Soft Machine

1966年在英國(guó)坎特伯里（Canterbury）成軍的軟機(jī)器樂(lè)隊(duì)，其成員有鼓手Robert Wyatt，吉他手Daevid Allen，貝斯手Kevin Ayers，鍵盤手Mike Ratledge。樂(lè)隊(duì)名取自美國(guó)垮派小說(shuō)家William S. Burroughs同名小說(shuō)。音樂(lè)跟小說(shuō)一樣滲透出濃濃的實(shí)驗(yàn)迷幻色彩，他們亦是Canterbury Scene 實(shí)驗(yàn)搖滾要角。發(fā)行兩張專輯后團(tuán)員Kevin Ayers、Daevid Allen相繼離團(tuán)，Kevin Ayers以個(gè)人名義繼續(xù)發(fā)行迷幻唱片，Daevid Allen則另創(chuàng)樂(lè)隊(duì)Gong大玩太空搖滾?；仡欆洐C(jī)器的歷史，從第4張專輯后鼓手Robert Wyatt離團(tuán)成立Marching Mole，軟機(jī)器似乎只是一個(gè)附載不同樂(lè)手的音樂(lè)單位，早期與晚期的作品相當(dāng)不同，特色在于以實(shí)驗(yàn)精神向搖滾樂(lè)做不同探索時(shí)的創(chuàng)作，變成融合爵士樂(lè)傾向的過(guò)程。
 
做為在爵士搖滾領(lǐng)域一直保持著獨(dú)特的影響力，或者說(shuō)最有影響力的英國(guó)爵士搖滾樂(lè)團(tuán)亦不過(guò)分的The Soft Machine卻從未取得過(guò)真正商業(yè)意義上的成功。直到現(xiàn)在，對(duì)大多數(shù)60年代之后涉足搖滾樂(lè)的人來(lái)說(shuō)，The Soft Machine也仍然是一支神秘而不為人所知的樂(lè)團(tuán)。然而這支樂(lè)隊(duì)在六十年代的迷幻搖滾浪潮中，是最早涉獵純器樂(lè)演奏前衛(wèi)爵士搖滾的。同時(shí)他們也是Canterbury藝術(shù)搖滾舞臺(tái)（Canterbury是英國(guó)藝術(shù)搖滾重鎮(zhèn)，六十年代以來(lái)有多支大牌藝術(shù)搖滾團(tuán)體來(lái)自此地，如Caravan，MikeOldfield等）最為人所敬仰的人物。
 
提及The Soft Machine的音樂(lè)生涯，就無(wú)法不提到樂(lè)隊(duì)的兩位領(lǐng)頭人物Robert Wyatt與Kevin Ayers。雖然The Soft Machine的音樂(lè)充滿實(shí)驗(yàn)性，先鋒性，但當(dāng)他們開(kāi)始組團(tuán)表演時(shí)，兩人卻表現(xiàn)的相當(dāng)傳統(tǒng)。六十年代中期，Wyatt曾作為鼓手參加過(guò)一支Canterbury的叫做the Wilde Flowers的樂(lè)團(tuán)，這支樂(lè)團(tuán)的音樂(lè)對(duì)于當(dāng)時(shí)當(dāng)時(shí)的風(fēng)氣來(lái)說(shuō)是頗為偏重流行及靈魂樂(lè)的，后來(lái)Soft Machine的成員Ayers和Hugh Hopper也曾參加了這支樂(lè)團(tuán),并以他們深深的即興爵士素養(yǎng)對(duì)這支樂(lè)團(tuán)組成了頗為奇異的影響。
 
1966年, Wyatt和貝司/歌手Ayers, 鍵盤手Mike Ratledge,及澳大利亞籍的吉他手Daevid Allen組成了最早的the Soft Machine。這之前Wyatt, Ratledge, Allen就曾以Daevid Allen Trio的名字在一起演出。Ratledge曾經(jīng)解釋過(guò)樂(lè)隊(duì)為何會(huì)起這么個(gè)名字，他說(shuō):“這個(gè)名字是我搞到的一本二手的William Burroughs的書的名字，取自美國(guó)的一位生理學(xué)家的演講，Soft machine是指整個(gè)人類的生物學(xué)種屬分類, 我們大家都是soft machines。我想我最初是假定我們大家在這一點(diǎn)上都有共同和類似之處,所以大家可能都會(huì)喜歡Soft Machine的音樂(lè).盡管這只是我的假設(shè)，我卻希望它能變成真的。”
 
