Third

I'm so tired

I HATE PROG ROCK I DONT WANT TO LISTEN TO 18 MINUITE TRACKS ONE AFTER THE OTHER I DON'T WANT TO SIT THROUGH SEVEN MINUITES OF A GUITAR SOLO Actually this isn't bad tbh

- DO NOT LISTEN TO TRACK 1 FIRST - It was alright, but nearly lost the will to live after the opening minutes of track 1, and this is coming from someone who usually rates prog rock quite highly. Quite an enjoyable listen once I got past that.

The field recording of an alien swingers party that ends in communal astral projection.

The musical rendition of Hitchhiker's Guide. Adventurous, mind-bending, indecisive, crazy. I got lost several times. The fact that this was recorded live is incredibly impressive. It sounds several years ahead of other bands that would themselves be considered wildly ahead of their time (e.g. Pink Floyd's Meddle and WYWH). Unfortunately, though, the music lacks riffs, hooks, and (for the most part) chord progressions and melodies, making it tough for your standard listener. One thing I will say is that it wasn't boring. It just overrepresented creativity and musicians' enjoyment, at the expense of building a connection with the audience. Because I'm part of said audience, I can't give this 5 stars. Great synths. In fact, great instrumentation all around. The musicianship is solid and the band sounds like they're genuinely enjoying themselves without sounding too indulgent. Fun and well-executed build-ups as well. It's mostly great, in theory. 4/5 Fave track: Out-Bloody-Rageous

A sometimes bracing sometimes beautiful prog/jazz fusion album. It was honestly a little exhausting listening to the entire thing, but I can't deny that it was NOT BORING (my most important metric!). I can see why some people would give it a 5 for sure, but it's not quite there for me yet. 4 it is.

Way way too much prog, disappeared up its own arse before the first two minutes of ambient nonsense had finished. Pointless, annoying, way too long. Its not big or clever to make music like this. The most jazzy parts reminded me of cheap tickets I got to the proms where we left after forty minutes. Wish I left this after forty minutes. Bad.

I would have run a bloody mile from this in years gone by. These days I'm the one making all the moves. You grow old, you listen to jazz, innit. Life 101. Even better if it's on the cusp of psychedelic shit fusing it with freestyle jazz and drugs are involved - participants, not the listener. I love how the songs build up throughout ten minutes or so. You aren't going to hear these on Heart FM anytime soon. There's also a soft approach to all the jazz shit. The horns won't blow your arse off. If you make it through all four sides then you have done very well. It takes you on a journey. Gawd knows where to. I became lost on side 3. That's half the fun, right?

You do a track, and you do a track, and you do a track. Play whatever you want but don’t tell anybody else what you’re doing. We’ll just mash em all together in the end. Ugh.

I knew from the first track that I was going to hate this album. An 18 minute track where it takes more than half the duration to get going. Even after that it just sounds like noise. The rest of the album isn't much better and I gave up before the end.

Really phenomenal spacey electronic stuff, big fan of this sound and can see where it launched them in the future as well.

2.5/5 I liked the part when they sang. Fav: Moon In June

This is why I started this project in the first place, to find incredible albums I'd never heard before. I know nothing about this band, just four tracks but it's jazz/rock stuff and it works exceptionally well. Reminds me of that Blood Sweat Tears album, which also was jazzy, but this one is all in. Just four tracks, each one an odyssey filled with wild and captivating sounds. Of course I'm saving every song. I don't know what else to say, this is all the way up my alley. First new album five-star in a while but very deserving. Favorite songs: All of them, don't ask me to pick a favorite because each has moments that caught me in my tracks. Album art: How often do we get these amazing albums with totally boring covers? It's just the word Third, with a bit of a shadow and path effect going on. Burnt orange all around. It's extremely minimal, and I can't say I'm mad at it, but it gives no indication whatsoever of how incredible the music is. 5/5

A little noise, a little jazz, a little avant garde minimalism, all prog. Though I like their first two albums a bit more, this is bold stuff, and holds up well alongside other prog rock and jazz fusion of the era.

I enjoyed this to begin with, as it was different to what I was expecting, but after a while - probably during the first tune, as it's nearly 20 minutes long - my interest started to wane. A lot of jazz leaves me cold, and prog makes me feel a bit queasy, so prog jazz is not really going to float my boat. Too much showing off, and for far too long.

Surely this is one of the most eclectic and eccentric albums on the list! This album has a strange but wondrous magic to it. The playing by the band is all great; excellent bass, drum and keyboard parts throughout. My favorite part of the album is the second half of Moon in June, there's something so enchanting about it to me. I also like the vocal bits, and Slightly All the Time is awesome all the way through. Such a journey of an album.

