Customer Reviews

Parachute

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Taken as a whole, The Pretty Things' 1964-1970 catalogue stands as a picture-perfect example of the progression of UK pop music during that period. Beginning with the Stones-inspired, English brand of R&B on the self-titled debut, moving on to the fuzztoned power-pop glory of "Get The Picture", expanding in a transitional, tentative experimental direction with socially conscious lyrics, sound effects and orchestrations on "Emotions", and coalescing that experimentation on the full-blown psych classic "SF Sorrow", "Parachute" stands as an equally representative slice of the state of the UK pop/rock world at the turn of the decade. It also stands as one of their biggest successes: of their previous works, "The Pretty Things" sounded too derivative, "Get The Picture" had its classics but was uneven overall, and "Emotions" was a collection of good songs marred by its suffocating production--only "SF Sorrow" stands equal to "Parachute" in the group's entire career (the later 70s releases being largely devoid of inspiration). The overall sound, like that of the mainstream at the time, returns to an earthier brand of blues-based hard rock replete with classic riffs and jams, and The Pretties do it better than anyone mainly because they have at the same time not lost their knack for great pop songwriting. The vocal harmonies are their best-ever and the playing is remarkably fluid; the epic jam at the end of "Cries From The Midnight Circus" finds a monster groove that propels the soloists into an inspired, unindulgent frenzy. Additionally, there remain lingering production remnants of psychedelia and touches of art-rock which keep the sound surprising and diverse at just the right moments; the sitars on "In The Square", the gorgeous mellotron breaks in "Grass", the massed percussion underlying "She's A Lover" and the final uplifting note which closes the album are all incorporated tastefully into the mix. Although there were many blues-rock and art-rock groups floating around the UK scene at the time, very few bands were able to juggle the mix of elements heard here, which keeps the group from becoming too bland as a hard rock act or too over-the-top as art-rockers. "Parachute" manages the twin feat of serving as a time capsule for the genres of its era, while avoiding all of their indulgences. The CD reissue also adds the A and B sides from the period, all of which are equal in quality to the album.

This was released in 1970 when I was really deep into music and how I missed this is a big unanswered question. I had been exposed to The Pretty Things early on during their R&B period and while I enjoyed those records, I guess I lost track. But I bought this CD several months ago and haven't stopped listening since. In fact I've revised my list of the my 100 favorite albums to place this at #17, right behind Captain Beyond's first album. This is a really terrific record that you should not miss.

Although the Pretties are now belatedly given credit for having conceived and recorded the first rock opera, SF Sorrow, their equally ambitious follow-up of one year later, Parachute, has yet to be reassessed and recognised as the achievement that it is.
When they returned to the Abbey Rd studios after SF Sorrow, with Beatle engineer Norman Smith again in the producer's chair, they were quite a different outfit. Their distinctive lead guitarist Dick Taylor had left the band to become a producer, and Victor Unitt from the Edgar Broughton Band was filling in for him until a permanent replacement was found. Twink, their drummer, had also quit to form the Pink Fairies, and their former drummer Skip Alan had returned after a spell with Sunshine.
Another year of communal living, constant touring, drug taking, partying and song writing (not necessarily in that order) had yielded a burst of creativity resulting in a bunch of songs united by a theme of rural versus urban living, and the contradictions implicit in resolving the differences of each; in other words it was one of the first concept albums. The themes are contrasted by use of harmony and melody set against some occasionally quite heavy rock, using a live sound not unlike White Album-period Beatles, and the whole works well musically as an album.
They allowed themselves to stretch out musically on longer tracks such as Cries From The Midnight Circus and Sickle Clown, which was inspired by the ending to the film Easy Rider. Clearly also influenced by the Beatles album Abbey Road, and using the same legendary studios they were able to achieve the same ethereal harmony sounds, particularly on the closing title track, featuring Jon Povey's multi-tracked vocals.
Although commercially unsuccessful the record did receive some critical acclaim and in 1971 was voted album of the year by Rolling Stone.
The Good Mr Square (incorporating She Was Tall, She Was High) had preceded the album as a single on EMI's new "progressive" label, Harvest, and it also represented the album on the Harvest-label sampler, Picnic, though by the time the next single was due they had been back in the studio recording new material so it remained the only single to be taken from Parachute.
The Good Mr Square's non album B-side and all 5 tracks from their next two singles have been added to this edition. These two singles (October 26 and Stone-Hearted Mama) were recorded after they had found their new guitarist, Peter Tolson from Eire Apparent, and include the excellent Summertime and Circus Mind