樂(lè)隊(duì)大半部分時(shí)間都呆在倫敦。1967年1月，樂(lè)團(tuán)錄制了唯一一張單曲唱片，收錄&Loves Make Sweet Music& 和&Feelin', Reelin',Squeelin&兩首歌曲。三個(gè)月之后，樂(lè)隊(duì)的試音唱片錄制好了，當(dāng)時(shí)卻未被發(fā)行。直到1971年這張唱片由French Byg廠牌出版后，樂(lè)迷們才得以一窺此張專輯的真面目。這張Demo可以說(shuō)是流行性與實(shí)驗(yàn)性兼具。此時(shí)的the Soft Machine，連同Pink loyd,Tomorrom等樂(lè)團(tuán)是英國(guó)最早的一批迷幻藝術(shù)搖滾樂(lè)隊(duì)。很快the Soft Machine就與Pink成為了倫敦藝術(shù)搖滾舞臺(tái)最為受歡迎的兩個(gè)樂(lè)團(tuán)。經(jīng)常在著名的UFO俱樂(lè)部演出。1967年夏季，樂(lè)團(tuán)去法國(guó)參加一項(xiàng)前衛(wèi)劇場(chǎng)藝術(shù)的演出。在回程中，由于護(hù)照過(guò)期，Alleng無(wú)法再進(jìn)入英國(guó)，而不得不滯留下來(lái)。從此，他就在法國(guó)呆了下來(lái)，參與了很多藝術(shù)活動(dòng)，并于兩年后組建了Gong這支后來(lái)聲名大噪的樂(lè)隊(duì)。Allen 為何沒(méi)有試圖回到樂(lè)隊(duì)？后來(lái)他對(duì)記者說(shuō)：“Mike是個(gè)深受古典音樂(lè)訓(xùn)練的音樂(lè)家,Robert則喜歡爵士,Kevin則善于寫瑯瑯上口的流行音樂(lè)。而我則對(duì)太空音響和電子音樂(lè)感興趣，一支樂(lè)隊(duì)里能容納如此多的音樂(lè)取向是不可想象的。對(duì)他們而言，我離開(kāi)可能會(huì)更好一點(diǎn)。”他的位置曾短暫地由Andy Summers（這位吉他手后來(lái)參加了警察樂(lè)隊(duì)）接替，樂(lè)隊(duì)大部分時(shí)間就處于沒(méi)有吉他手的狀態(tài)。
 
樂(lè)隊(duì)剩余的成員組成的三人小組于1968年2月，作為Jimi Hendrix的暖場(chǎng)樂(lè)隊(duì)，與Jimi在英國(guó)共同進(jìn)行三個(gè)月的全國(guó)巡演。4月，他們?cè)诩~約制作并發(fā)行了第一張真正意義上的專輯。與他們的首張Demo相比，這張專輯更多的摒棄了旋律與和演唱因素，而是將迷幻搖滾的力量融入了即興爵士的形式中。這種嘗試成功與否，當(dāng)時(shí)可說(shuō)是毀譽(yù)參半。專輯由Animals的前任貝司手Tom Wilson和Jimi Hendrix的制作人Chas Chandler監(jiān)制。樂(lè)隊(duì)此時(shí)的知名度相比之下，在美國(guó)反而要更大一點(diǎn)。實(shí)際上，他們的首張專輯，也僅在美國(guó)發(fā)行過(guò)。由于對(duì)樂(lè)隊(duì)的音樂(lè)方向發(fā)展的意見(jiàn)不同，Wyatt與Ayres，Ratledge發(fā)生了不和,因而當(dāng)巡演結(jié)束，Wyatt仍留在好萊鎢，與Jimi一同工作，其他成員則返回了歐洲。幾個(gè)月之后，樂(lè)隊(duì)下一張專輯的發(fā)行者Probe公司聯(lián)絡(luò)Wyatt與他商討進(jìn)行促銷巡演的時(shí)間,而Ayers沒(méi)有時(shí)間參與，因而離開(kāi)了樂(lè)隊(duì)，Wyatt的老朋友Hugh Hopper代替了他的位置。這個(gè)新的陣容在進(jìn)行了近一個(gè)月的排練之后，于Royal Albert Hall進(jìn)行了首次演出。幾天之后，他們就進(jìn)入了Olympic錄音室制作第二張專輯。
 