Wow, I re-listen an album I liked before and find out I actually love it? Who Could've guessed something like that would happen to me! Sarcasm aside, this album is magnificent, with a hard-coded display of jazz rock at its instrumental finest, with a sonic blast of buzzing organs, complex drum patterns, and bass playing that is just subtle enough to feel like a texture that keeps my mind fuzzy. Even better is the third track's vocal performance via Robert Wyatt, who's voice I adore to no end, and I really soak in each word he speaks, as, alas, this is our only moments with him vocally. I originally was turned off by the opening track for being too all over the place and nonsensical, and while it is still the weakest track, I can wrap my mind around it just enough to love the parts where all the instruments explode at once, or when the music reverses and goes forward at the same time. Assuredly a sick experience to see live, and the rest of the album's non-live performances are also top-notch. Figures that I like it when British white guys do crazy, long form jazz instead of albums like Bitches Brew. Because I'm a bad person. Ah, well... someday that album will click with me. Maybe. Probably not. But this one does! This is fantastic, and worth the re-listen just a month later!

Jazzy prog? Wow I have been sleeping on these guys. I know some of Robert Wyatt's solo stuff but somehow haven't ever explored Soft Machine. I clearly have work to do!

now this is the kinda weird shit i am looking for drone, jazz, rock, electronic. only thing i'm not into is the vocals on track 3

Sometimes the best albums are the ones we can't figure out

One of my favorite album ever, by which I discovered the incredible Robert Wyatt. Uncompromised and so unique experimental jazz music with a canterbury scene feel. Listening to Robert Wyatt singing Moon In June while drumming is one of the best thing a human can experience.

So crazy good so cool instrumental stuff absolutely yes

Very cool listen. A bit of a synth psychedelic feel to the finish which I really dug. A bit up and down as far as how much I enjoyed it, but overall a cool album

A mix between electronica, prog rock, and free jazz. In other words, pretty awesome!

I really liked this; a mix of pop, avant garde, psychedelic, jazz, progressive all wrapped in that late 60s lofi sound. Lovely.

Wow, this album is a wild trip. I ignored first track - it is unbearable to listen to from first second. But rest of it is just crazy. During one 20 minute track it can go from perfect harmony to totally dreadful chaos and go back to great harmony. And this album is doing this many times this process is so smooth that I can't wrap my head around it. I have never heard other song with part that was monotonous and not interesting just to use it as a base to build more on it and turn it great and fascinating. Avoid first track.

Considering Third's reputation on this site (with a 2.45 average score) i was going into it thinking that i would absolutely hate it. But i didn't hate it, rather, i tolerated it somehow. I will get this out of the way, Yes, the album can get pretty noisy when it wants to. Those noisy sections were surprisingly rare though as when the album was actually trying to sound like proper music, It didn't sound too terrible. I guess the length did kinda help me get through this album's quirkiness. The vocals in the third track were cool as well. I didn't think i would not dislike this album but somehow, it turned out to be surprisingly okay. Best Song: Moon in June Worst Song: Out-Bloody-Rageous

While I appreciate Soft Machine’s risk taking and experimentation, I’ve always found Canterbury scene prog to be a little boring and self-important.

Somewhere between ethereal and jazz.

This was tough. It seems like it couldn't pick a lane - not jazz, not psychedelic rock, not folk rock, but trying to be everything at once while succeeding at none of them.

Good free jazz but the intros to the songs are way too long

No. 302/1001 Facelift 1/5 Slightly All Time 1/5 Moon In June 2/5 Out-Bloody-Rageous 1/5 Average: 1,25 Really long and for me just not enjoyable.

I think it's pronounced 'turd'.

I really should buy this album. I have listened to it several times, usually as part of a 'project' like this 1001-thing, or doing a deep dive into Prog while reading along ('A New Day Yesterday' is a good history), and I have never failed to be rewarded. Third is Jazz-Rock, with heavy emphasis on the jazz. Four pieces taking up a side each of the original double vinyl. Apparently the band were at each other's throats and different lineups and guest players feature. Opening side, "Facelift" is recorded live although manipulated. There is a section in which recordings of two performances are played together, one backwards (!) There is a lot of avant-garde free jazz which reminds me of Coltrane's Ascension and, like that album, it is a challenging listen, but well worth it. "Slightly All The Time" is a gentler, meandering piece which, at times reminds me of Miles Davis '60s work, Jazz Messengers at others. It becomes more electronic and experimental as it progresses. "Moon In June", which appears to be largely a Robert Wyatt solo piece on which he plays all instruments and sings is the most recognisably '70s prog, very Genesis-like in parts. Wyatt's fragile tenor floats in and out of the music, sometimes almost disappearing, and the lyrics appear to be stream of consciousness. The music becomes more experimental and drone/noise driven as the song reaches its final minutes. "Out-Bloody-Rageous" is an ambient piece which opens with loops and repeated keyboard patterns which build in volume and intensity as the track develops. Around the 5 minute mark it becomes a swinging jazz fusion - electric piano vamps, sax and synth, some excellent drumming from Wyatt - and continues to evolve over the remaining runtime. Third is a commitment, a journey. It is not an album you are going to dip into, nor add tracks to a random playlist. It is very English in places yet it is not unlike some of what the likes of Kamasi Washington are doing in jazz today.

