The Pretty Things - The Pretty Things (1965)

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Pretty Things - Get The Picture

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The Pretty Things - The Pretty Things (1965)

A lot of air-play resulted in The Pretty Things' first hit singles ("Rosalyn", "Don't Bring Me Down" and "Honey I Need"). "Don't Bring Me Down" climbed to an encouraging number 10 in the chart. Mainly because of this Fontana, a subsidiary of Philips, offered the band the possibility to record their first album.In the LP they made during some frantic 48 hours, and especially in the clutch of the dramatic hit singles it contais, they defined a pivotal moment in rocks development. There was already a tradition of white acts making hits from smoothed-out versions of black originals, but the Pretties could actually sound more savage than the models they copied. They were arguably the prototype for a whole generation of garage bands. Even more than their peers The Rolling Stones, The Pretty Things brought the raw intensity of black American music into the mainstream of British pop.
Tracks:
1. Roadrunner
2. Judgement Day
3. 13 Chester Street
4. Big City
5. Unknown Blues
6. Mama Keep Your Big Mouth Shut
7. Honey I Need
8. Oh Baby Doll
9. She's Fine She's Mine
10. Don't You Lie To Me
11. Moon Is Rising
12. Pretty Thing

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The Pretty Things - Get The Picture (1965)

Get The Picture is a logical follow-up for the debut, although this time without the possibly highly necessary hit singles.They were allowed a magnificent four days to record this 2nd album. The sound is therefore more polished (guitars), and here and there influences of The Beatles can be detected. There are lots of backing vocals and the scratchy sound of the first album has disappeared. The fruits of their new familiarity with the studio can be heard on a track like "Can't Stand The Pain": echoey and atmospheric, it's ultra-sophisticated by early Pretties standards, conceived directly for recording, rather than adapted from the live set. After the bruising blues-rock of their first efforts, "Get The Picture" displays the beginnings of stylistic diversity. Taylor's "London Town" has a quasi-folk feel to it, perhaps, but the biggest new influence was soul music. Even so, as their current producer/manager Mark St John observers: "Nobody worried much about production then. These first couple of albums are real attacking, monster records. You can hear exactly what was happening, because there was no way to mask anything".


Tracks:
1. You Don't Believe Me
2. Buzz the Jerk
3. Get the Picture?
4. Can't Stand the Pain
5. Rainin' in My Heart
6. We'll Play House
7. You'll Never Do It Baby
8. I Had a Dream
9. I Want Your Love
10. London Town
11. Cry to Me
12. Gonna Find a Substitute
13. Get a Buzz
14. Sittin' All Alone
15. Midnight to Six Man
16. Me Needing You
17. Come See Me
18. L.S.D.
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The Pretty Things - Parachute (1970)

Σε συνέχεια της χτεσινής μέρας έχουμε ξανά ένα Lp των Pretty Things (cd για την ακρίβεια) το οποίο σύμφωνα με τις κριτικές εκείνης της εποχής από το Rolling Stone, ξεπέρασε σε ποιότητα το Let It Be των Beatles, το Morrison Hotel των Doors, το Bridge over Troubled Water των Simon and Garfunkel ακόμα και το Pearl της αξέχαστης Janis Joplin. Μουσικοκριτικός δεν είμαι αλλά επειδή έχω ακούσει όλα σχεδόν τα καλά Lp του 70 που γράφουν ότι ξεπέρασε, νομίζω ότι υπερεκτιμήθηκε σε σχέση με τα άλλα άλμπουμ, χωρίς όμως να σημαίνει ότι δεν είναι υψηλού επιπέδου.

Είναι σε διαφορετικό ύφος από το S.F. Sorrow, με μάλλον πιο rock ήχο. Εκτιμώ ότι στην πατρίδα μας μάλλον δεν «ακούστηκε» ο δίσκος σε σχέση με το S.F. Sorrow. Θα ξεχωρίσω από το δίσκο το In the Square, το Grass, το She's a Lover και το ξεκάθαρα Αγγλικού ύφους She Was Tall, She Was High.

