Biography
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Born
6 May 1943 (age 81)
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Born In
Maidstone, Kent, England, United Kingdom
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. Ratledge also met Brian's younger brother Hugh, and Robert Wyatt. In 1961 he met Daevid Allen, who interested them in playing jazz. Through Cecil Taylor's piano pieces Ratledge became familiar with the music of Thelonious Monk, Miles Davis and John Coltrane.Unlike his friends, Ratledge wanted to further his education, and studied at University College, Oxford, where he earned a degree in psychology and philosophy. At the same time he attended music lessons, and was educated by avant-garde musicians Mal Dean and Rab Spall. 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 1966 his friends were forming a new band and asked Ratledge to join. Soft Machine featured among others Robert Wyatt, Daevid Allen and Kevin Ayers. In the years to follow there were many personnel changes and by 1973 Ratledge was the only remaining member of the original lineup. In 1976 Ratledge decided to leave Soft Machine to build a solo career, leaving the band under the supervision of Karl Jenkins. He built himself a studio, but a solo album was never released. In 1977, Ratledge provided the score for the film Riddles of the Sphinx. Ratledge was a seminal figure on the Canterbury music scene. As Soft Machine's longest-lasting member, he evolved with the band from psychedelic music to jazz-rock. In the 1980s Ratledge was active as a composer and musical producer for commercials and the theatre. In 1995, Adiemus (Karl Jenkins, Mike Ratledge, Miriam Stockley), released Songs of Sanctuary, which Ratledge co-produced with Karl Jenkins and for which he also programmed the electronic percussion. The album featured Miriam Stockley on vocals.
"Mike was the man with the squeakieee organ and the ultracool sunglasses (flat square version of John Lennon's round ones), never smiled on camera after 1968, made great noises on albums one two three four, some on five and the latest on six and seven. The live bit on third is him kick-starting the organ! He played fabulous spacy anthems on Kevin Ayers' first album and finally on Kevin's "doctor dream". To return with soft's 7 buddy Karl Jenkins many years later on a 'new-age' type Adiemus album where he programmed things - no more playing. & pretty lame tunez.. Rumour has it that Mike has become a very successful commercial tunes person. Alas, his playing was incredible, and funny enough nobody has tried to reproduce this? For me (very personal!) the ultimate Soft Machine sound is Mike's squeaky keyboard, with Hugh's fuzz grumbling bass, and Robert's totally offbeat's rivmic melodies and mouth. As Robert sang on "the moon in june" (Third) – Mike, squeezed a solo in somehow —
henk de vries, amsterdam, 7-3-07, henk3@yahoo.com
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