"Third" feels like a missing link between jazz, the avant garde side of classical music, and prog rock. Supposedly Robert Wyatt was once briefly denied entrance to the Royal Albert Hall where Soft Machine were scheduled to play. He was told "they only have proper music in there." That seems like a fitting way to describe this album. It's complex drawing on influence from jazz greats and composers like Terry Riley but it's all put into a rock context. I actually love how maddening this album is. There's so much going on and each section feels like a radical departure from the previous one. There's no need to worry about pretentiousness here, as the band are extremely playful which gives the music a nice balance. The songs get better the more I listen. My only complaint is that I wish they'd broken the very long tracks up into their different sections, just because it would really help to process everything that's going on here.

This was good, but was it 5-star good? I feel like I might be inclined to give this the benefit of the doubt. I loved the fourth track, and a replay went down great as well. There's a lot to unpack here, so I feel like I will need to come back to this again.

First thing I must say is bothering me a little bit, is the sound. Not good quality. Putting that aside, for the first few minutes I didn't care about it, but as it progressed I started to like. The band is tight and composition interesting. Track 2 begins beautiful. Wow. Continues amazing as well. Flute, Saxophone, bass, keys, drums- all playing so well. Creating a sound landscape dark, deep and groovy. Incredible progression between parts and solos. Best long piece I've heard in a while. Track 3. Robert has a beautiful singing voice. I love the way the drums and keys company the vocals, added by the bass later. 7 min in, it's super special. Free composition but feels very rehersed, no doubt about that. Sweet transition at minute 13,30. Turning more and more experimental. Tape loops and effects. But still so intriguing. Great one aswell. Track 4. Some interesting textures to begin with. Wow, another awesome transition at minute 5. So cool. Great bass and drums under the keyboard solos. In a way it's less exciting than the two previous ones, but I'm really sinking into it. "If you got that far" vibes. Another loop section in the end. What a great way to finish. I would surely listen again. I've been a bit hard the past few days, it's 4 1/2, but I'll give it a

Loved it, long songs that you don’t get tired of

50 years old and still fresh and riveting to listen to. Adored the first two tracks especially, I was just brought on this wild journey. Didn't expect something this totally contemporary but I sure was up for it! So happy when sticking with this challenge gets me a truly unexpected listen

good as background noise

Super weird and very cool. I rarely give a five to something I've never heard before, but this deserves it.

wtf is this. amazing. one of the best albums we have had so far imo

Post-Ayers Soft Machine starts moving towards a jazz rock sound. Lots of cool stuff happening here. Rather undeniable if you give it a chance.

free and beautiful music. what i appreciate most is the care taken to make each of the four tracks as distinct as possible...different sound palates, tones, musical ideas. wraps from challenging to lovely any anything else u can think of probably...each central seed for a track is brought out and grown into a wide spread u can just soak in, with too many cool things happening along the way to count. my mind jumps to the image of a seed cuz this is a weirdly plantlike album for me...sort of in the vein of my experience with autechre's draft 7.30. rly looking forward to chewing on this more at some point

Awesome. I'm really happy to find out about the existence of this band. It's like Pink Floyd veered into jazz fusion instead of prog rock. I'm gonna need to give this another few listens before I know how I really feel about it, but by the end of the first listen I was mightily impressed.

What GHAAAASTLY NOISE is that??

Brilliant album. It really surprised me how early this is made and the tone of the album.

I think it’s fair to say that this album probably falls more under the umbrella of jazz. Whether you call it jazz or prog rock, this is definitely a free-form improv album that’s on the experimental and avant-garde side. It’s amazing to see this band’s progression as I work my way through their albums. “Third” is definitely a highlight because I really enjoy the way they incorporated the use of studio techniques and electronics. I look forward to hearing this more in the future and continuing my journey through their discography.

