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	Mike Ratledge - Biography - AOL Music
		Ratledge was also losing interest during these so-called fusion years, and it was fortuitous that Jenkins' compositional style was compatible with the direction the band was taking when the former Nucleus member joined prior to the release of Six.
		Ratledge would be relegated to "guest" status on Softs, after departing the group in early 1976 when that album's recording sessions were underway.
		Mike Ratledge was ultimately one of many musicians who shaped the character of Soft Machine over the group's ten-year history.
	music.aol.com /artist/mike-ratledge/117153/biography (1628 words)

	Mike Ratledge - AOL Music
		Michael R. Mike" Ratledge (born April 1943) is a British musician.
		Ratledge was part of the Canterbury scene and a long-time member of Soft Machine.
		Mike Ratledge began to develop his musical skills as a child, learning the piano and studying musical theory.
	music.aol.com /artist/mike-ratledge/117153/main (137 words)

	Mike Ratledge at AllExperts
		Unlike his friends, Ratledge wanted to be educated, and went to the University College, Oxford, where he earned a degree in psychology and philosophy.
		After his graduation Ratledge intended to go to a university in the United States, but his application for a scholarship was filed too late.
		In 1976 Ratledge decided to leave Soft Machine, planning to go for a solo career, and leaving the band to the supervision of Karl Jenkins.
	en.allexperts.com /e/m/mi/mike_ratledge.htm (503 words)

	Mike Ratledge
		Rather than succumbing outright to his unnatural jazz urges as did his compatriots, Ratledge initially took the path of higher education -- continuing his classical studies and earning certification in psychology and philosophy.
		All to no avail: momentarily idle in his academic pursuits, he was lured into the ranks of the band Soft Machine by Allen, Wyatt and singer Kevin Ayers.
		A brief return to music took place late in the 80s, when Ratledge began collaborating with sometime Soft Machine cohort Karl Jenkins on compositions for the advertsing field.
	www.nndb.com /people/102/000044967 (194 words)

	Mike Ratledge
		Contrary to his friends, Mike Ratledge had a view to pursuing secondary studies, and subsequently attended the University College of Oxford.
		Mainly the work of Jenkins (Ratledge is only credited with arranging the programmed percussion...), it was an unexpected return to the spotlight for him, although the music had little in common with his, and even Jenkins', old work.
		Ratledge was absent from the London concert of autumn '96 and is reportedly working on non-musical projects, including a CD-Rom on arts and screenplays for television.
	calyx.club.fr /mus/ratledge_mike.html (467 words)

	Soft Machine - Music Downloads - Online
		Bio: Soft Machine were never a commercial enterprise and indeed still remain unknown even to many listeners who came of age during the late '60s, when the group was at its peak.
		Ratledge's fuzzy, buzzy organ and Wyatt's pummeling, imaginative drumming and scat vocals paced the band on material that became increasingly whimsical and surrealistic, if increasingly inaccessible to the pop/rock audience.
		Ratledge and Hopper kept the group going with other musicians, though by now they were an instrumental fusion group with little vestiges of their former playfulness.
	musicstore.connect.com /artist/491/Soft-Machine/1035475.html (877 words)

	Soft Machine: Third through Seven Remasters
		Ratledge’s two contributions—“Slightly All The Time” (actually a medley that also incorporates Ratledge’s “Backwards” and Hopper’s “Noisette”) and “Out-Bloody Rageous”—are no less challenging than “Facelift,” but sports shifting time signatures and greater lyricism in their themes.
		Ratledge and Wyatt connect beautifully beneath Dean’s wonderfully constructed solo, making one wish the drummer hadn’t been so at odds with the rest of the band.
		Ratledge introduced synthesizer to the band for the first time—a considerable sign of discretion when all around him other keyboardists were buying as many synths as their stage setup could handle.
	www.allaboutjazz.com /php/article.php?id=24639 (3547 words)

	Mike Ratledge - Wikipedia, the free encyclopedia
		Unlike his friends, Ratledge wanted to further his education, and went to the University College, Oxford, where he earned a degree in psychology and philosophy.
		In 1977, Ratledge provided the score for the film "Riddles of the Sphinx".
		In the 1980s Ratledge was active as a composer/producer in music for commercials and the theatre.
	en.wikipedia.org /wiki/Mike_Ratledge (423 words)

