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The Pretty Things - S.F. Sorrow CD (album) cover

S.F. SORROW

The Pretty Things

 

Proto-Prog

4.29 | 106 ratings

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BrufordFreak
4 stars A mature and confident British band with some great ideas and great production team. I didn't realize this was the band's fourth studio album!

1. "S.F. Sorrow is Born" (3:12) the album's opening song sound like Fairport Convention or some other folk band trying out some rock and psychedelic sounds and instruments, not quite sure how to incorporate them into their sound palette. Quite a little feel to some of the early Rolling Stones as well. (8.75/10)

2. "Bracelets of Fingers" (3:41) definitely psychedelic, the band definitely has an acerbic rock edge--as if they are aching to turn up the volumes on their amps and really rock it out. Otherwise, there is just too much in ideas and lyrics and not enough in full or innovative development. (8.66667/10)

3. "She Says Good Morning" (3:23) again the Rolling Stones (and Beatles) come strongly to mind while listening to this straightforward (if lurkingly angry) blues-rock song--more Beatles-lie with experimental voice samples in the finish. (8.66667/10)

4. "Private Sorrow" (3:51) this one has some great production, a nice 12-string guitar chord progression in the opening with some (wooden?) flute accents, and several clever turns of phrases and unusual instrumental hooks, still this one struggles to rise above the mundane, feels constrained and not fully realised. (8.875/10)

5. "Balloon Burning" (3:51) Finally! At 1:25 the band bursts into a sound palette that feels like their true selves! And boy do they fly high! The Byrds, Moodies, Animals, Stones, and Beatles--comparisons to all other bands are put to rest with this truly innovative song. My favorite song on the album. (9.75/10)

6. "Death" (3:05) another song that feels as if the band's unique ideas are finally being fully realized--or at least nearly so. Sitar and weird "trombone-bass." These last three songs feel like a suite--and feel like the band's unique ideas and tremendous potential are finally being exposed. (8.75/10)

7. "Baron Saturday" (4:01) Beatles comparisons are inevitable, yet these vocals, lyrics, instrument choices, and sound mixes are unusually unique. Bravo, Pretty Things! Very interesting. Just wish I liked it more.(8.75/10)

8. "The Journey" (2:46) another innocuous song that perhaps would connect more with me if I were attuned to lyrical content. (8.6667/10)

9. "I See You" (3:56) nothing daring or beyond The Beatles here. My oblique barrier to lyrics may make me miss something, but until the guitar and effected "steps" voice at the end, this is nothing special. (8.66667/10)

10. "Well of Destiny" (1:46) interesting guitar and effects (4.375/5)

11. "Trust" (2:49) a very well-realised pop song with some Baroque psychedelic BEATLES-like sounds and stylings rises to take a place among my top three songs. (9/10)

12. "Old Man Going" (3:09) complex and aggressive MOODY BLUES-like acoustic guitar work opens this one before fuzzy electric guitar, percussion, and hard rock, pre-metal, electric guitar strumming and effected vocal join in. I feel and hear a bit of SYD BARRETT's psychedelic mania here--and a GREAT finish! (9/10)

13. "Loneliest Person" (1:29) finger-picked acoustic guitar with vocal reminds me of folk rock artists like DONOVAN. (4.5/5)

Total time 40:59

This is a very well-engineered album though I feel that many of its "experimental" ideas are under-developed--the band settling for sounding like the Rolling Stones or Beatles when it feels as if they really wanted to go further (I feel strongly that there is a lot of unrealized potential and repressed emotion). Upon learning more about the band and the history of its members, the art school origins and brief tenure of guitarist Dick Taylor with the original Rolling Stones both make total sense. There is tremendous creativity bursting out of these songs yet feelings of pent up energy still seeking to find a way to find full expression.

B/four stars; an excellent addition of beautifully rendered sophisticated song compositions that often feel surprisingly ahead of their time and yet at others feel horribly repressed.

BrufordFreak | 4/5 |

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