THE PRETTY THINGS

Ranking amongst the first narrative concept albums, S.F. Sorrow might not have a very well- explained plot, but musically it's downright fantastic, taking the most psychedelic moments of the Beatles (think Tomorrow Never Knows and the like) and bringing them to the next level. At some points the pulsating percussion on the album seems to offer a precedent for later drum and bass, whilst the acoustic closer Loneliest Person is downright haunting. At points a Kinks- and-Beatles-inspired product of its time, at other point years ahead of the rest of the pack, it's a fascinating musical trip and deserves its reputation as one of the keystone psychedelic albums of its era.

S.F. Sorrow? More like S.F. Borrow!

The Pretty Things' cult hit, originally released in December 1968, has drawn increased attention in the last 10 years with the belated availability of the group's discography. With that attention has come a bit of revisionist history, perhaps overstating the band's impact and influence on rock culture. Various accounts have S.F. Sorrow recording sessions beginning as early as Spring 1967, which would have pre-dated both Sgt. Pepper's Lonely Hearts Club Band and Piper At The Gates of Dawn, which were also recorded at Abbey Road. S.F. Sorrow mimics both of those in my opinion, and is not nearly as groundbreaking as many would have you believe. I will concede that S.F. Sorrow is the first "Rock Opera," despite what Pete Townshend says. The Who's Tommy, released in 1969, popularized the template Pretty Things created and they were ahead of their time in that regard. If you compare Procol Harum's Shine On Brightly (released the same month), there was clearly something in the water - but where that album is truly progressive, S.F. Sorrow is glorified psych rock or even psychedelic pop. Proto-Prog may be a bit of a stretch for this peculiar release.

In a nutshell, S.F. Sorrow tells the tale of its titular protagonist, whose life begins innocently enough before a series of unfortunate events lead to a nightmarish, psychedelic journey which ultimately renders him hopelessly secluded and painfully alone. Though the lyrics are bleak and depressing, the music is mostly chipper and uptempo; this imbalance doesn't do any favors, and seems to contradict the point. There are some heavy moments, like the fuzzed-out "Balloon Burning," and the rowdiness of "Old Man Going." These highlights are just too far and few between for me, and I can't muster three stars for the site at large; as a psych album it is okay but I prefer mine with jams and don't understand the appeal here. Maybe there is something I'm missing, but plenty of Psych Pop gems like Gandalf (US, not Austria) wipe the floor with this. I should note however that the bonus track "Perfecting Grey (Acetate Recording)" on the Repertoire CD is incredible proto-punk for those interested, but that hardly makes it essential. Those interested in Prog's roots may want to investigate S.F. Sorrow after all other bases are covered.

This is only my Third review here for Progarchives... and a real First for this album.

First of all... i want to make it clear from the start... this is a ROCK N ROLL/POP ROCK record... ... so for the progheads who cannot look & hear outside that genre (without nervous tics) ...they surely will be frustrated... but for those who had nothing against other sort of rock music... if it's well done... for those who can appreciate mid 70s Elton John, mid 70s Swan Song label kind of stuff or mid 70s Rolling Stones etc... etc... this Pretty Things album will surely satisfy their curiosity...

Led Zepellin & Peter Grant were friends of many Pretty Things band members , and when Led Zepellin & Grant decided to form a new label around late 1973 ...they called it SWAN SONG... their 2 first signed bands were first Bad Company then The Pretty Things...

As 2nd album released for Swang Song ...at the end of 1974 The Pretty Things released the dirty & glamourous "Silk the Torpedo" released even before the monstrous "Physical Graffiti"... unfortunately without much commercial success... one year later it was time for "SAVAGE EYE"...

1A) "Under the Volcano" ...it's a black & red starter... Phil May's sing about his childhood memories... and how rock n roll started to take shape in his teenage lifespan... there's a fine chuckberryan solo at the middle with a monolotical rythmn (guitar) section a la Zepellin... but the best is really the end of the song with one of the best guitar solo of the record...it's a true wall of sound and that is pure rock n roll with many guitars playin' together ...it's a big kick in the ass for a starter...and naturally those 6 minutes are some of the best on the whole album.