Like many Americans in the 70's, I somehow never got a good listen to this one (fifth album, recorded at Abby Road studios) back then, but I had seen it before in others record collections (especially when I was in Europe). On the inner cover the inscription reads: "The only Rolling Stone Album of the Year never to sell a million - typical!". How the #$^* did that happen? It is easy to just figure that if it wasn't more popular, there must be a reason ... DON'T MAKE THAT MISTAKE! This is a lost classic!! The lack of sales was a case of badly handled promotion (Motown Rare Earth) and publicity ... at least in America, to our detriment! I'm listening to it AGAIN now (it has been like afternoon tea these days), I just don't get sick of it at all and regularly jam to it on guitar, bass & drums. Yes, I'm a sucker for these old-school acid-rock albums ... they really inspire me for some reason. The artwork and additions are great as well!

For starters, the package on this limited addition import remaster is top
shelf - they really pulled out the stops to give this band and album the
classy presentation they deserve. The original lyrics are included with
many cool pictures (promotional and album art) and a long essay with band
history, thoughts and remembrances. A track by track explanation is added as well, although formal notes would have been helpful for the complete picture.

There is something represented about what I love from the era in just about all of the songs, although it is hard to describe - Kind of an emotional, not intellectual basis in most cases. The songs go all over the place and play on many an emotion, which makes sense considering the disconnected 1970's were just beginning and the intense, idealistic psychedelic 60's were fading fast. That is part of the key - Buffalo Springfield, The Dead, J.Airplane, Moody Blues, Beatles & The Byrds (and many others) seem to have been an influence from the 60's, but there is a walloping dose of a Deep Purplish, Zeppelin, Doors, Floyd, early Chicago & Cream (even Hendrix) feel often too (among others) bringing an underlying heavyish feel. Yes, Parachute is kind of the best of both worlds in a way ... one of those rare albums! Picture it (cover): Love, Peace and mellow thoughts cruising in the '69 Z-28 down the highway with your girlfriend snuggling up close after 2001 Space Odyssey, but anxious to get back to the Marshall amp, Strat & Crybaby (and the latest colorful import - Yes this IS stoner music).

Musicianship shines all over Parachute too! Skip Alan's muscular drum intro (took over from prior drummer Twink) kicks everything off nicely, you get a sense that you just might be in for a treat. New 18 year old
guitarist Peter Tolson just joined the band and provides the bad-ass, explosive guitar riffs and chunky chords throughout (often through a Leslie). This formation of the band has great chemistry and form a
short-lived but excellent combo (with Wally, Phil and Jon). The vocal harmonies are usually very good and the older members provide a Pretty Things core formation on the melodic/harmonic side (great bass on here
too). A few eclectic instruments are heard here and there with no notes as to who performed on them.

I hesitate getting into which song I like for whichever reason - There are 13 songs on the original album, most outstanding examples of trippy rock (Mr.Square/She Was Tall, In The Square, Rain, Midnight Circus, Grass, She's a Lover and the Parachute fade are favorites so far). Six GREAT extras are included: Blue Serge Blues is a first rate song making fun of the British police's hippie busting (sounds a bit like the Airplane), if these are throwaways ...? October 26 about the presumably about the Russian revolution but winking at the 60's revolutionaries in general - There are some nice biting and sharp guitar wah leads flowing through the languid atmosphere of the song. Cold Stone is a head slammer 70's anthem style: "This world is just cold stoned" ... presaging many a 70's blues rock band (think Humble Pie). Stonehearted Momma "really make it hard on me" is the classic rock 'n' roll male lament with some totally pulsating heavy guitar power chords and doubled guitar talkbox/echo leads - OH YES, no holds are barred with this band! Summer Time is a Youngbloods/Allman's sounding happy-go-lucky rollicking jam that is charming as that tulip on the cover (close your eyes and your there, sun on your face). Circus Mind is a nice closer for this extended version - a parable for the whole scene, I can relate ... go ahead and take the hand (cover). A little over 63 minutes of head-swimming fun, TURN IT UP AND ENJOY OFTEN!

