Marquee: The Story of the World’s Greatest Music Venue–Book Review
- Denis Brown
The Psych Ward–Vol. 1 by Soft Machine
The Psych Ward–Vol. 1 by Soft Machine
Having become acquainted with the music of one-time Soft Machine member and psychedelic pop purveyor Kevin Ayers prior to the band from which he originated, I was surprised at how jazz-oriented Vol. 1 is the first time I heard it years ago. The band wasn’t yet as jazzy as they would ultimately become, but the influence is there. Fortunately, it doesn’t overwhelm the experience. Vol. 1 is a psychedelic and experimental rock album.
Soft Machine incubated in Canterbury, home to the Church of England’s archbishop, and was closely associated with the Canterbury Scene, an aggregation of British bands that were experimental, intellectual, and unrestrained in the era immediately following the psychedelic heyday. Other acts associated with this scene were Caravan, Egg, and Gong, whose co-founder Daevid Allen sprung from an early incarnation of Soft Machine.
I find Vol. 1 to be delightfully odd. All the songs blend together (except, of course, where side one ends and side two begins) and I can’t think of an earlier example of an LP that does that.
The beginning of lead track “Hope for Happiness” features a drum beat that emulates the ticking of a clock, not unlike that in the Chambers Brothers’ classic “Time Has Come”. Drummer Robert Wyatt’s voice sounds strained and hoarse, which adds to the unconventionality of the song (and sound of this album). The exceptional track builds up to an experimental jam before the extended refrain of the titular words kicks in.
Before you know it, you’re listening to the next track “Joy of a Toy”, written by both Ayers and organist Mike Ratledge and sounding nothing like the composition “Joy of a Toy Continued” that kicks off Kevin Ayers’ debut album the following year. The Ayers solo track is more joyful and, in my opinion, better.
Suddenly, you’re hearing the pleasantly repetitive “Hope for Happiness” refrain again—a reprise.
Among the other standout tracks is “We Did It Again”, which succeeds despite having only one lyric—an experimental idea that works. The line, by the way, is “I Did It Again”, which leads you to wonder why the title track is in the first person plural.
While Wyatt handles the bulk of the lead vocals on Vol. 1, you can hear Ayers’ rich baritone as he talk-sings his way through “Why Are We Sleeping?”, another highlight. A dynamic, layered chorus asks the puzzling, titular question over a distinctive bass line.
“Save Yourself” is a humorous high point as the singer/protagonist (Wyatt) urges his bedmate to sleep in her own bed. Sample lyrics: “It’s my, my bed you’re lying on/It’s my, my bed you’re dying on/But if it’s my head you’re relying on/You gotta save yourself”.
Vol. 1 is a classic, as is its companion piece Vol. 2. Third is a brilliant album, but moves in a decidedly jazzier direction. By Fourth, the band is so ensconced in jazz that it no longer holds my interest. If you, like me, prefer rock to jazz, it’s best to stick to the first two psychedelic Soft Machine albums.
Related: The 100 Best Psychedelic Rock Albums of the Golden Age
The Top 100 Psychedelic Rock Acts of All Time
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