Favorite discovery from this project so far. This is fucking sick. Weather report/Can vibes

The first five minutes borrowing from the gurgles of *musique concrète* could scare you into believing that this record is a self-indulgent borefest even worse than the ones of Emerson, Lake and Palmer. But as some other reviewers pointed out here, that introduction is just a recording of Soft Machine flexing their muscles onstage ("Facelift" is a mash-up of two live shows) before the *real* performance begins. And what a performance it is! *Third* is a double-album. Forget prog-rock, its first disc, with one long track for each side, is actually a free jazz masterpiece akin to the ones of John Coltrane or Miles Davis circa-*Bitches Brew*. Coupled together, those modulated harmonies and syncopated rhythm patterns offer so many *tight*, intense moments that it's easy to lose count. And even if the guitar work is stellar there, it's mostly brass and organ that steal the show. The fusion of the two into a fully zany, "experimental"-yet-groovy mode--plus the addition of tropical flutes and more abrasive tones once in a while--has rarely sounded so inspiring and enticing. Not only will *Third* delight most fans of the legendary jazzmen quoted up there, but it will also please a lot of folks looking for hypnotic soundscapes of all stripes. The second disc, also made out of two tracks with each one of them taking up one side, uses those jazzy shores as a starting point to indeed explore uncharted territories--thereby foretelling Robert Wyatt's solo output. The drummer's distinctively frail yet expressive and moving voice can thus be heard throughout *Moon In June*, a very adventurous track that oscillates between dreamy dirges and prog-rock flourishes. And interspersed between short "ambient" sequences that would have sounded at home in Tangerine Dream's early LPs, the "Out-Bloody-Rageous" instrumentals closing the proceedings return to a vein that throws post-bob and free-jazz aesthetics into a mesmerizing arty landscape close to what krautrock would have to offer in the months and years that would follow the release of this record. The penultimate section of this cut is for instance a gorgeous thing, with its ecstatic sax lines aiming at the skies, drenched in echoes and propelled by a hectic rhythm section grouding the whole thing into very human emotions. And the synthetic-sounding outro is a pure wonder, the stuff that dreams are made of. *Third* is therefors one of those records structured around the idea of "build-up", either within the tracks or as a whole. And patience will warrant any listener who's attentive and open-minded enough to give a chance to it. Given the very poor global score this album received on this app, it seems that patience and open-mindedness are not key assets in most listeners, unfortunately. Their loss. And the gain of everyone else who *get* what Soft Machine accomplished here. 4.5/5 for the purposes of this list, rounded up to 5. 9.5/10 for more general purposes (5+4.5) Number of albums left to review: 190 Number of albums from the list I find relevant enough to be mandatory listens: 351 (including this one) Albums from the list I *might* include in mine later on: 203 Albums from the list I won't include in mine: 258

Fascinating Prog Rock Jazz, disconcerting at first but beguiling by its conclusion, four eccentric compositions draw the listener in and also repel them. Experimentation at its finest.

Marvelois

Originally I wanted to write and excessively long and detailed review of this record, but now I’m done with this whole thing and this is the only album left to be rated! So I will be writing by heart, be as long as it may. Soft Machine formed in Canterbury as psychedelic/progressive rock band, with founding members including genre stalwarts Kevin Ayers and Daevid Allen. As the band progressed they moved further from rock, dropping the guitars, and further towards jazz, adding wind instruments. This leaves us at Third, a album with lengthy jazz soloing with a recognizable prog rock base. The album features original members Mike Ratledge’s defining keyboards, Hugh Hopper’s bouncy (heh) yet solid basswork, Robert Wyatt’s unmatched drumming, as well as Elton Dean’s alto sax trading solos with the likes of Lyn Dobson, Jimmy Hastings and Nick Evans. The first thing you will likely about the album is that it’s 75 minutes long with only 4 tracks across 4 sides: This is a committed listen. Despite the length, I never feel as if the album or any of the individual pieces go on too long. The length is merited by the content filling it out. Starkly, “Facelift” opens with abrasive organ noise. One could easily mistake this as something produced by a guitar (as I originally did), one contributing factor to the rock feeling even in the complete absence of guitar. Eventually the track settles into a march like 7/4 groove, the band playing the piece’s theme before setting off on an extended bout of soloing. This is the track most singularly focused on jazz soloing, going through different moods and sections, but largely the members give their solos before returning to the theme to close out the first side. “Slightly All the Time” is the most jazzy track on the album, with swinging drums and Hugh Hopper’s brilliant bassline. This album also features many unusual time signatures (as does the whole album, a particular joy of mine), going between 11/4, 9/4 and 10/4 throughout it’s different sections. The track, as expected, features much soloing as well as dynamic melodies and section changes, ending on a somewhat playful note. ”Moon In June” is the odd man out: A quirky sung song (the last of Soft Machine’s career) featuring Robert Wyatt playing all the instruments in the first section. As well as being a prime example of Wyatt’s unbridled musicality and creativity, it is also a solemn reminder of what the drum world lost with his accident leaving him paraplegic. He switches between nasty grooves so rapidly it seems like would never run out. After this long first part of the song, we shift into more familiar jazz rock territory featuring the rest of the band, then ending on an eerie drone. Just when you might think the album is out of suprises, “Out-Bloody-Rageous” begins with a long section of keyboard tape-loops. The loops layer on top of each other at different speeds, creating an enveloping soundscape. For my money, this section could continue for the full length of the track, but we are treated with another section of nimble jazz rock, this time in 15/8 time. This section follows the familiar themes and solos structure, before ending with a short tease of more tape-loops before a piano interlude. More jazz rocking follows, before ending on one last tape-loop soundscape. Soft Machine went further into jazz on following releases, with many changes in line-up. To me, this album offers a whole that I can’t find quite anywhere else. The whole-hearted embrace of jazz, the prog-psych heart, the odd-time grooves, free experimentation and just overall high quality of musicianship, composition and sound. This is one of my all-time favourite records, not necessarily for any emotional significance, but the music and the rich listening experience it continues to provide.

