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ALBUM: Parachute Lyrics
By:
Pretty Things
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Cries From The Midnight Circus
Grass
In The Square
Miss Fay Regrets
Parachute
Rain
Scene One
She Was Tall, She Was High
She's A Lover
Sickle Clowns
The Good Mr. Square
The Letter
What's The Use
Parachute Reviews
Another Overlooked Gem
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.
Amongst one of the very few
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.
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.
perfect
i don't think that this is quite at the level of s.f. sorrow, but it's still an impressive release. i don't think it was the best album of 1970, as rolling stone did back then , but its certainly a worthy addition to one's collection. parachute is, for lack of a better word, an often "creepy" album ( sickle clowns, cries from the midnight circus). the lyrics are great as usual- phil may has to be one of the most underrated lyricists of the era. the band is solid as always too. the bonus tracks are also good, with circus mind being the best in my opinion. parachute is an inventive and eerie minor masterpiece.
30 years later, this disc still brings tears to the eyes. What dynamic Norman Smith Abbey Road production! "Grass" and "Sickle Clowns" are pure joy...God, I truly miss that era. PARACHUTE is simply essential.
Reissue of their critically acclaimed album for Harvest crowned 'Album Of The Year' by Rolling Stone magazine in 1970, and which broke the U.K. top 50 then. Contains all 13 of the cuts that originally appeared on it, plus six bonus tracks, 'Blue Serge Blues', 'October 26', 'Cold Stone', 'Stone-Hearted Mama', 'Summer Time' and 'Circus Mind'. 19 tracks in all. 1999 release.
Digitally Remastered Reissue of their Album Originally Released in 1970.
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