S.F. SORROW

It's no Revolver, but it's certainly on the level, to me, of other classic Psychedelic and Art Rock masterworks, such as Odessey and Oracle (The Zombies, 1968) and The Who Sell Out (The Who, 1967), so... it's still a damn essential if you have any self-respect (I kid... I think). No image of perfection itself, but possessing some perfect, must-hear tracks from the greatest Freak minds around--a lot of these are or should be in my regular circulation: "She Says Good Morning", "Baron Saturday", "Trust" and "Walking Through My Dreams". Likely my fifth time listening all the way through this album (a rarity at this point in my life), I find new things to love and appreciate each time. It's so rich and I hope you enjoy it as I have.

Our most early, true-blue concept album here begins with the fun, celebratory and nearly regal "S.F. Sorrow Is Born": sweet, classic orchestration, memorable verses and an awesome acoustic guitar solo. The stereo split of voice and all else nearing the close of the track is a classic Psychedelic trope, and here I honestly feel it fits really well. This is followed by the beautiful group vocals of "Bracelets Of Fingers" amidst some more bizarro, psychedelic mixing. It rolls in low and slow and anticipatory... Then the verse comes in with wonderfully memorable melody and still that sparse, off mix: voices on the right, instrumentation on the left. I really really like this effect, but I'm sure it's not for everyone; on an individual level, I'm trying to keep this in mind for my rating (still 'Excellent' to me).

One of my all-time favorite tracks and, most recently, back in my regular circulation of favorites is the more straight, yet still Psych-soaked Power Pop number, "She Says Good Morning". Awesome melodies, group harmonies and instrumentation, this is our first example that, to me, is a Guitar Pop 101 course. It pretty nicely also fits the bill to place them among the best of Freakbeat, too (The Creation, The Action, The Attack, Fleur De Lys). We get our first taste of what I would consider true Proto-Prog in the minimal, reeds-forward "Private Sorrow". Despite that consideration, it's never been a favorite of mine. It is still a forward-driving, well constructed and well produced track. Trying not to let my bias to love all of these songs get in the way: still, very nearly excellent [This is one of two glaringly weaker tracks in the grand scheme]. It is at the end of this song that we get an alphabetical spoken list of those 'Missing In Action', before we get to hear whether or not "Private Sorrow" is among their ranks... Spooky, honestly. Fitting in this sort of creep is the very heavy and intense "Balloon Burning"... Awesome guitar riffage and simple vocal melody here. Not one of the most interesting compositionally, but will definitely keep your attention with its perpetual 'burning'. Amazing, really, how much has occurred compositionally in just these first 5 tracks.

Then, we get a different sort of creeping track with the low and dark "Death", the narrator singing eerily distant and muffled. Great effect. Great psychedelic dirge. You just don't hear much of anything like this one... And then we're back to some light of day on the impeccable must-hear "Baron Saturday". You have that classic, by then likely cliché Edwardian sort of introductory verse. The vocals on the refrain are just excellent, especially Phil May's strong and brutal delivery. Following the second chorus we get a bizarre, rolling and vigorous percussion section. It's so driving and lasts perfectly long (ya know how these sort of solo sections can drag on). Twink is good like that. Likely also on percussion here is John Povey, the organist (who really shines here on that instrument as well); Povey is also their sitarist.

Not quite as infectious, but delicious still, is "The Journey", with impeccable group vocal harmonies. Fantastic in this case. All atop simple acoustic guitar and wavering, occasioned bass. In the second half is this sweet build with distant voices and crashing drums and electric guitar. Huge and wild. Wonderfully juxtaposed is the soft, descriptive "I See You", a solo vocal over 'Ringo drag' and otherwise steady accompaniment. A more straightforward number, this honestly has quite a lot to offer. The mix here and there, as when all instruments do in fact come in, is wild and fittingly unnerving, especially at the end as it builds and builds with a haunting, demented vocal. It crashes into nothingness as "Well of Destiny" follows. Very eerie echoes... This is years before Pink Floyd, for instance, did anything quite like it.

I would say 'finally', but here we are at probably my absolute favorite track from the whole affair, the most excellent "Trust". Despite being a Pop Rock song, it texturally has so much to offer, such as the flute-like mellotron that hangs there in space during the verses and Twink's rolling drums and other percussive persuasions. And then wooooof.... The bridge is just so satisfying. Unreal. I'm a real sucker for a well-constructed and earwormy bridge section... "Old Man Going" has a classic Psychedelic feel. But then, before minute 1 breaks, the verse comes in and it's basically early Heavy Metal, which is saying a lot for the time. I certainly don't recall picking up on that before this listen. So heavy. So cool. It builds and swells nearing the middle to a fairly straight, fuzz'd out solo from Taylor. In comparison, I don't think they could have come up with a more stark pairing than they had with "Loneliest Person" to follow. Pretty, but very melancholic, as one should assume ("Yes, you might be the loneliest person in the world. / You'd never be as lonely as me."). What's most depressing is that this is how the original LP ends... on this demoralized note. What do you think? haha.

It's back into the Psychedelic swing of things with the trance-inducing "Defecting Grey". This feel does not last, as the Proto-Metal returns. So heavy and intense. The vocals are great too. I really don't remember anything this heavy being on this album, as already stated. I think that should be hard to forget after this time... Maybe. The harmony vocals on the second verse are so tasty. I have always enjoyed this song. Following that second verse, definitely pay attention to the instrumentation, like the keys. Refrain, half a third verse, heavy wildness, second half of that third verse and then it's a drunken pub song, or something haha. Very entertaining. Definitely check it out.

We are truly on the backend now. A bit more straightforward but still nicely psychedelic is "Mr. Evasion", with sort of Doors-esque organ. And then back to two of my favorites from the album, starting with "Talkin' About the Good Times", and it's just amazing they had all this great to fantastic material that was originally left off... Truly amazing... This one is perhaps a bit more straight than some of what we had heard before, but a great Psychedelic Rock track with a great refrain. The final chorus ends with these sweet but spacy Beach Boys-type group harmonies. And then Ringo-drag galore! I'm in love hahaha. Finally-finally, we have another, as I mentioned at the start, of my all-time favorites: "Walking Through My Dreams". This song is another Psych-Pop-Rock number that must be heard. Fantastic melodies and fun, straight-ahead musicianship. It's a way of life haha.

And that's it: that is one of my all-time favorite Psychedelic, Proto-Prog releases. Check 'er on out!

True Rate: 4.5/5.0 [Another rare exception to round up from a half-star rating.]