9/10 kind of a mess of an album, but I absolutely adore this shit

It's one of my favorite albums from the early 1970s. Such a great mix of jazz, rock and electronic music. I got into their first two albums because I was a big fan of psychedelic rock and 'Soft Machine' and 'Volume Two' were two great records from that era. 'Third' made me got interested in jazz fusion and electronic and opened new doors in my world of music. It was unusual for me, a then 22-year-old girl to listen to such music but I'll always be grateful that I discovered this band. Apart from the first few minutes of 'Facelift', this album is such an inspiring listen to me every time I listen to it. The reason is that it never gets boring and I always find some nuances that I discover while I listen to it. I fully understand if it not everyone's cup of tea, but this gets a 5 from me no doubt.

This album is a 78 minute opus with only four songs. The genre can loosely be said to be progressive rock, but that doesn't even begin to encompass what is here. Soft Machine have clearly done their homework and are influenced by Miles Davis, John Coltrane, and early jazz fusion. This modal jazz influence is the dominant one and the album can be characterized by long passages with a simmering quality before building to a crescendo and starting over again. At no point did this have a noodly quality to it, but rather feels improvisational within a careful framework that the whole band is locked into. In that way it distinguishes itself among other albums of this type.

On my current round of overnights, I've been revisiting random albums that pop into my head. One of those records is "The Apocalypse Inside of An Orange" by Omar Rodriguez-Lopez, guitarist for the Mars Volta. I bought that record at age, like, 13, because I had randomly stumbled into being a fan of TMV and wanted to consume everything they made. I bring it up because, I think that record was severely inspired by this one. This record is drenched in psychedelia, acid, and even that kind of electronic that sounds "space age". I groaned when I saw that it was only four songs initially, but ended up walking away really loving it? It aged well, despite definitely sounding confined to the era in which it was birthed. I hesitate to give it a five here, all because of the vocals on "Moon In June". They aren't the strongest, the lyrics aren't great, and overall just feels like a throw-away. Other than that, I really love how weird this record gets, and found the 80 minutes (or so) pass by relatively quickly. Will definitely revisit. Favorite tracks: "Facelift", "Slightly All the Time"

love it

What a pleasant surprise. This album was a jazz/prog adventure. There were moments thwt sounded like King Crimson and early Kansas. I had to look up this band because the sound King Crimson is very prominent within this record and I wanted to see if there was any cross over. This band has gone through a number of members... Their current line up has Theo Travis on it, formerly of King Crimson. Theo also has worked with Porcupine Tree and Steven Wilson's solo stuff. Remember the killer flute solo In The Raven that Refused to Sing? That was Theo Travis. Awsome listen. Would love to show this off to my fellow prog friends.

I was very surprised to find this one on this list, but hey! I'm not going to complain. A really great album from a really great band. Moon in June is just incredible and makes me crave for some more. I understand that this album might scare a lot of people, but I swear it's quite the journey!

Long and jazzy

dahora, quero ouvir mais.

Hell yeah. This is sick.

Totalement et absolument ma came, je connaissais pas Soft Machine mais je kiffe, la découverte de cet album vaut tout à fait l'ensemble du projet des 1001 albums tructrucs

5. I really like this album. It is a new sound for me with jazz that I really like and wouldn't mind hearing more of

Casi hora y media, solamente 4 tracks, un experimento muy extraño pero siempre sorprendente. Lo escuché completo en una larga caminata y siempre me tuvo atento sin saber qué seguiría después. Me gustaron los Soft Machine, pero creo que necesito escucharles un par de discos más para más o menos agarrarle bien a su onda. De entrada, Third está muy bien.

One look at the track listing for this album is enough to fill one with trepidation, especially with labels such as 'Avant-Prog'. This was, however, a thoroughly enjoyable surprise that is likely to only get better with repeated listens.

Fantastic instrumentals.

File this under: have been meaning to listen to for years. Really loved this, only the first track feeling a bit less interesting than the rest kept it from being a 5. Note to self: check out Canterbury scene properly.