2A) "My song" is a Phil May song, already the peak is reached after this 2nd song... it was my fave song on the lp for years ... and this is not as heavy as the previous song...it's really epic mid 70s pop rock...and surely it ain't no prog but personally i just don't care of the tags as long as quality is involved... The lyrics are kinda lightweight but at the same time it's perfect for the music...the music is majestic and really epic ...specially in the end... Skip Alan the drummer has made one of the best performance of his carreer on this one...waoowww

3A) "Sad Eye" is another rather quiet song and it is an heartbreaker , is is a Peter Tolson song... it's one of those good vintage melancholic song ( maybe as good as Rush "Tears" or Bee Gees "Don't wanna live inside myself"). There's a calm acoustic guitar and basic but brilliant (backing) vocals ...this guitar sound is like a sweet rain under a british late september sky...

It's one of the best song on the album but strangely i don't listen to this one as much as some others in the lp...

The band was probably influenced by this song to choose the tittle of the album

4A) Heavier guitars are back for this "Remember that Boy"... the refrein is kinda pure rock n roll a la rolling stones circa 1974... the guitars are excellent here and the backing vocals too (is it girls or boys?... still not sure) ... i'm not that excited of the refreins but it's surely good enough... the rest is even better...and the end again rocks with those soulful backing vocals ...and killer guitars...

Side A is impressive ...a classic in my opinion it deserve a 9/10

Unfotunately Side B won't be as good...

1B) "It isn't rock'n roll"... is kinda old school... ...in a cabaret style... then full rock push the doors... personally not really a favourite ...because of the too classic rock n roll refrein... but at least the band seems motivated ... it's like if Elton John, Queen, the Pretty Things and Billy Joel goes wild together in a 1975 saturday night performance with 30 people watchin' them in a saloon...with at the end... chairs flyin' in the air...in the middle of so sober fights... rather funny...

2B) "I'm Keepin' " is pure rock... A song that i have appreciated directly at first listen but who don't offer much more than that after many listenings...still Phil May again finally stole the show... good backing vocals again too... + they offer a good outro to the song... i love their excellent outros !

3B) "It's Been So Long" is the laid-back song ... relax take a drink at the balconny... burn a cigarette in slow motion... while watching the city lights... This song nearly reminds me some early recordings of english late 70s-early80s band Charlie... The Pretty Things goes really soulful here... it can even please some Dr John fans... still a decent song with a pleasant atmosphere but surely not so memorable...

4B) "Drowned Man" is the only song that i don't like at all in this album...not all the instruments and ideas are bad in this song...but ultimately it just does not stick together...still sometimes this song is rather strange... it could be a Procol Harum c-side of that time !

5B) "Theme for Michelle" ...this is a rather short ...it's John Povey leading this piano instrumental song...simple and pleasant again but not much more...at least it close the album more decently ...

B Side 6.5/10

So I give 8/10 - 4 stars to the whole album... it's frustrating that Phil May just leaved the band just after this recording...too much dope was one of the main reasons...

It was the 2nd record i bought of the Pretty Things some 12 years ago when i was just 20 ...just after the so-completely different SF Sorrow... but this is another story... an already well known story...

(a bit sorry for this overlong review :)

3.5 stars. After the disappointing sales for their previous album "S.F. Sorrow" the drummer left to join the PINK FAIRIES and the guitarist / vocalist and founder Dick Taylor also left. The latter was a significant blow to the band but 2 years after "S.F. Sorrow" they released "Parachute" in 1970. That BEATLES flavour is still strong but thankfully there is less of a commercial flavour, and for three straight songs (8-10) they sound like nobody but themselves and that section is the highlight for me.

The songs on the first side of the album all blend into one another. "Scene One" opens with an orchestral flavour then strummed guitar takes over with drums and vocals to follow. "The Good Mr. Square" is BEATLES-like especially the harmonies then a laid back soundscape with vocals takes over and blends into "She Was Tall, She Was High". What a great title. More passion on this one. "The Square" has acoustic guitar, piano and reserved vocals while "The Letter" is relaxed as well but gets fuller late with guitar. "Rain" is just that while "Miss Fay Regrets" features bass, drums and guitar as the vocals join in in this uptempo tune.

