Robert Wyatt (Soft Machine) - Ruth Is Stranger Than Richard (1975)

Year: May 1975 (CD 1998)
Label: Hannibal Records (France), HNCD 1427
Style: Jazz Rock, Avant-garde, Progressive Rock
Country: Lydden, Kent, England (28 January 1945)
Time: 39:11
Format: Flac Tracks 16/44,1 kHz
Size: 220 Mb

The follow-up to Rock Bottom, for which Wyatt had written all of the music and lyrics, Ruth... consisted of Wyatt's adaptations and arrangements of other people's music (either friends – Phil Manzanera, Fred Frith, Mongezi Feza, former Wilde Flowers bandmate Brian Hopper – or influences – Charlie Haden) with Wyatt adding his own lyrics in much the same way as he had done on Matching Mole's Little Red Record. Apart from "Sonia", recorded for the shelved "Yesterday Man" single in October 1974 (again with Nick Mason as producer), the entire album was recorded and mixed at Virgin's The Manor Studio with Wyatt himself handling production duties. Much of the album features Wyatt (on lead vocals and keyboards) backed by a "band" consisting of bassist Bill MacCormick, drummer Laurie Allan and saxophonists George Khan and Gary Windo, with Brian Eno adding his own idiosyncratic "anti-jazz" touch.
Two years earlier Wyatt had provided the hypnotic soundtrack to the experimental film Solar Flares by Arthur Johns. The nine-minute film, "a personal essay on colour effects", had been produced by Nick Mason and recorded at his home studio. Wyatt had been involved at an early stage and his music was central to the project. The music itself would reappear on his 1975 album "in a more 'digestible' form".
(en.wikipedia.org/wiki/Ruth_Is_Stranger_Than_Richard)

01. Muddy Mouse (a) (00:49)
02. Solar Flares (05:36)
03. Muddy Mouse (b) (00:50)
04. 5 Black Notes and 1 White Note (05:00)
05. Muddy Mouse (c) (06:15)
06. Soup Song (04:03)
07. Sonia (04:18)
08. Team Spirit (08:33)
09. Song for Che (03:42)

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Robert Wyatt (ex Soft Machine) - The End Of An Ear (1970)

Year: 4 December 1970 (CD 1999)
Label: Columbia Records (Austria), 493342 2
Style: Free Jazz, Avant-garde
Country: Lydden, Kent, England (28 January 1945)
Time: 47:01
Format: Flac Tracks 16/44,1 kHz
Size: 258 Mb

In the glorious machine-powered future, we can look forward to AI-created music conceived “in the style of Robert Wyatt” and nod approvingly as a jumble of drums, horns and piano come tumbling from our computer speakers. In the drug-fueled past, of course, we had to make due with the electrical connections contained in our own craniums. Metal or soft machine is splitting hairs, you may say, and I (with none of my own to split) might argue otherwise, but we are the true author of neither. Music like this exists because it must, because the rules of chaos dictate that even clouds will occasionally take the perfect form of a cat, and that even whacked-out moles like Robert Wyatt will discover genius in chaos (or that chaos will discover the genius in Robert Wyatt).
The End of an Ear begins and ends with Wyatt’s bizarre interpretation of Gil Evans’ Las Vegas Tango. Wyatt largely replaces the horns with gibberish, creating a strange tapestry of sound that comes surprisingly close to the original while at the same time seeming nothing like it. The remaining “songs” feature the same instrumentation—drums, horns, keyboards, bass, voice—that take Wyatt’s dadaism to new heights (depths?). Frank Zappa made music like this, only he made it on purpose. Wyatt is less rigid, though perhaps no less intentional. Sometimes, The End of an Ear sounds like music. To Saintly Bridget is alien space jazz. To Carla Marsha and Caroline is simultaneously melodic and oddly disquieting. To Caravan and Brother Jim starts out relatively normal before becoming enveloped in cryptic cacophony. I’m not sure what Columbia thought they had signed on for with this album, but that they didn’t sign up for a sequel probably says a lot. Wyatt’s first solo album has all the earmarks of a contract breaker. More likely, he was letting off steam as Soft Machine devolved into a “normal” jazz fusion band (the quotes implying normal relative to the strange world of Soft Machine). If you’re into Zappa’s stranger experiments or just enjoy listening to a Dadaist drummer thumb his nose at the world for forty minutes, The End of an Ear could be the beginning of a beautiful relationship. It’s not for everyone, and possibly not for anyone (despite its dedications), but in a world where art can now be condensed into a set of algorithms, it’s refreshing to hear someone making music while breaking so many rules.
(progrography.com/robert-wyatt/review-robert-wyatt-the-end-of-an-ear-1971/)

