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DISCID=020ec313
DTITLE=The Pretty Things / Parachute
DYEAR=1970
DGENRE=Rock
TTITLE0=Scene One
TTITLE1=The Good Mr. Square
TTITLE2=She Was Tall, She Was High
TTITLE3=In The Square
TTITLE4=The Letter
TTITLE5=Rain
TTITLE6=Miss Fay Regrets
TTITLE7=Cries From The Midnight Circus
TTITLE8=Grass
TTITLE9=Sickle Clowns
TTITLE10=She's A Lover
TTITLE11=What's The Use
TTITLE12=Parachute
TTITLE13=Blue Serge Blues (Bonus)
TTITLE14=October 26 (Bonus)
TTITLE15=Cold Stone (Bonus)
TTITLE16=Stone-Hearted Mama (Bonus)
TTITLE17=Summer Time (Bonus)
TTITLE18=Circus Mind (Bonus)
EXTD=Originally Released 1970\nCD Edition Released June 8, 1999\n\nAMG
EXTD= EXPERT REVIEW: If S.F. Sorrow is the Pretty Things' Sgt. Pepper,
EXTD= Magical Mystery Tour, and Yellow Submarine wrapped in one, then 
EXTD=Parachute is their more succinct White Album and Abbey Road. It's
EXTD= not just a time line comparison. The Pretties made this fascinat
EXTD=ing LP in the same studio as the Fab Four, London's Abbey Road, w
EXTD=ith Beatles engineer Norman Smith producing. "The Good Mr. Square
EXTD=" replicates the three-part harmony the Beatles were so proud of 
EXTD=on "Because." Two songs later, the group assembles a brief, inter
EXTD=connected three-song suite like the famous ones on side two of Ab
EXTD=bey Road. Bassist Wally Allen's vocals on tracks such as "Sickle 
EXTD=Clowns" have the same throaty, mad anguish that John Lennon exhib
EXTD=ited on "Yer Blues" and "Happiness Is a Warm Gun." If S.F. Sorrow
EXTD= is hard rock grandeur, then Parachute is its more bitter twist, 
EXTD=the dream dying and the witching hour upon us. Yet, if this isn't
EXTD= as much of a triumph, the creative neurons are still firing thro
EXTD=ughout a multi-varied, cohesive LP. Like S.F. Sorrow, it's a surp
EXTD=risingly palatable concept LP. This time the topic is a generatio
EXTD=n caught between the conflicting calls of (rural) peace, love, an
EXTD=d boredom, and (urban) sophistication, sex, and squalor in a hars
EXTD=h world. Somehow the departure of the band's main creative force,
EXTD= Dick Taylor, didn't diminish the writing and inspired variety. A
EXTD=llen stepped up big time into the collaborator role with singer P
EXTD=hil May. The harmonies remain a strong point on an otherwise rock
EXTD=-inclined record, and the nasty edge of perfectly balanced bombas
EXTD=t in the best songs have been a lost art ever since -- it's not h
EXTD=ard to see why Rolling Stone rated Parachute the best LP of 1970.