Impressive. I love this kind of prog, when it's full of jazz and avant-garde, and not just overly serious hard rock with too many complicated time signatures

A lot of really great moments, but also a lot of self indulgent crap. Still gets a 4 because the good outweighs the bad.

Begging you all to power through the Guantanamo style opening to this album. Moon in June is such a treat.

This is a strange album right here. Soft Machine's third album, fittingly titled Third, has a lot of things to talk about. Well, except for songs. There's only 4 of those on here. However, this album could definitely be considered prog rock, and as such, each song is about 18 to 20 minutes in length. Hell yeah. I love prog rock, and this is a pretty solid prog rock album. The style is interesting. What's weird is that the first song is a live recording, while the other three are studio recordings. That's neat. In addition to prog stuff, there's also quite a bit of jazz rock elements in here as well, which I really like as well. The vibes here are nice. There's a bit of crazy stuff to appreciate, but you can also chill out a bit. There's only singing on one of the album's songs, but it works pretty well in that one. All of the songs are cool. The album is definitely on the longer side, but I'm actually okay with it for an album like this, though that may just be my prog bias speaking. Overall, Third is a pretty compelling album for someone like me. I enjoy it. 4/5.

3.8 2x i like this instrumental type album

Decent talent but songs are way to long even for jazz

What the hell 8/10

despite my genre prejudices, enjoyed a lot. does not compromise on its virtuosity.

The more proggy tracks are crazy but still need more listens on the free jazz ones. They sound a little bit too free right now 4.5

the first songs were a little sloggy but i really liked the last 2! definitely more jazzy than straight prog rock but it worked well

This succeeds, but only just. What works works well indeed, such as the exploratory, outre sax on the opener. What doesn't work – quite shaky vocals from the weird and wonderful Wyatt – ask a lot, maybe too much, of the listener. "Slightly All the Time" is epic, rooted in improvisatory jazz, even if the ending feels pretty abrupt. The last bit is the most experimental and very cool (Tubular Bells-esque) and well-named besides. One senses the editors protestething too much, calling the Softs a major band (based on which criteria exactly, one wonders). Still one likes this well enough for its difference and being just offkilter from prog, too. 3.9 > 4

Classic Jazz Fusion album 4/5

This is my first Soft Machine album. I tried to prepare myself mentally for a 73 minute, 4 song album. At its best, it reminds me of jazz/prog rock albums that I like. At its worst it floated by in the background while I worked. The album can go off the rails, like in the first 8 (who's counting) minutes of "Moon in June", but even that track still has some legit jams. I guess I'm a sucker for this type of music, but there is enough interesting material to revisit.

Very Yes/King Crimson-esque. Maybe before King Crimson/Yes? Too lazy to check. Facelift after 8 minutes in gets awesome. This music is a little long winded (not this specifically just the genre) but its cool. The stereo mixing is a little eh but it was made in a different time so can't hold against it if all the drums are panned right even if it's annoying. Good for the genre but needs multiple listens to appreciate as all tracks are over 15 minutes in length.

Third is a live and studio album by the Soft Machine, originally released in 1970. I believe this is the first time I'm hearing a Soft Machine album. They lean heavily into the prog/jazz-rock sound. What makes them really stand out is the obvious Coltrane/Bitches Brew-era Miles influence on here. Even better, this is a live album. They really jam and let the songs breathe. These jams also become experimental at times. Super Cool.

Brill

If this album was half as long, it'd rank up there among my favorites in this entire exercise

Cool jazz rock experimental long form jams. I really enjoyed this one. I feel like I’ve listened to Soft Parade before but I don’t remember to what capacity. All the musicians laid down some stellar performances and the recording sounds incredible too. The half way point on “Slightly All The Time” is pretty heavy while the second half of “Out-Bloody-Rageous” and it’s outro take you to outer space. All around a cool experience.

This was one of those albums where the first few minutes are so harsh that I kind of zone out and listen to it passively and it wasn't until the jazz kicked in about 10 minutes later that I snapped back into listening actively. I loved the remaining part of the album so much that I had to listen to it again to see if I actually remembered right that the start of the album just sounded like garish noise. (except for that weird synthy part halfway through, that was too long)

Electronically a little bit dated in it’s instrumentation but still a brlliantvdruggy fusion of jazz rock electronica.

I am a pretty big fan of noise rock, so hearing these sounds at the beginning of the album is insane for 1970. However, the recording of the horns/woodwinds could have been a lot cleaner. Ok, this reminds me a lot of In the Court of the Crimson King. I'm not sure why there are so many 1's and 2's. I had crazy low expectations for this album, but it was a pleasant surprise. Very unique album that I would happily listen too again. If you enjoy this kind of stuff, you should think about attending a King Gizzard concert. Mid 4.

