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Six Original recording remastered

9 customer reviews

Price: £8.16 & FREE Delivery in the UK on orders over £20. Details
Includes FREE MP3 version of this album.
Does not apply to gift orders. See Terms and Conditions for important information about costs that may apply for the MP3 version in case of returns and cancellations.
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7 new from £8.16 5 used from £5.98
£8.16 & FREE Delivery in the UK on orders over £20. Details Temporarily out of stock. Order now and we'll deliver when available. We'll e-mail you with an estimated delivery date as soon as we have more information. Your account will only be charged when we dispatch the item. Dispatched from and sold by Amazon. Gift-wrap available.

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Product details

  • Audio CD (17 Feb. 2007)
  • Number of Discs: 1
  • Format: Original recording remastered
  • Label: Sony Music CMG
  • ASIN: B000H8RWEM
  • Other Editions: Audio CD  |  Vinyl  |  MP3 Download
  • Average Customer Review: 4.3 out of 5 stars  See all reviews (9 customer reviews)
  • Amazon Bestsellers Rank: 144,552 in Music (See Top 100 in Music)

Listen to Samples and Buy MP3s

Songs from this album are available to purchase as MP3s. Click on "Buy MP3" or view the MP3 Album.
                                                                                                                                                                                                                                                                                                                                         

Samples
Song Title Time Price
  1. Fanfare - Live (Remastered 2006)0:42£0.99  Buy MP3 
  2. All White [Live] (Remastered 2006) 4:48£0.99  Buy MP3 
  3. Between (Live) (Remastered 2006) 2:24£0.99  Buy MP3 
  4. Riff (Live) (Remastered 2006) 4:33£0.99  Buy MP3 
  5. 371/2 (Live) (Remastered 2006) 6:52£0.99  Buy MP3 
  6. Gesolreut (Live) (Remastered 2006) 6:16£0.99  Buy MP3 
  7. E.P.V. (Live) (Remastered 2006) 2:47£0.99  Buy MP3 
  8. Lefty (Live) (Remastered 2006) 5:01£0.99  Buy MP3 
  9. Stumble (Live) (Remastered 2006) 1:36£0.99  Buy MP3 
10. 5 From 13 (Live) (Remastered 2006) 5:14£0.99  Buy MP3 
11. Riff II (Live) (Remastered 2006) 1:27£0.99  Buy MP3 
12. The Soft Weed Factor (Remastered 2006)11:18Album Only
13. Stanley Stamps Gibbon Album [For B.O] (Remastered 2006) 5:59£0.99  Buy MP3 
14. Chloe And The Pirates (Remastered 2006) 9:30£0.99  Buy MP3 
15. 1983 (Remastered 2006) 7:55£0.99  Buy MP3 

Product Description

I will ship by EMS or SAL items in stock in Japan. It is approximately 7-14days on delivery date. You wholeheartedly support customers as satisfactory. Thank you for you seeing it.

Customer Reviews

4.3 out of 5 stars
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Most Helpful Customer Reviews

17 of 17 people found the following review helpful By HJ on 8 May 2007
Format: Audio CD
It's good that the original classic Soft Machine CBS albums are getting a definitive remaster/upgraded reissue. I guess everyone will go for the well known volumes 3 to 5 (which feature additional bonus tracks) but what of "Six"? For most people the departure of Robert Wyatt and Elton Dean was the end of the story and it is often forgotten that there was a distinctive late edition of the band in 72-74, exemplified by "Six" & featuring regulars Ratledge and Hopper joined by drummer John Marshall and multi-instrumentalist Karl Jenkins.

