Author: Peter Podbrežnik
Artist: Soft Machine
Label: CBS
Released: 1972
Running time: 36:34
Rating: 3.5/5
»Fifth«, the fifth studio effort from English prog rock/jazz fusion legends Soft Machine, came out after the breakup of their classic lineup, which was also the only one that held together for more than one album. With the departure of founding member, outstanding drummer and singer Robert Wyatt, who in this period started his own band Matching Mole, a huge gap opened up, and it was extremely hard to fill. Wyatt’s replacement, at saxophonist Elton Dean’s urging, was Australian jazz drummer Phil Howard. There was almost a tragicomedy in the middle of it all, as Wyatt suddenly changed his mind and meant to come back, but it was already too late, since the remaining members, after Howard’s arrival, had made up their minds to carry on without the charismatic, versatile drummer/singer.
Howard’s stint in the Soft Machine camp was extremely short. He had to go once the first three »Fifth« compositions were recorded, because tensions had flared up over the sonic direction of the fifth Soft Machine studio project. That’s why the second half of »Fifth« sounds noticeably different in style from the first, which leaned more toward free jazz and was therefore harder going for ‘ordinary mortals’. On one side were keyboardist Mike Ratledge and bassist Hugh Hopper, who pushed for more melodic jazz fusion arrangements, somewhat in the vein of their English jazz fusion peers Nucleus, while on the other side were Dean and Howard, who leaned toward more convoluted free jazz.
Howard had to pack his bags before »Fifth« was even finished, and his replacement was John Marshall from the aforementioned Nucleus, with whom Soft Machine recorded the rest of the »Fifth« tracks. Ironically, Ratledge and Hopper had wanted Marshall in the band ever since Wyatt left, but back then Dean’s will prevailed. Marshall went on to become the most loyal Soft Machine member, since he’s still behind their drum kit to this day. That drummer swap made »Fifth« a pretty schizophrenic piece of work sonically. It had quite a few moments worth admiring, but compared to the classics »Third« (1970) and »Fourth« (1971), both recorded by the classic Soft Machine lineup, it was a relative step back.
Already the opener »All White«, which was reworked into a somewhat more accessible version for the next album »Six« (1973), signaled a record that demands plenty of listens before its hidden charms and the appeal of its individual instrumental sections reveal themselves. Dense free-jazz meanderings from the otherwise disciplined rhythm section and Dean’s unpredictable sax improvisations mark this opening composition. »Drop«, which opens with the sound of water droplets, features Ratledge’s mysterious-sounding opening improvisation on electric piano. What follows is a complete fragmentation of the individual arrangements into numerous plain-old-jazz sections, where you miss the fire that was typical of the classic Soft Machine lineup. »M C« is laced with Dean’s saxophone ‘orgasming’ and Ratledge’s electric piano shenanigans, while Howard’s subdued fiddling with the cymbals never really reaches a proper ending.
The rest of the »Fifth« tracks, recorded with Marshall, are stylistically much closer to the jazz fusion direction that took over on Soft Machine’s following albums. These four closing tracks have a noticeably livelier, brighter atmosphere compared to the drowsy nature of the opening »Fifth« pieces. On the improvisational miniature »As If«, a far livelier creation than the first three »Fifth« tracks, Hopper got help on double bass from Roy Babbington, who would become his replacement about a year later. On »LBO«, a sort of drum solo spot, Marshall briefly shows off his enviable drumming skills. »Pigling Band«, soaked in witty sax arrangements, light-handed piano and rhythmic playfulness, and the dark closer »Bone« with its many odd sounds wrap up »Fifth« successfully and showcase the far more melodic, accessible direction of Soft Machine’s future efforts.
The mid-session drummer swap turned »Fifth« into an odd sonic hybrid within Soft Machine’s colorful discography, one that can’t make up its mind between drowsy free-jazz forms and the more energetic jazz fusion wit that takes over in the second half of the album. After the Howard fiasco and the release of »Fifth«, Elton Dean had had enough and decided the Soft Machine story was over for him. His replacement was Nucleus co-founder Karl Jenkins, who played a key role in Soft Machine taking a step in the right direction with »Six« and even winning Melody Maker’s award for best British jazz album of 1973.
https://www.youtube.com/watch?v=AybdUezziyI
Lineup
Mike Ratledge – keyboards
Hugh Hopper – bass guitar
Elton Dean – alto sax, saxello, electric piano (2)
Phil Howard – drums (1-3)
John Marshall – drums (4-6)
GUEST MUSICIAN:
Roy Babbington – double bass (4)
Production
Soft Machine
Track List
1. All White (6:06)
2. Drop (7:42)
3. M C (4:57)
4. As If (8:02)
5. L B O (1:54)
6. Pigling Bland (4:24)
7. Bone (3:29)