The next three tracks impress me simply because they don't sound like any other band. Okay "Cries from The Midnight Circus" does remind me of THE DOORS at times but this is darker and there's some nice guitar after 4 minutes as they seem to jam. "Grass" sounds like "Animals" era PINK FLOYD which of course was in the future at this point. A feel good but melancholic tune. "Sickle Clowns" has a great sounding rhythm as the vocals join in. I like the guitar late to end it as well. "She's A Lover" puts the focus on the vocals to start then it turns BEATLES-like after a minute then back to that earlier sound. "What's The Use" is very BEATLES-like while "Parachute" is the closer that sounds surprisingly like THE BEATLES.

If anything I like this better than "S.F. Sorrow" but it's still not very original sounding considering it's only 1970.

Glad to see this album finally added, a concept album of epic proportions, at times better than even Tommy whom it is said gained alot of influence from good ol' S.F. Sorrow.

The Pretty Things truly but the rock in rock opera and made the practice a regularity in rock music. While some look down upon this album because "Sgt Pepper was the first rock opera" (puhlease, it's hardly got a concept) S.F. Sorrow is an emotional journey that absolutely stuns the listener, psychedelic greatness with a story behind it. Isn't that pretty progressive?

Either way, Sorrow's tale of losing everything and eventually become the "Loneliest Person" is one of those where you know there's a personal metaphor and it makes the listener have to make up his own, for me, that's one of the best things a rock opera can do. Each song is well crafted and song transitions (you have no idea how important those are to me) are flawless. After maybe three listens every song on this record will be stuck in your head. No exaggeration, it happened to me.

I think I'll give this five stars because, honestly, it started something great when it itself was an amazing record that had a large part in starting the progressive rock era of music.

The live version they did awhile later with David Gilmour is also a top notch record with story interludes to further explain the action of the rock opera. Very cool stuff.

3.5 stars. This is a very significant and influencial album that was released in 1968. Regarded as the first Rock Opera, it's a concept album about one S.F. Sorrow and his life from the cradle to the grave. Recorded at Abbey Road Studios and produced by Norman Smith who by then was working with PINK FLOYD but previously was with THE BEATLES. The music has a Psychedelic flavour but is often quite poppy as well, or maybe commercial sounding is a better way to put it. The songs I like the least are the commercial ones which sound way too much like THE BEATLES. In fact after just a few listens of this cd I was skipping certain tracks because I was already tired of them. Too bad because there's a lot on here that I do enjoy.

"SF Sorrow Is Born" opens with strummed guitar then it settles in with vocals quickly. Backing vocals on the chorus. Not a fan of this one. "Bracelets Of Fingers" is very BEATLES-like just before a minute. I do like the short instrumental section a minute later. An okay tune. "She Says Good Morning" is a catchy BEATLES-like song. Quite poppy and a real toe-tapper. Some nice distorted guitar before 2 minutes. "Private Sorrow" is different. Acid soaked psychedelia. A calm with spoken words after 3 minutes with marching styled drums. "Balloon Buring" is my favourite. I like the repeated guitar line with those dreamy vocals. It becomes an uptempo burner.

"Death" is mealncholic with vocals and an interesting soundscape. "Baron Saturday" is maybe my least favourite. Catchy and very BEATLES-like. "The Journey" is laid back but it then picks up. It's more aggressive before 2 minutes to the end. "I See You" is my other favourite tune. It's that Psychedelic flavour including the lyrics and I love the guitar late to end it. Great track. "Well Of Destiny" is a short piece that builds to the end. "Trust" is a vocal track with harmonies. "Old Man Going" has some excellent guitar and the vocals are softer in the chorus. "Loneliest Person" is the ballad-like closer.

I wouldn't be surprised at all to see a slew of 5 star reviews for this one. There's something about Proto-Prog and concept albums that I generally don't like. Combine the two and it's a tough sell. Still I recognize the influence of this release.