EXTD= (There are 18 minutes of good stuff tacked on the Snapper editio
EXTD=n, taken from singles.) -- Jack Rabid, The Big Takeover\n\nAmazon
EXTD=.com Product Description\nReissue of their critically acclaimed a
EXTD=lbum for Harvest crowned 'Album Of The Year' by Rolling Stone mag
EXTD=azine in 1970, and which broke the U.K. top 50 then. Contains all
EXTD= 13 of the cuts that originally appeared on it, plus six bonus tr
EXTD=acks, 'Blue Serge Blues', 'October 26', 'Cold Stone', 'Stone-Hear
EXTD=ted Mama', 'Summer Time' and 'Circus Mind'. 19 tracks in all. 199
EXTD=9 release. \n\nAMAZON.COM CUSTOMER REVIEW\nDon't forget to pull t
EXTD=he cord, March 8, 2003\nReviewer: greasy "greasy_phizeek" (now he
EXTD=re)\nIf only a few albums representing the late 60's/early 70's r
EXTD=ock era were to be included in a time capsule, Parachute would be
EXTD= one of my top candidates. With this record, the Pretties managed
EXTD= not only to skillfully synthesize some of the most important mus
EXTD=ical elements of the time, but also became an important influence
EXTD= in their own rite. The recipe for Parachute includes a generous 
EXTD=helping of Abbey Road era Beatles, Moody Blues, Crosby Stills and
EXTD= Nash, and King Crimson. However, the Pretties create this blend 
EXTD=within a framework entirely their own which in some ways works be
EXTD=tter than efforts put forth by the record's sources of inspiratio
EXTD=n. Moreover, one can distinctly hear elements that would later sh
EXTD=ow up on some of the most important albums of the 70's. I have li
EXTD=ttle doubt that David Bowie was well familiar with Parachute befo
EXTD=re cutting Ziggy Stardust, or that the boys in Pink Floyd wore do
EXTD=wn the grooves of at least one copy before making Dark Side of th
EXTD=e Moon. I would also venture that Chris Bell gave this one more t
EXTD=han a few spins. Anyone interested in a well woven aural tapestry
EXTD= of many different colors and compelling textures reflecting psyc
EXTD=hedelia, pre-punk, and prog rock will likely dig this one.\n\n\nA
EXTD=MAZON.COM CUSTOMER REVIEW\nAll-Time Favourite, November 28, 2000\n
EXTD=Reviewer: R. S. Moore "book maven" (Bloomfield, NJ USA)\n30 years
EXTD= later, this disc still brings tears to the eyes. What dynamic No
EXTD=rman Smith Abbey Road production! "Grass" and "Sickle Clowns" are
EXTD= pure joy...God, I truly miss that era. PARACHUTE is simply essen
EXTD=tial.\n\n\nAMAZON.COM CUSTOMER REVIEW\nAnother Overlooked Gem, Au
EXTD=gust 25, 2000\nReviewer: Michael Topper (Pacific Palisades, Calif
EXTD=ornia United States)\nTaken as a whole, The Pretty Things' 1964-1
EXTD=970 catalogue stands as a picture-perfect example of the progress
EXTD=ion of UK pop music during that period. Beginning with the Stones
EXTD=-inspired, English brand of R&B on the self-titled debut, moving 
EXTD=on to the fuzztoned power-pop glory of "Get The Picture", expandi
EXTD=ng in a transitional, tentative experimental direction with socia
EXTD=lly conscious lyrics, sound effects and orchestrations on "Emotio
EXTD=ns", and coalescing that experimentation on the full-blown psych 
EXTD=classic "SF Sorrow", "Parachute" stands as an equally representat
EXTD=ive slice of the state of the UK pop/rock world at the turn of th
EXTD=e decade. It also stands as one of their biggest successes: of th
EXTD=eir previous works, "The Pretty Things" sounded too derivative, "
EXTD=Get The Picture" had its classics but was uneven overall, and "Em
EXTD=otions" was a collection of good songs marred by its suffocating 
EXTD=production--only "SF Sorrow" stands equal to "Parachute" in the g
EXTD=roup's entire career (the later 70s releases being largely devoid
EXTD= of inspiration). The overall sound, like that of the mainstream 
EXTD=at the time, returns to an earthier brand of blues-based hard roc
EXTD=k replete with classic riffs and jams, and The Pretties do it bet
EXTD=ter than anyone mainly because they have at the same time not los