他們的第二張專輯，,Vol. 2(1969)走的更遠(yuǎn),完全拋棄了當(dāng)時(shí)的流行樂(lè)因素而代之以更多的爵士成分。并越來(lái)越不依靠歌詞創(chuàng)作與歌唱部分。 Ratledge漸強(qiáng)的失真管風(fēng)琴，Wyatt緊湊的充滿想像力的鼓擊，使樂(lè)隊(duì)變的雜亂無(wú)章和充滿超現(xiàn)實(shí)主義,對(duì)一般的流行搖滾聽(tīng)眾來(lái)說(shuō)，他們變的前所未有的難以接受。而在專輯發(fā)行之后的演出中，他們也經(jīng)常會(huì)請(qǐng)Hugh的兄弟Brian加入，來(lái)為他們演奏tenor sax。這是樂(lè)隊(duì)越來(lái)越傾向于爵士的跡象。1969年夏季，他們組成了一個(gè)完全爵士風(fēng)格的組合，爵士鋼琴家Keith Tippett的演奏小組的成員全部加入了進(jìn)來(lái)。包括 Elton Dean吹奏 alto sax,Marc Charig吹奏trumpet, Nick Evans吹奏trombone.和另外一位吹奏薩克斯的Dean Lyn Dobson。這個(gè)七人小組并未持續(xù)多久，公開(kāi)露面的演出也只有，在BBC的和接近年終時(shí)，在法國(guó)的巡演。Evans和Charig隨即退出了樂(lè)團(tuán)，他們倆后來(lái)都在歐洲爵士樂(lè)界取得了相當(dāng)?shù)某删?。并曾參與過(guò)樂(lè)隊(duì)后來(lái)的幾張專輯。1970年出版的第三張專輯延續(xù)了Vol.2的風(fēng)格,并被認(rèn)為是前衛(wèi)搖滾及爵士搖滾的里程碑式的作品,盡管對(duì)于大多數(shù)樂(lè)迷來(lái)說(shuō)，這張專輯顯得太過(guò)匪夷所思。
 
1970年樂(lè)隊(duì)乾脆變成了一支徹底的演奏樂(lè)隊(duì)，而Wyatt則是樂(lè)隊(duì)里唯一仍然迷戀歌唱的人。夏季，他推出了首張個(gè)人專輯The End Of An Ear，他把自己描述為一位“過(guò)時(shí)的流行樂(lè)歌手”，而實(shí)際上這張專輯幾乎毫無(wú)流行樂(lè)成分，內(nèi)頁(yè)不印歌詞，演唱怪聲怪調(diào)，歌聲似乎是一種樂(lè)器，在經(jīng)過(guò)錄音、處理之后又被重放出來(lái)，每首歌的歌名都在影射一支Cantebuary樂(lè)隊(duì)。但總體說(shuō)來(lái)，專輯的概念性并不是很明顯，Wyatt的音樂(lè)方向也多少有些混淆。秋季W(wǎng)yatt, Hopper, Ratledge和Dean Lyn Dobson在一起錄制了這第四張專輯,這是Wyatt參與的最后一張專輯。之后，Wyatt由于與樂(lè)隊(duì)其他成員對(duì)于音樂(lè)的想法日漸分離，并認(rèn)為其他成員在對(duì)他進(jìn)行蓄意排擠，遂于1971年離開(kāi)了樂(lè)隊(duì),組建了自己的樂(lè)隊(duì)Matching Mole。這個(gè)樂(lè)隊(duì)也未持續(xù)多久，他就開(kāi)始了至今的個(gè)人發(fā)展生涯。之所以這么做，也許是為了尾隨Kevin Ayers的舉動(dòng)，此時(shí)Kevin Ayers 已出過(guò)好幾張個(gè)人專輯了。
 
對(duì)于樂(lè)隊(duì)來(lái)說(shuō)，Wyatt's的退出使樂(lè)隊(duì)喪失了他們?cè)谟?guó)爵士搖滾樂(lè)壇曾有過(guò)的舉足輕重的地位。盡管樂(lè)隊(duì)的作品可說(shuō)是樂(lè)隊(duì)成員的共同努力結(jié)果，但Wyatt在音樂(lè)中流露出的幽默和充滿狂暴感情的演唱卻是無(wú)可替代的。Ratledge與Hopper和樂(lè)隊(duì)其他樂(lè)手仍勉力維持Wyatt退出后的the Soft Machine,盡管此時(shí)的他們已變成了一支單純的器樂(lè)Fusion風(fēng)格的演奏團(tuán)體，只是在偶然的不經(jīng)意間，才能流露出樂(lè)隊(duì)以前的靈性。Hopper于1973年離開(kāi),最后一位原始成員Ratledge也于1976年退出了樂(lè)隊(duì)。樂(lè)隊(duì)剩下的成員仍然用the Soft Machine的名字進(jìn)行活動(dòng)，直到1990年才宣告解散。但這段時(shí)間的the Soft Machine如同人們所常說(shuō)的那樣，只是個(gè)名字罷了。
 