### **In-Depth Review of *Third* by Soft Machine** Released in 1970, *Third* is the third studio album by British progressive rock band Soft Machine. This double LP marked a significant evolution in their sound, moving from the psychedelic pop of their earlier work to a more complex fusion of jazz, rock, and avant-garde elements. Featuring four extended tracks, each occupying an entire side of the vinyl, *Third* is a challenging yet rewarding listen, representing the band’s experimental peak. Here, we’ll explore its lyrics, music, production, themes, and influence, while weighing the pros and cons of this ambitious record. ### **Lyrics** Unlike conventional rock or pop music of the time, *Third* places little emphasis on lyrics. In fact, lyrics appear only in one track, "Moon in June," and even there, they serve more as a textural component than a storytelling device. Written and sung by drummer Robert Wyatt, the lyrics in "Moon in June" are whimsical, abstract, and self-referential, mixing everyday observations with surreal imagery. Wyatt's words are imbued with a sense of nostalgia and spontaneity, often veering into stream-of-consciousness territory. The lack of a strong lyrical focus could be seen as a drawback for listeners who prefer clear messages or narratives. However, for those who appreciate lyrics as part of a broader sonic tapestry, "Moon in June" offers a fascinating glimpse into Wyatt’s mind, melding personal reflections with subtle humor and occasional melancholy. The decision to de-emphasize lyrics allows the band to prioritize instrumental expression, which is integral to the album’s overarching aesthetic. ### **Music** Musically, *Third* is a groundbreaking exploration that blends elements of jazz fusion, progressive rock, and avant-garde improvisation. Each of the four tracks has a distinct character: 1. **"Facelift"** – Composed by keyboardist Mike Ratledge, "Facelift" is a 19-minute piece characterized by its dissonant organ riffs, abrupt shifts, and dense layers of sound. The track was stitched together from different live performances, resulting in a raw, almost collage-like feel. Its jagged textures and unstructured flow make it a demanding listen but also encapsulate the band’s fearless approach to experimentation. 2. **"Slightly All the Time"** – Bassist Hugh Hopper's composition is more jazz-oriented, with intricate melodic lines and dynamic interplay between the musicians. The piece’s title reflects its gradual changes in tempo and mood, moving from gentle, lyrical passages to more aggressive sections. The interplay between Ratledge's electric piano and Hopper's bass is particularly notable, showcasing a tight rhythm section that allows ample space for soloing. 3. **"Moon in June"** – The only track with lyrics, Wyatt’s "Moon in June" stands out for its blend of song structure and free-form instrumental breaks. Starting as a whimsical folk-rock tune, the track evolves into an improvised jam, featuring extended keyboard and violin solos. Wyatt’s drumming is nimble, adding a touch of swing that complements the shifting sonic landscape. The unpredictable structure and extended duration give it a unique charm, but it may feel disjointed to those who prefer more cohesive compositions. 4. **"Out-Bloody-Rageous"** – Closing the album, "Out-Bloody-Rageous" is built around looped tape experiments, creating a psychedelic atmosphere. Ratledge’s keyboard work is again prominent, with lengthy passages that oscillate between dreamy soundscapes and high-energy jazz-rock bursts. The use of tape loops was innovative for the time, prefiguring later electronic music techniques. The musicianship throughout the album is stellar, with each member contributing distinct textures and ideas. The emphasis on extended improvisation and unconventional structures, however, makes *Third* less accessible than traditional rock albums. Its complexity can be a barrier to entry, requiring multiple listens to fully appreciate. ### **Production** Produced by the band and recorded at IBC Studios in London, the album’s production reflects a raw, live-in-the-studio feel. There’s minimal polish, with rough edges intentionally left intact, giving the record a more organic, spontaneous atmosphere. The recording captures the energy of a live performance, a key aspect of Soft Machine’s identity during this period. However, the lo-fi quality of some tracks, especially "Facelift," may deter listeners used to cleaner production. This is particularly evident in the occasional tape hiss, audio distortion, and abrupt edits in the live-sourced material. While these imperfections lend authenticity and character to the album, they may also come across as amateurish or distracting. One notable production technique on *Third* is the use of tape loops and sound manipulation, especially on "Out-Bloody-Rageous." This foreshadowed developments in electronic music and production techniques used by later artists in ambient and experimental genres. The album’s mixing allows each instrument to breathe, but sometimes the layering feels chaotic, reflecting the band's tendency to prioritize spontaneity over precision. ### **Themes** *Third* is less about conveying specific themes or messages through lyrics and more about creating a musical journey through abstract soundscapes. The album’s four tracks share a sense of exploration, both in terms of genre fusion and instrumental improvisation. Each composition evolves in a way that suggests a narrative, though it is left to the listener's imagination