Tracks:
01. Scene One
02. The Good Mr. Square
03. She Was Tall, She Was High
04. In the Square
05. The Letter
06. Rain
07. Miss Fay Regrets
08. Cries from the Midnight Circus
09. Grass
10. Sickle Clowns
11. She's a Lover
12. What's the Use
13. Parachute

Bonus tracks:
14. Blue Serge Blues
15. October 26
16. Cold Stone
17. Stone-Hearted Mama
18. Summer Time
19. Circus Mind

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The Pretty Things - S.F. Sorrow (1968)

Καλό μήνα να έχουμε όλοι μας.

Ένας σαφέστατα ενδιαφέρον δίσκος είναι αυτός των Pretty Things που η ηχογράφηση του οποίου κράτησε 6 μήνες και έγινε στο Abbey Road studio 2. Ένα άλμπουμ διανθισμένο με σιτάρ, μέλοτρον, πανέμορφα background φωνητικά μέσα σε συνθέσεις ψυχεδελικότατες Αγγλικού φυσικά ύφους. Η «ιστορία» αρχίζει με το “S.F.Sorrow Is Born” που σε πολλούς θυμίζει σε μερικές του στιγμές είτε το “Arnold Layne” των Pink Floyd’s είτε δουλειές των Beatles εκείνης της περιόδου.

Θα ξεχωρίσω από το Lp το Trust και μετά το The Journey. Το πρώτο κομμάτι θα το έλεγα την πιο «μεστή» ίσως δημιουργία τους στο δίσκο ενώ για το δεύτερο ότι «βγάζει» αυτό ακριβώς που εμένα προσωπικά μου αρέσει στα Βρετανικά ψυχεδελικά γκρουπς. Δεν θα προσπεράσω το S.F.Sorrow Is Born ούτε το Balloon Burning με αυτή την κιθάρα που σε διαπερνά ούτε όμως και το Private Sorrow. Γενικά πρόκειται για ένα δίσκο υψηλού επιπέδου. Στην επανέκδοση της Edsel που βλέπεται αλλά όπως και στις υπόλοιπες φαντάζομαι υπάρχουν οι στίχοι της ροκ όπερας.

S.F. Sorrow is the title of a 1968 LP by the British rock group The Pretty Things.
One of the first rock concept albums, S.F. Sorrow was based on a short story by singer-guitarist Phil May. The album is structured as a song cycle, telling the story of the main character, Sebastian F. Sorrow, from birth through love, war, tragedy, madness, and the disillusionment of old age.
The album is now generally acknowledged as having been an influence on The Who's Pete Townshend in his writing of Tommy (1969).
The songs were recorded over several months during 1967 at EMI's famous Abbey Road Studios in London, during the same period when The Beatles and Pink Floyd were recording Sgt Pepper's Lonely Hearts Club Band and The Piper at the Gates of Dawn respectively.

Working with noted EMI staff producer Norman "Hurricane" Smith (who had engineered the earlier Beatles recordings) and house engineer Peter Mew, the group experimented with the latest sound technology, including the Mellotron and early electronic tone generators, often employing gadgets and techniques devised on the spot by Abbey Road's technicians.
Phil May has emphatically stated that Smith was the only person at EMI who was fully supportive of the project, and that his technical expertise was invaluable to the effects and sounds on the album; May once even referred to Smith as a "sixth member" of the band. This attitude was in marked contrast to Pink Floyd's unhappiness with Smith.
wikipedia

Phil May (vocals)
Dick Taylor (lead guitar, vocals)
John Povey (organ, sitar, percussion, vocals)
Wally Allen (aka Waller) (bass, guitar, vocals, wind instruments, piano)
Skip Alan (drums)
Twink (drums)

Tracks:
Side 1
"S.F. Sorrow Is Born" – 3:12
"Bracelets of Fingers" – 3:41
"She Says Good Morning" – 3:23
"Private Sorrow" – 3:51
"Balloon Burning" – 3:51
"Death" – 3:05

Side 2
"Baron Saturday" – 4:01
"The Journey" – 2:46
"I See You" – 3:56
"Well of Destiny" – 1:46
"Trust" – 2:49
"Old Man Going" – 3:09
"Loneliest Person" – 1:29

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