EXTD=t their knack for great pop songwriting. The vocal harmonies are 
EXTD=their best-ever and the playing is remarkably fluid; the epic jam
EXTD= at the end of "Cries From The Midnight Circus" finds a monster g
EXTD=roove that propels the soloists into an inspired, unindulgent fre
EXTD=nzy. Additionally, there remain lingering production remnants of 
EXTD=psychedelia and touches of art-rock which keep the sound surprisi
EXTD=ng and diverse at just the right moments; the sitars on "In The S
EXTD=quare", the gorgeous mellotron breaks in "Grass", the massed perc
EXTD=ussion underlying "She's A Lover" and the final uplifting note wh
EXTD=ich closes the album are all incorporated tastefully into the mix
EXTD=. Although there were many blues-rock and art-rock groups floatin
EXTD=g around the UK scene at the time, very few bands were able to ju
EXTD=ggle the mix of elements heard here, which keeps the group from b
EXTD=ecoming too bland as a hard rock act or too over-the-top as art-r
EXTD=ockers. "Parachute" manages the twin feat of serving as a time ca
EXTD=psule for the genres of its era, while avoiding all of their indu
EXTD=lgences. The CD reissue also adds the A and B sides from the peri
EXTD=od, all of which are equal in quality to the album.\n\n\nAMAZON.C
EXTD=OM CUSTOMER REVIEW\nThe best record in rock 'n' roll, ever!, Octo
EXTD=ber 14, 1999\nReviewer: A music fan\nLet's imagine The Rolling St
EXTD=ones, Pink Floyd and Beatles in one perfect blend. Astonishing! M
EXTD=y favorite of all time. This is one lost, not well known record a
EXTD=nd that is what is making a mystery which I never understood.\n\n
EXTD=\nAMAZON.COM CUSTOMER REVIEW\nLost Classic Finally Out On CD., Ju
EXTD=ne 10, 1999\nReviewer: A music fan\nThis is one of those brillian
EXTD=t albums of the late '60s that was totally lost in the tidal wave
EXTD= of excellent music from that era. The Pretties' previous album, 
EXTD=S.F. Sorrow was one of the best rock operas (and possibly the fir
EXTD=st rock opera) ever recorded, and unfortunately suffered the same
EXTD= fate - nobody heard it. Parachute, while not necessarilly a conc
EXTD=ept album, does hold together well with it's unique blend of phsy
EXTD=chedelic/heavy metal/progressive styles. One of those special alb
EXTD=ums that has to be listened to from start to finish, Parachute is
EXTD= an undiscovered gem for anyone into quality late-60s British roc
EXTD=k.\n\nHalf.com Album Notes\nAlso available in a 3-pack with THE P
EXTD=RETTY THINGS and CROSS TALK.\n\nFollowing the disappointing sales
EXTD= of their ambitious 1968 concept album S.F. SORROW, the Pretty Th
EXTD=ings lost two of their members--drummer Twink (who went on to joi
EXTD=n the Pink Fairies) and, more significantly, founder/guitarist Di
EXTD=ck Taylor. Remarkably, though, the remaining members, now light y
EXTD=ears away from their blues-rock beginnings, pressed on in relativ
EXTD=ely undaunted fashion with PARACHUTE, another bold Beatle-esque o
EXTD=uting. Vocalist Phil May and multi-instrumentalist Wally Allen em
EXTD=erged as the British band's driving force, writing eclectic tunes
EXTD= such as the revved-up "Miss Fay Regrets," the melancholy "Grass,
EXTD=" and the psychedelic sing-along "She Was Tall, She Was High." Al
EXTD=though critically lauded, the record failed to bring the Pretty T
EXTD=hings to a wider audience, essentially sealing the ensemble's fat
EXTD=e as a perpetually underappreciated act. While the band would rec
EXTD=ord a few more albums during the 1970s in various incarnations, P
EXTD=ARACHUTE is, in many ways, its swan song and deserves to be held 
EXTD=in high regard along with S.F. SORROW.\n\nIndustry Reviews\n3 sta
EXTD=rs (out of 5) - ...they constructed an intricate collection that 
EXTD=compared their urban environs with hippy idealism....It's quaint 
EXTD=and listenable, and angry when it has to be. Weird, in a palatabl
EXTD=e way...\nQ (09/01/1999)
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