	The Many Faces of Soft Machine
		Ratledge's organ is forced to produce an amazing plethora of slithery chords and expansive sweeps that seem to stretch far beyond the instrument's key pad.
		The band line-up for these performances was: Elton Dean on saxophone, saxello, and electric piano, Hugh Hopper on bass, Mike Ratledge on electric piano and organ, and Robert Wyatt on drums and voice.
		The band line-up for this concert was: Mike Ratledge on Lowery organ, electric piano, and synthesizers, Karl Jenkins on oboe, saxophone, recorder, and electric and acoustic piano, John Marshall on drums and percussion, Allan Holdsworth on guitar and bass, and Roy Babbington on bass.
	www.soniccuriosity.com /sc271.htm (1178 words)

	Mike Ratledge
		Mike bierze udział w nagraniach Daevid Allen Trio w klubie Marquee w Londynie.
		Muzycy: Karl Jenkins (dyrygent), Mike Ratledge (programowanie masyzny perkusyjnej), Miriam Stockley (śpiew), Mary Carewe (śpiew), Frank Ricotti (instrumenty perkusyjne), Jody Barratt Jenkins (instrumenty perkusyjne), Mike Taylor (quena), Pamela Thorby (recorder), The London Philharmonic Orchestra.
		Tym niemniej Ratledge już mało interesuje sie muzyką.
	rock.w3h.net /softmachine/ratledge.htm (566 words)

	Biography - The Soft Machine (Bio 645)
		This incarnation of the group, along with Pink Floyd and Tomorrow, were the very first underground psychedelic bands in Britain, and quickly became well-loved in the burgeoning London psychedelic underground.
		Ratledge and Hopper kept the group going with other musicians, though by now they were an instrumental fusion group with little vestiges of their former playfulness.
		Hopper left in 1973, and Ratledge, the last original member, was gone by 1976.
	musicbase.h1.ru /PPB/ppb6/Bio_645.htm (890 words)

	Browse by Artist: SOFT MACHINE
		Originally founded in Autumn, 1966 as a four piece of Daevid Allen-guitar, Kevin Ayers-bass, vocals, Mike Ratledge- organ and Robert Wyatt- drums, vocals, they became a trio in August, 1967 when Australian Daevid was denied re-entry into the UK after a French tour.
		Quite simply according to the line up which included Mike Ratledge, Robert Wyatt, Hugh Hopper and Elton Dean and in their opinion it was one of the best performances they had done together.
		It is his total immersion in music that enables Robert to project his personality into all he does on stage and on record Mike's uncompromising strings of notes, leaps of musical structure and texture and complex time signatures all characterize a style not heard before (or since) in any band.
	www.forcedexposure.com /artists/soft.machine.html (2085 words)

	Welcome to The Official Mike Oldfield Information Service
		Along with Vangelis and Mike Ratledge, this performance received a mixed reception from the music press.
		Mike's association with Les Penning surfaced later in this year when Mike appeared on his Grenadiers single release on the Polydor label.
		Surprisingly, the track on which Mike appeared was recorded live at Worcester Cathedral on the Rolling Stones mobile recording studio.
	www.mikeoldfield.org /info/features/1977.htm (492 words)

	Soft Machine
		Side two kicks off with a couple of songs from Hopper and Ratledge and closes with the irregular time signatures and instrumental gymnastics of Esther's Nose Job, a mainstay of the live set for the next couple of years.
		Seven appeared in early 1974, there were some nice moments, mainly from the pen of Jenkins and the playing of Mike Ratledge, but in reality the music had become a little sterile.
		Mike Ratledge, disillusioned with the whole business, finally called it a day shortly after sessions began, his contributions to two tracks ending up in the final mix.
	www.btinternet.com /~stephen.yarwood/softs.htm (1778 words)

	Mike Ratledge \| THG Lexikon (Site not responding. Last check: 2007-10-05)
		Mike Ratledge (* April 1943 in Maidstone, Kent, England) ist ein Keyboarder und Komponist.
		Ratledge wurde bekannt als Musiker der englischen Artrock-Band Soft Machine, die als eine wichtige Vertreterin des Canterbury Sound gilt.
		Ratledge verließ Soft Machine 1976 und konzentrierte sich auf Werbemusik.
	www.tomshardware.de /lexikon/Mike_Ratledge (201 words)

