1. Love Is A Careless Sea
2. My Head is a Nightclub
3. Capacity Travel: part I -IV
4. The Song of the Jazzman
5. Dear Olde Benny Green Is A-Turning In His Grave
6. Ya Sunne WOT
7. Frederique la Poisson avec Frite sur de Dos;
     version: Tred Tres Rosbif

Recorded: Marquee Club, London 1963
Released: november, 10th, 2004

Daevid Allen: guitar, voice
Robert Wyatt: drums, voice
Hugh Hopper: bass
Mike Ratledge: piano, organ

Live 1963 is a re-issue due to demand from the public. Not quite Soft Machine, not quite the Wilde Flowers, nowhere near Gong and even further from the Invisible Opera Company of Tibet. Who are the Daevid Allen Trio? They are better known as Robert Wyatt, Hugh Hopper and Mike Ratledge – almost, but not quite Soft Machine.
Historically speaking this is a very interesting album indeed and shows the early development and hints as to where and what they would change into. Allen recites poetry whilst the pre-Softs seemingly improvise with, at times, strong hints of jazz.
The interesting sleeve notes are written by Daevid Allen and Hugh Hopper and give an insight into those early days.
Recorded on a Philips tape recorder with one mic, Live 1963 has been carefully re-mastered and is a one not to miss for Soft Machine fans and Gong Heads everywhere.
"...a supergroup years before the term was even thought of!" Mark Paytress
"...for the many lovers of Soft Machine there is no doubt that this recording is very significant." Feedback Magazine

(Text from Voiceprint (now Floating World) -site)
Daevid Allen came from Australia to England. There he met Robert, Mike, Hugh and a lot of other interesting people, so he thought. Central point in the early history was Robert’s house, named ‘Wellington House’. Robert’s parents were open- and free minded, therefor the house was a meeting point for musicians, painters, poets and so on. There was music, mostly jazz, all over the house. The early musical steps of son Robert and his friends were mostly exposed in the living room. Robert’s parents didn’t mind. In this free setting Daevid arrived and he immediately was happy and found his rest. He started writing songs and poetry and sometimes friends helped out recording his ideas. This cd, ‘Live 1963, isn’t actually a true recording, it’s just a recording for the ‘group’ it selves, using one microphone and a Philips mono tape recorder; just as we did ourselves when we were young and didn’t have any money. It is a rather short disc, but still it has its value. As Voiceprint mentioned in the text on their previous website: this isn’t Soft Machine or Gong, but this is the start of both groups and therefore interesting for Soft Machine fans, because here we find Daevid with Robert Wyatt, Mike Ratledge and Hugh Hopper, trying out, finding out, experimenting, learning. Parts of songs on this album were used for Gong, just as some of the ‘madness’ which Allen used for the story of the Green Planet. ‘Love is a careless Sea’ is poetry set on basic jazz. One can hear there are some people who attend the concert, talking. Daevid announces most tracks. ‘My Head is a Nightclub’, great name, has Gong elements already, its jazz time again, but the next number is, as Daevid explains, a rock and roll number: ‘ Capacity Travel’ is with six minutes a longer track, but a rather boring one, if you ask me. Daevid hadn’t find his way yet as he writes in the booklet about this concert: “I was an arrogant self satisfied ego-centric pratt.” Which makes it all clear. ‘The Song of the jazzman’, is jazz again, but this track has a kind of cautious guitar solo from Daevid. In ‘Dear Olde Benny Green’ Mike and Daevid give a primitive solo (but nevertheless they do), it is almost an instrumental track. ‘Ya Sunne WOT’ is a prequel to parts of Camembert Electrique, Gong’s first album. ‘Frederique la Poisson’ is a witty, funny and short song. It sounds different and probably wasn’t recorded at the Marquee concert. If you listen carefully you can hear the scratches of the needle in ‘ye olde record’. The boys were young and wild, and as Daevid writes: ‘It was a start’…

Paul Lemmens © 2014