to interpret the details. Thematically, the music reflects a break from conventional rock structures, embracing avant-garde and jazz influences to push boundaries. The unpredictable changes in dynamics, time signatures, and textures evoke a sense of freedom and experimentation that was rare for the time. There is also a meditative quality in tracks like "Slightly All the Time" and "Out-Bloody-Rageous," where moments of calm contrast with bursts of intensity, mirroring the ebb and flow of consciousness. ### **Influence** *Third* is considered a milestone in the development of jazz-rock and progressive rock. Its willingness to dissolve the borders between genres inspired subsequent bands like King Crimson, Gong, and National Health, who pursued similar hybrid approaches. The use of extended track lengths and improvisation would become a hallmark of the "Canterbury scene," a progressive rock subgenre to which Soft Machine belonged. The album also had an impact beyond progressive rock. The tape manipulation techniques used on "Out-Bloody-Rageous" foreshadowed the advent of electronic music genres such as ambient and techno. Later artists in experimental and avant-garde music, such as Brian Eno and David Bowie, would explore similar sound-collage methods. Despite its avant-garde nature, *Third* did not achieve mainstream success, but its influence on musicians and genres was profound, encouraging a more daring approach to composition and performance. The album’s legacy is evident in the work of bands that continue to blur the lines between jazz, rock, and experimental music. ### **Pros** 1. **Groundbreaking Fusion of Genres**: The album's blend of jazz, rock, and avant-garde elements set a new standard for genre-defying music, influencing future generations. 2. **High-Caliber Musicianship**: The band’s skill and chemistry are evident in the intricate compositions and extended improvisations, making the album a showcase of virtuosity. 3. **Innovative Use of Production Techniques**: Tape loops, sound manipulation, and live recordings give the album a distinctive and ahead-of-its-time quality. 4. **Exploratory and Adventurous Spirit**: The album’s non-linear structure and unpredictable changes embody a spirit of musical exploration that is rare in popular music. 5. **Pioneering of the Canterbury Scene**: *Third* helped solidify the identity of the Canterbury scene, a subgenre known for its mix of jazz, rock, and English eccentricity. ### **Cons** 1. **Lack of Accessibility**: The extended track lengths and absence of conventional song structures make the album challenging for casual listeners. 2. **Minimal Lyrical Content**: For those who value strong lyrics, the album’s focus on instrumental music may be a drawback. 3. **Raw Production Quality**: The lo-fi elements and occasional rough mixing can be off-putting, especially for listeners accustomed to polished recordings. 4. **Disjointed Composition in Some Tracks**: The abrupt shifts and collage-like nature of tracks like "Facelift" may feel incoherent or haphazard. 5. **Overemphasis on Improvisation**: The balance between composition and improvisation leans heavily towards the latter, which can lead to passages that feel self-indulgent or unnecessarily prolonged. ### **Conclusion** *Third* by Soft Machine is an audacious work that eschews conventionality in favor of boundary-pushing exploration. The album's fusion of jazz, rock, and avant-garde elements set a new benchmark for progressive music, even as its complexity and raw production posed challenges for mainstream acceptance. While the lack of traditional song structures, minimal lyrical content, and sometimes rough edges may not appeal to everyone, *Third* rewards patient listeners who seek a deeper, more experimental musical experience. The album’s influence is far-reaching, laying the groundwork for future explorations in jazz-rock fusion and experimental music. Despite some imperfections, its ambition, musicianship, and innovative use of production techniques make it a landmark in the history of progressive rock and beyond. *Third* remains a challenging but essential listen for anyone interested in the evolution of modern music, exemplifying a time when artistic daring was at the forefront of the musical landscape.

Four 18-minute jazz rock rhapsodies. Honestly, it was better than I expected. I really digged the mood, progressions, and textures. I could definitely go back to it, when appropriate!

8/10

4.25

It’s somewhere between rock, jazz, and prog. It doesn’t feel like it wants to be within any of those genres and feels like people playing jazz who don’t want to sound like jazz. It’s great listening and makes for a cool chill album. The sudden vocals on track 3 are quite jarring when they first come in, taking you immediately out of the wild jazz you’ve just been experiencing. I like this album a lot

"A jazz rock fusion album, recorded live ..." I'm not sure I could come up with a description that would fill me with more dread. The first few minutes are illegible noise. Then all of a sudden music starts breaking out, and it's really, really good. Then there are phases of where it fades away again. The crashed back in. And, I have to say, I kind of loved it. The first album in ages to take me by surprise and, if not blow my socks off, it did vigorously tug at them.

Not the greatest ABBA album. But enough melancholic Nordic synth pop to keep me very happy.

A mixed bag but when this hits it's like peak-Miles

Solid vibes all around

Nice find