01. Las Vegas Tango Part One (Repeat) (08:13)
02. To Mark Everywhere (02:26)
03. To Saintly Bridget (02:21)
04. To oz Alien Daevyd And Gilly (02:09)
05. To Nick Everyone (09:12)
06. To Caravan And Brother Jim (05:20)
07. To The Old World (Thank You For The Use of Your Body, Goodbye) (03:17)
08. To Carla, Marsha And Caroline (For Making Everything Beautifuller) (02:47)
09. Las Vegas Tango Part 1 (11:13)

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Robert Wyatt (ex Soft Machine) - Rock Bottom (1974)

Year: 26 July 1974 (CD 1989)
Label: Virgin Records (UK), CDV 2017, 0777 7 87712 2 7
Style: Art Rock, Canterbury Scene, Progressive Rock
Country: Lydden, Kent, England (28 January 1945)
Time: 39:34
Format: Flac Tracks 16/44,1 kHz
Size: 210 Mb

Rock Bottom is the second solo album by English musician Robert Wyatt. It was released on 26 July 1974 by Virgin Records. The album was produced by Pink Floyd's drummer Nick Mason, and was recorded following a 1973 accident which left Wyatt a paraplegic. He enlisted musicians including Ivor Cutler, Hugh Hopper, Richard Sinclair, Laurie Allan, Mike Oldfield and Fred Frith in the recording.
The band Matching Mole disbanded soon after the release of Little Red Record in 1972, and Wyatt began composing the material that later appeared on Rock Bottom. The album's preparation was interrupted by an accident on the night of 1 June 1973. During a raucous party, at Vale Court, Hall Road, Maida Vale in London, an inebriated Wyatt fell from a fourth-floor bathroom window and was paralysed from the waist down. Wyatt has used a wheelchair ever since. He later called the event the beginning of his maturity and in hospital he continued to work on the songs that would appear on Rock Bottom "in a trance". "I was just relieved that I could do something from a wheelchair," he said. "If anything, being a paraplegic helped me with the music because being in hospital left me free to dream, and to really think through the music."
Within six months he was back at work in the recording studio and appeared on stage at London's Rainbow Theatre with Pink Floyd and Soft Machine, who lent financial support by playing a benefit concert for him. Although the music itself is intense and often harrowing, and the lyrics to the songs are dense and obviously deeply personal, Wyatt has denied that the material was a direct result of the accident and the long period of recuperation. Indeed, much of the album had been written while in Venice in early 1973 prior to Wyatt's accident, where his partner and future wife (the poet Alfreda Benge) was working as an assistant editor on Nicolas Roeg's film Don't Look Now.
(en.wikipedia.org/wiki/Rock_Bottom_(album))

Album recorded and mixed in the analog domain - AAD. That is, a minimum of digital processing.
A=Analog. D=digital. The first letter stands for how the music was recorded. The second letter for how it was mixed. The third letter stands for the format (all CD's will have D as the last letter).

01. Sea Song (06:31)
02. A Last Straw (05:46)
03. Little Red Riding Hood Hit the Road (07:40)
04. Alifib (06:55)
05. Alife (06:31)
06. Little Red Robin Hood Hit the Road (06:08)

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