If only a few albums representing the late 60's/early 70's rock era were to be included in a time capsule, Parachute would be one of my top candidates. With this record, the Pretties managed not only to skillfully synthesize some of the most important musical elements of the time, but also became an important influence in their own rite. The recipe for Parachute includes a generous helping of Abbey Road era Beatles, Moody Blues, Crosby Stills and Nash, and King Crimson. However, the Pretties create this blend within a framework entirely their own which in some ways works better than efforts put forth by the record's sources of inspiration. Moreover, one can distinctly hear elements that would later show up on some of the most important albums of the 70's. I have little doubt that David Bowie was well familiar with Parachute before cutting Ziggy Stardust, or that the boys in Pink Floyd wore down the grooves of at least one copy before making Dark Side of the Moon. I would also venture that Chris Bell gave this one more than a few spins. Anyone interested in a well woven aural tapestry of many different colors and compelling textures reflecting psychedelia, pre-punk, and prog rock will likely dig this one.

Parachute
For ages I've been a very ardent fan of The Pretty Things' work up until 1968's "S.F. Sorrow" magnum opus.
An impressive body of work, enviable by any major Sixties band and easily the equal of the finest records by more hyped bands such as The Stones, The Beatles and just about any other!!!
Still, as for the Kinks, I've long overlooked their post-'68 output, and what a gross mistake that was!!!
When I finally got hold of "Parachute", I discovered another timeless masterpiece which more-or-less picks up where SF Sorrow left off, yet heading from the trippy terrains of psychedelia into a decidedly more profressive area.
There's not such a dominant underlying storyline as for Sorrow this time, still the album has a strong, cohesive concept to it; The Pretty Things ultimately succeed in retaining their tight, guitar-driven freakbeat roots, at the same time updating and expanding it to new possibilities.
Make no mistake, there's no trace of corny, self-indulgent prog-rock here : what we have in "Parachute" is, possibly, the finest example of late-Sixties post-Psychedelia (proto-Prog?)!!!
Songs like the angry, charging "Cries From The Midnight Circus", rollicking "Miss Fay Regrets" and the near-transcendent "In The Square/The Letter/Rain" trilogy make for impeccable, thoughtful yet utterly rocking classics.
And it's only too fitting that bonus track "Circus Mind" should wrap this excellent reissue up, by far one of the most affecting and touching songs the Pretties have ever written and recorded.
It's hard to fathom why this band has never achieved the status of popularity of other rock giants such as Led Zep or the Stones (which emanate from the same nucleus of musicians as the Pretties) themselves; What's more than sure is that I got hooked to Parachute from the very first listen and there's no way these guys could ever fail!!!
I strongly reccomend this record, to say the very least.
Long live the Pretty Things!!!

It's rare, yet it occurs. A recording artist releases a "perfect album". A perfect album is one which, were it to be recorded again, would be recorded exactly as it was originally. Not a note would be added, removed or changed. The arrangements, instrumentations and vocals would be preserved intact. The Pretty Things' album "Parachute" is a perfect album in every sense. The music is inspired and brilliant, both melodically and harmonically. The arrangements are superb. The performance is flawlessly tasteful. "Parachute" joins that elite grouping of perfect albums, comparable to The Moody Blues' "Days of Future Passed", The Kinks' "Village Green Preservation Society", Ten Years After's "Ssssh" and Arthur Brown's "The Crazy World of Arthur Brown". Rock music doesn't get better than this, and "Parachute" remains an unsurpassed creative and artistic masterpiece -- an absolute aural delight -- three decades since its original release on vinyl.

This cd is a big surprise. How did these guys miss being as big as the best. S.F. Sorrow was great but this beats it hands down. Sorrow has become somewhat dated but this sounds as current as much of what I listen to today.

I got Rage Before Beauty by the Pretty Things in 2000 thanks 2 now extinct Tower Records Pulse Magazine and was W O W , this guy's are Really Good . Now I got Parachute and ask myself , How did I miss this band way back when ? . Can`t tell you , but this recording is as good as LOVE Forever Changes . Now I know where White Stripes is comming from . Just Very Good Rock and Roll ...

This is one of those brilliant albums of the late '60s that was totally lost in the tidal wave of excellent music from that era. The Pretties' previous album, S.F. Sorrow was one of the best rock operas (and possibly the first rock opera) ever recorded, and unfortunately suffered the same fate - nobody heard it. Parachute, while not necessarilly a concept album, does hold together well with it's unique blend of phsychedelic/heavy metal/progressive styles. One of those special albums that has to be listened to from start to finish, Parachute is an undiscovered gem for anyone into quality late-60s British rock.