Soft Machine plunged deeper into
jazz and contemporary
electronic music on this pivotal release, which incited
The Village Voice to call it a milestone achievement when it was released. The original vinyl release was a double album of stunning music, with each side devoted to one composition -- two by
Mike Ratledge, and one each by
Hugh Hopper and
Robert Wyatt, with substantial help from new bandmember
Elton Dean on saxophones and a number of backup musicians, including
Canterbury mainstay
Jimmy Hastings. The
Ratledge songs come closest to
jazz fusion, although this is
fusion laced with tape loop effects and hypnotic, repetitive keyboard patterns.
Hugh Hopper's
"Facelift" recalls
"21st Century Schizoid Man" by
King Crimson, although it's more complex, with several quite dissimilar sections. The pulsing rhythms, chaotic horn and keyboard sounds, and dark drones on
"Facelift" predate some of what
Hopper did as a solo artist later (this song was actually culled from two live performances in 1970). On his capricious composition
"Moon in June," Robert Wyatt draws on musical ideas from early 1967 demos done with producer
Giorgio Gomelsky. Lyrically,
"Moon in June" is a satirical alternative to the pretension displayed by a lot of
rock writing of the era, and combined with
the Softs' exotic instrumentation, it makes for quite a listen. Not exactly
rock,
Third nonetheless pushed the boundaries of
rock into areas previously unexplored, and it managed to do so without sounding self-indulgent. A better introduction to the group's
psychedelic pop side is
Vols. 1 & 2, but once introduced, this is the place to go. [The 2007 remastered edition features the original two-disc vinyl set of
Third on one CD plus a bonus live disc of
the Softs' "classic quartet" --
Ratledge,
Hopper,
Dean, and
Wyatt -- performing
"Out-Bloody-Rageous," "Facelift," and
"Esther's Nose Job" live at
Royal Albert Hall in 1970; this live material (also remastered) was previously issued as the
Live at the Proms 1970 CD.] ~ Peter Kurtz