"Six" was a double album - in the vogue of the time one disc live / one disc studio, all included on a single CD here (no bonus tracks). Arguably this was the most musically accomplished version of the band. The live album is one long suite, effortlessly gliding back and forth through tunes and themes (mostly drawn from "FIFTH"). It's very tight and fluid, driven by understated, shifting funk or rock rhythmic patterns. The studio album contains just four tracks. "Sot Weed Factor" and "Chloe" are developments out of the languorous style pioneered on "THIRD": Terry Riley-ish loops, loping repetitive funk drum and bass, tinkling keyboards. Jenkins generally eschews jazzy improv, preferring to overlay the tracks with elegant, repetitive, extended lines on oboe or soprano. They are over-used words but I'd have to describe this music as "minimalist" & "cool". It's a far cry from the hyperactive fusion music of the 70s and might even prefigure some of the ambient, trance and trip-hop of the 90s.The other two studio tracks sound like sketches for compositions and don't stand up so well, though Hugh Hopper fans may be interested in his abrasive tape loop piece "1983" as a precursor to some of his solo work.
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9 of 9 people found the following review helpful By John Tree on 26 Oct. 2007
Format: Audio CD
Aside from a brief listen to 'Third' when I was way too young to appreciate it, this was my first real and proper encounter with Soft Machine. The album was a perfect soundtrack to those heady days living on the edge, miles from home in London's netherworlds.
The band had a very British take on the jazz/rock styles prevalent at the time, coming from the bohemian Canterbury scene in the sixties, home of Kevin Ayers, Daevid Allen and Caravan. This showed them leaving their 'middle phase' and brought an almost prophetic interest in the kind of repetition that would become popular with the onset of samplers. Most notably with Hugh Hopper's hypnotic often cyclic bass style...check out track six Gesolreut ... cool or what?

This is post-Robert Wyatt Softs, with John Marshall now in charge of the drums, adding a free-rolling precision to the playing. Perhaps the most distinctive voice in this lineup was Karl Jenkins plaintive, other-worldly Oboe and Soprano sax playing. A couple of notes from him and you knew straight away who you were listening to. Mike Ratledge's keyboard sounds were often percussive and hard-edged, adding bite to many of the tunes. Between them, the band had a very distinctive sound that was unmistakeable.

This is a double album, condensed onto a single CD. The first half is a collection of live recordings, the tunes melding into each other seamlessly...and there are some extremely cool sounding pieces on here, but the two that really set this album apart are from the studio album.

The opener The Soft Weed Factor is perhaps one of the band's most memorable compositions. Dreamy and multi-layered, it starts very simply with a light, seven note cycling motif from Hopper's keyboard. It is met with a counter motif interlocking with the first...
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By AZ F on 4 Dec. 2011
Format: Audio CD
tl dr version. This CD is brilliant, buy this if you've never bought a Soft Machine album before or have only bought one.

I wasn't born at the time of this album's release. It was the CD of Volume One and Two that got me interested in 1992. I was aware of the line up changes that band had, so put off buying their later albums after "Fifth". What I fool I was! I've only had this CD for a week and already it's one of the best things Soft Machine ever did.
Firstly, seeing as it's a double album on one CD.
When I first heard it, I thought the best parts of the first 11 tracks ("Fanfare", "Stumble") were the shorter tracks, but now feel "Riff" is a highlight that should have been included on their "Out-Bloody-Rageous" compilation, even though "Gesolreut" did the album proud.

I love the four studio tracks that would have made for side three and four. That sequence is almost like Soft Machine's classic "Third" album but condensed. With Karl Jenkins replacing the contributions of Robert Wyatt on "Third" with keyboards replacing Robert's vocals obviously.
It also contains Mike Ratledge's last two great large scale compositions, "Stanley Stamps Gibbon Album" and "Chloe And The Pirates".
I once saw in a magazine the former being described as "a load of musicians arsing about". I disagree, and can hear an echo of the closing section of "Volume Two" in the start before a piano groove for Mike Ratledge to play that Mike Ratledge sounding organ over it.If Mike Ratledge played a guitar, this track would be on all the compilations and Ratledge would be a more thought of God. Hypnotic ending to this piece as well.

"Chole And The Pirates" is a pre-sampling psychedelic backing to the bands crossroads between the band of the past and the band they'd become become.
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