	[No title]
		Mike and his wife had gone to his father's house and were not injured.
		Mike described finding their refrigerator (which had taken 3 men to get into the kitchen) several hundred feet from where the house had been!
		Then Mike should open an account down in Charleston and I will be able to deposit the checks here in North Augusta, SC and he can withdraw the funds down there.
	www.textfiles.com /fidonet-on-the-internet/878889/fido0640.txt (5594 words)

	SoundClick artist: SOFT MACHINE - Progressive electric jazz-rock fusion with British accent.
		Mike Ratledge contributed two sides : "Slightly All The Time", a progressive jazz masterpiece made all the more successful by the inclusion of the "Backwards" theme (bookended by Hopper's transition theme "Noisette") from previous live medleys; and "Out-Bloody-Rageous", which showcased the band's use of tape loops and featured strong group interplay.
		A good indication that the rest of the band weren't too keen on pursuing that kind of direction was that, although uncredited as such, "Moon In June" was largely a solo performance by Wyatt, who played organ and keyboard bass as well as drums and vocals.
		Ratledge, the last remaining founding member, left in March 1976, leaving Soft Machine's reins in the hands of Jenkins and Marshall.
	www.soundclick.com /bands/pageartist.cfm?bandID=406222 (1990 words)

	Moonjune Global Media - Records (Site not responding. Last check: 2007-10-05)
		Mike Ratledge contributed two sides : "Slightly All The Time", a progressive jazz masterpiece made all the more successful by the inclusion of the "Backwards" theme (bookended by Hopper's transition theme "Noisette") from previous live medleys; and "Out-Bloody-Rageous", which showcased the band's use of tape loops and featured strong group interplay.
		A good indication that the rest of the band weren't too keen on pursuing that kind of direction was that, although uncredited as such, "Moon In June" was largely a solo performance by Wyatt, who played organ and keyboard bass as well as drums and vocals.
		Ratledge, the last remaining founding member, left in March 1976, leaving Soft Machine's reins in the hands of Jenkins and Marshall.
	moonjunerecords.com /liveinzaandam.html (2165 words)

	DeliciousWeb item (Site not responding. Last check: 2007-10-05)
		By this time, keyboardist Mike Ratledge was the only extant founder member, but bassist Hugh Hopper and drummer John Marshall had already become staunch right-hand men.
		Karl Jenkins completed the quartet, mirroring Ratledge's electric and acoustic pianos, but making his most significant contributions on oboe, soprano and baritone saxophones.
		Lurking behind a horrid airbrushed pink cover, the music still has a hard, probing edge: a few years later, what was left of the band would move much further towards the jazz-rock mainstream.
	homepage.mac.com /johnwesleybarker/DelicousLibrary/pages/music437.html (141 words)

	SOFT MACHINE / CUNEIFORM RECORDS
		Their importance and influence was especially great in Europe, where they influenced several generations of bands, and their influences can still be heard to this day in bands like Jaga Jazzist and beyond.
		Grides presents the most famous version of the band (Elton Dean, Hugh Hopper, Mike Ratledge, Robert Wyatt) recorded live at the Concertgebouw in Amsterdam on October 25, 1970, in a high-quality, previously unreleased recording, just a few months after the release of Third and at the peak of their popularity.
		This excellent quality release is taken from the less than 2 dozen shows performed by this version of the band, and shows that despite such a short life, that this version of the quartet definitely had their own style and sound.
	www.cuneiformrecords.com /bandshtml/softmachine.html (1506 words)

	[No title]
		Ratledge's organ solos take on a rather distorted, reed-like quality, and his electric piano passages ring with majestic tones, much like Chick Corea, Jan Hammer, or Herbie Hancock.
		Ratledge’s coruscating organ work reminds us that Keith Emerson was not the only monster keyboardist to come out of prog, and the tune’s quieter mid-section references the vast, open spaces of Miles’s Agharta jams.
		Mike Ratledge’s fuzzed-out organ duels with High Hopper’s equally distorted bass while drummer Robert Wyatt shifts wild changes under an often ostinato, melodic pulse.
	www.cuneiformrecords.com /press/softmachine-quotes.doc (3113 words)

