VOLUME TWO

The second Soft Machine statement, aptly entitled "Volume Two", was the first one with the bass genius and lifelong friend Hugh Hopper as part of the band's line-up, and may I add that this novelty led to a tremendous progression in the band's musical evolution. Being as it is solidified in the psychedelic trend that was very common in the British rock scene during the late 60s, "Volume Two" also brings hints of a robust orientation toward the areas of the then incipient prog rock standards and experimental jazz moods that soon would make Soft Machine a perfect cornerstone for the maturation of prog rock as a proper musical genre. Once you get acquainted with this album, chances are you won't be able to resist the whimsical charm delivered on both the defined melodies and the immaculate performances. Also, the loud fuzzed bass courtesy of Master Hopper fits quite well in this environment of enhanced enthusiasm that the band was feeling at the time; in this way, Ratledge hits the mark when he decides to reinforce his instrumental role and Wyatt does the same when going headlong for a noticeably increased sophistication of his drumming input. Plus, Wyatt takes his vocal input closer to the stereotype of beat jazz, singing as if he almost were reciting and expressing ideas caught from a train of thought. Add the presence of occasional wind instruments (some sax is actually provided by the blessed Hopper and the flute free flows on the 'Out of Tunes' portion come from Ratledge), and what you get is an amazing sonic palette that needs only an impressive amount of musical inspiration to fill the artistic landscape properly. And oh, how well this last requisite is met, brilliantly ? no way that this "Volume Two" shouldn't be a lovely piece of art-rock. Well, the album's first half is occupied by the "Rivmic Melodies" sequence, starting with the laid back 'Pataphysical Introduction 1' and the first recitation of the British alphabet in a concise form. The parody of British mannerist solemnity is clear in these two segued prologues, before the stunning 7/4 excursion of 'Hibou, Anemone and Bear' brings a more serious elaboration of artistic solemnity. After the closing drum solo and a backwards recitation of the British alphabet (again, in concise form), comes a series of brief sung pieces that sound as if they were pop snippets refashioned in an avant-garde jazz framework. The playful mood of 'Hulloder' and 'Dada Was Here' is succeeded by the languid mystery of 'Thank You Pierrot Lunaire' and 'Have You Ever Bean Green?', before the last 'Pataphysical Introduction' opens the gates for the free-jazz chaos on 5/4 of 'Out of Tunes'. The combination of these three minds through this lack of structure culminates Side 1 with solid tightness. 'As Long As He Lies Perfectly Still' starts Side 2: it is a semi-slow homage to SM alumnus Kevin Ayers, followed by a SM oddity, a pastoral ballad featuring acoustic guitar and a soft organ emulating the harpsichord. Both tracks are patently lyrical, which means that the listener is treated with a moment of relaxation sandwiched between the aforementioned 'Rivmic Melodies' and the other suite, 'Esther's Nose Job', which occupies the album's final 11 minutes. Dominantly written by Ratledge, it captures the band's refreshing jazzy interests at its hottest point. The duo of Wyatt and Hopper duo convincingly handles the frantic rhythm schemes and variations, while Ratledge completes the dynamics with his solid keyboard input. Of course, one has to mention once again the importance of Hopper's powerful bass when it comes to the right fruition of the musical ideas. Right from second one there is climax working on ? the sung section entitled 'Pig' lightens things up a bit, but when things get instrumental again, the fire returns to its higher flames, eventually leading to the incendiary momentum developed in '10.30 Returns to the Bedroom'. This is a great ending to a great album: it deserved no less.

[I respectfully dedicate this review to the memory of the recently departed Hugh Hopper].