn't know Ratledge did them as well.  Jemkins really is a great instrumentalist and composer and doesn't always get the recognition he deserves.  By the way, have you heard Soft Machine's new album (with Dean, Holdsworth, etc...)? Now that this thread got putback in the main forum I think that you are right about Six being the most-Nucleus-like! It is probably why it is my favorite if the midlle era Machine. But I beg to differ about them losing focus after this ! They just went into another metamorphosis (the fourth after the psych larva , the Canterbury catterpillar , the jazz fusion cocoon and now the jazz-rock fusion butterfly) Listen to Bundles or Softs, when the guitars make a comeback after a lenghty absence - since Daevod Allen had left in the alcyon days. Both albums are excellent!

I didnt really mean that they lost focus; I meant that, as you said, they evolved.  Also, Softs is probably my favorite Soft Machine album, especially out of the Jenkins era.   I like Bundles as well, but just don't seen to listen to it as much.  I am overjoyed that this thread got put back into the Prog Music Lounge, which is where it should have been in the first place


Edited by meurglysIII