	Mike Ratledge Music - Favorite Songs - Lyrics From (Site not responding. Last check: 2007-10-05)
		Mike Ratledge might not be making music anymore, but if they are, you...
		Mike Ratledge began to develop his musical skills as a...
		Contrary to his friends, Mike Ratledge had a view to pursuing secondary studies, and subsequently attended the University College of Oxford.
	www.lyricsfrom.com /artists/m/Mike-Ratledge.html (1176 words)

	Third - Soft Machine - Music Reviews
		The 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.
		It's a double album of stunning music, with each side devoted to one composition -- two by Mike Ratledge, and one each by Hopper and Wyatt, with substantial help from a number of backup musicians, including Canterbury mainstays Elton Dean and Jimmy Hastings.
		The Ratledge songs come closest to fusion jazz, although this is fusion laced with tape loop effects and hypnotic, repetitive keyboard patterns.
	www.mp3.com /albums/14861/reviews.html (470 words)

	Mike Ratledge – Music at Last.fm
		Mike Ratledge isn’t yet available to play on Last.fm radio.
		Mike Ratledge might not be making music anymore, but if they are, you can help keep other users informed by adding new events when they're announced.
		Pick a Word When more people add tags for Mike Ratledge, a tag cloud will appear here.
	www.last.fm /music/Mike+Ratledge (109 words)

	SIX
		Marshall is free to roam on this album, largely because Ratledge and Hopper provide the framework with their musical mosaics.
		Yet the true “soloist” on the album is Jenkins, whose instruments alternately scream, wail and elevate the arrangements into a mad shouting match.
		MIKE RATLEDGE -- organ, electric piano, grand piano, celeste
	www.connollyco.com /discography/soft_machine/six.html (367 words)

	Moonjune Global Media - Records (Site not responding. Last check: 2007-10-05)
		By the release of Bundles in 1975, Mike Ratledge was Soft Machine’s only original member.
		Mike [Ratledge] later told me that they'd wanted to ask me to join when Robert left, but I was with Jack [Bruce]'s band.
		One was common sense, and the other was, we did feel as though we had been part of the band's past, although we didn't go back as far as Mike and Robert and the rest of them.
	moonjunerecords.com /floatingworld.html (4508 words)

	Syd Barrett pages: Syd and the Soft Machine connection (Site not responding. Last check: 2007-10-05)
		Mike Ratledge at the organ, Hugh Hopper on the bass, and Robert Wyatt on the drums and tambourines overdubbed various parts onto the 8 track copies made the previous session.
		In contrast to their own recordings, Syd's tracks were very erratic and unpredictable.
		Obviously albums such as "Joy of a toy", "Bananamour", with the strange combination of seemingly simple pop tunes and noisy experimentation, as well as the deep and low vocals, can only speak straight to the heart of Syd Barrett worshippers.
	members.aol.com /pgrsel/barrett/softmach.htm (849 words)

	Virtually: Reviews, Discography, Audio Clips, and more \|\|\| Music.com
		At this point the band, having doubled in size around the Third era, had contracted to a quartet with Wyatt, Mike Ratledge, Hugh Hopper, and saxophonist Elton Dean.
		Those who are attracted to the band because of Wyatt may thus be disappointed; his drumming is here in force, but he contributes no original compositions, and his vocals are limited to a few processed scats.
		It's challenging, at times demanding listening, especially when Dean goes off into improv territory; numbers highlighting Ratledge's Lowery organ hit grooves that are more accessible to rock listeners, but not much.
	www.music.com /release/virtually/1 (365 words)

	Ground and Sky review - Soft Machine - Fourth
		Whomever designed this, strategically placing upfront Mike Ratledge in full Mod-King-Beelzebub glory amidst a glaring Brady Bunch-wallpaper orange, is either a visionary genius several centuries ahead of the rest of us, or else completely barking mad.
		Another is in the middle, when the piece bursts into a Coltranian crescendo: Dean and Ratledge locking into a melodic cadenza, Hopper's fuzz-bass growling from out of nowhere, and Wyatt's drums beating like waves against a rock, before these musical elements gradually meld and begin swirling around and around like the formation of a whirlpool.
		The opener, "Teeth," is the most satisfying example of the new approach: it is a dense rush of busy improvisation mixed with (seemingly) composed themes, as Dean and Mike Ratledge first alternate and then compete for solo space amid the tricky web of the rhythm section and the other instruments.
	www.progreviews.com /reviews/display.php?rev=sm-four (1241 words)

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