樂(lè)隊(duì)早期的很多作品都是出自Hugh Hopper之手，即使有段時(shí)間他還不是樂(lè)隊(duì)成員時(shí)也是如此。Ayers,Wyatt和Daevid Allen也都有各自的作品.當(dāng)樂(lè)隊(duì)變得越來(lái)越偏向純演奏風(fēng)格時(shí)，Mike Ratledge的地位變的重要起來(lái)，取代了Hugh Hopper。1972年Karl Jenkins加入了樂(lè)隊(duì)之后，主要的創(chuàng)作都是由他進(jìn)行，在1976年Ratledge退出之后更是如此，幾乎所有的作品都是由他寫出。
 
Soft Machine were never a commercial enterprise and indeed still remain unknown even to many listeners who came of age during the late 60s, when the group was at its peak. In their own way, however, they were one of the more influential bands of their era, and certainly one of the most influential underground ones. One of the original British psychedelic groups, they were also instrumental in the birth of both progressive rock and jazz-rock. They were also the central foundation of the family tree of the Canterbury Scene of British progressive rock acts, a movement that also included Caravan, Gong, Matching Mole, and National Health, not to mention the distinguished solo careers of founding members Robert Wyatt and Kevin Ayers.
 
Considering their well-known experimental and avant-garde leanings, the roots of Soft Machine were in some respects surprisingly conventional. In the mid-60s, Wyatt sang and drummed with the Wilde Flowers, a Canterbury group that played more or less conventional pop and soul covers of the day. Future Soft Machine members Ayers and Hugh Hopper would also pass through the Wilde Flowers, whose original material began to reflect an odd sensibility, cultivated by their highly educated backgrounds and a passion for improvised jazz. In 1966, Wyatt teamed up with bassist/singer Ayers, keyboardist Mike Ratledge, and Australian guitarist Daevid Allen to form the first lineup of Soft Machine.
 
This incarnation of the group, along with Pink Floyd and Tomorrow, were the very first underground psychedelic bands in Britain, and quickly became well loved in the burgeoning London psychedelic underground. Their first recordings (many of which only surfaced years later on compilations of 1967 demos) were by far their most pop-oriented, which doesnt mean they werent exciting or devoid of experimental elements. Surreal wordplay and unusually (for rock) complex instrumental interplay gave an innovative edge to their ebullient early psychedelic outings. They only managed to cut one (very good) single, though, which flopped. Allen, the weirdest of a colorful group of characters, had to leave the band when he was refused reentry into the U.K. after a stint in France, due to the expiration of his visa.
 
The remaining trio recorded its first proper album in 1968. The considerable melodic elements and vocal harmonies of their 1967 recordings were now giving way to more challenging, artier postures that sought — sometimes successfully, sometimes not — to meld the energy of psychedelic rock with the improvisational pulse of jazz. The Softs were taken on by Jimi Hendrixs management, leading to grueling stints supporting the Jimi Hendrix Experience on their 1968 American tours. Because of this, the group at this point was probably more well-known in the U.S. than their homeland. In fact, their debut LP was only issued, oddly, in the States. For a couple of months in 1968, strangely enough, Soft Machine became a quartet again with the addition of future Police guitarist Andy Summers, although that didnt work out, and they soon reverted to a trio. The punishing tours took their toll on the group, and Ayers had left by the end of 1968, to be replaced by Wyatts old chum Hugh Hopper.
 
Their second album, Volume Two (1969), further submerged the bands pop elements in favor of extended jazzy compositions, with an increasingly lesser reliance on lyrics and vocals. Ratledges fuzzy, buzzy organ and Wyatts pummeling, imaginative drumming and scat vocals paced the band on material that became increasingly whimsical and surrealistic, if increasingly inaccessible to the pop/rock audience. For their third album, they went even further in these directions, expanding to a seven-piece by adding a horn section. This record virtually dispensed with vocals and conventional rock songs entirely, and is considered a landmark by both progressive rock and jazz-rock aficionados, though it was too oblique for many rock listeners.
 
Soft Machine couldnt afford to continue to support a seven-member lineup, and scaled back to a quartet for their fourth album, retaining Elton Dean on sax. Wyatt had left by the end of 1971, briefly leading the similar Matching Mole, and then establishing a long-running solo career. In doing so he was following the path of Kevin Ayers, who already had several solo albums to his credit by the early 70s; Daevid Allen, for his part, had become a principal of Gong, one of the most prominent and enigmatic 70s progressive rock bands.
 
For most intents and purposes, Wyatts departure spelled the end of Soft Machines reign as an important band. Although Soft Machine was always a collaborative effort, Wyatts humor, humanism, and soulful raspy vocals could not be replaced. Ratledge and Hopper kept the group going with other musicians, though by now they were an instrumental fusion group with little vestiges of their former playfulness. Hopper left in 1973, and Ratledge, the last original member, was gone by 1976. Other lineups continued to play under the Soft Machine name, amazingly, until the 1990s, but these were Soft Machine in name only.