I bought Loudon's first eponymous album in 1970 and album II the following year. So, when a couple of friends at university said they were going to see Soft Machine in November 71 I think it was (at Bristol's Coltson Halls) and triumphantly flashed their tickets in my face I noticed he was listed as the support act. Hard to believe, I know, but he actually was. Incongruous doesn't cover it. I went straight to the Student Union newspaper office (the three of us worked for the paper at the time) and rang Bristol. It was certainly not his audience but his self-deprecating manner, sharp wit and wry humour won over my two mod-jazz companions. He was quite a contrast to the pretentious modern jazzers who never once, throughout an interminable set, acknowledged the existence of their audience. Elton Dean, Soft Machine's bassist at that time seemed transposed to another universe as he hovered over the same note for what seemed an eternity. The next day I wrote a piece for the paper about how music atrophies when it moves too far from the dance. Needless to say it provoked a hostile response. One letter writer accused me of being a "popster" but generously, or so I thought at the time, predicted a career for me in music journalism. She was half-right.
I bought Loudon's first eponymous album in 1970 and album II the following year. So, when a couple of friends at university said they were going to see Soft Machine in November 71 I think it was (at Bristol's Coltson Halls) and triumphantly flashed their tickets in my face I noticed he was listed as the support act. Hard to believe, I know, but he actually was. Incongruous doesn't cover it. I went straight to the Student Union newspaper office (the three of us worked for the paper at the time) and rang Bristol. It was certainly not his audience but his self-deprecating manner, sharp wit and wry humour won over my two mod-jazz companions. He was quite a contrast to the pretentious modern jazzers who never once, throughout an interminable set, acknowledged the existence of their audience. Elton Dean, Soft Machine's bassist at that time seemed transposed to another universe as he hovered over the same note for what seemed an eternity. The next day I wrote a piece for the paper about how music atrophies when it moves too far from the dance. Needless to say it provoked a hostile response. One letter writer accused me of being a "popster" but generously, or so I thought at the time, predicted a career for me in music journalism. She was half-right.
Cool story. Thank you for sharing. How was she "half-right"? What is your line of work now? Have you seen LWIII since? He's still great.
@@teemast I'm a retired college teacher. Seen him on three occasions since and I agree. Thanks