Medium Things

The last album recorded by the Pretty Things before Phil May left; within months of this recording, the band split for a few years. Even more than Silk Torpedo, Savage Eye seemed to have been cannily devised with an eye toward picking up FM airplay in the U.S. There were hard rock, glam rock, and AOR rock influences from David Bowie, Queen, John Lennon, and Paul McCartney to be heard at various points, and while this album wasn't explicitly derivative of any of them, it didn't have much of a personality of its own, either. It certainly didn't sound like the Pretty Things, for gosh sakes. And although it went to number 163 on the charts and was one of only two records by the band to chart in the States, it was one of their least memorable.

Silk Torpedo provides an interesting glance into the glam era. Beginning with "Dream" - a ghostly instrumental prelude that the group's friends in Led Zeppelin would later cop for "In the Evening" - this album launches into "Joey," a superb combination of piano boogie, crashing drums, and melodramatic choruses draped in Hammond organ. Phil May's vocals on this piece run somewhere between Ian Hunter and Steve Tyler, and are every bit as effective. "Maybe You Tried" is a glittering slice of glam rock, all pouting and hip-thrusting, with a simply killer guitar hook from Pete Tolson. From this strong start, though, the album falters into a torpid sort of introspection. Still, "Belfast Cowboys" deserves kudos for taking on the Irish question long before U2 was taking its first music lessons. The CD reissue adds live versions of "Singapore Silk Torpedo" and "Dream/Joey," both recorded in 1974.

For whatever reason, Pretty Things failed to make significant inroads in the U.S. when the window of opportunity was open widest. Perhaps the Rolling Stones, the Who, and the Animals more than fulfilled the quota for invading bad boys. Maybe their sophomoric (and less than artistic) obsession with drugs played a role, though that's doubtful, given the preponderance of mind-altering substance cheerleading by '60s bands. Like the Stones, Pretty Things incorporated garage, R&B, and psychedelia into their aggressive style of rock & roll…

Before the Pretty Things began dabbling with psychedelia in the late '60s, they were primarily a R&B-influenced rock band. The double-disc, 34-track The Rhythm & Blues Years collection compiles the work from that early era in the band's history…

If there's a band that deserves a good compilation, it's the Pretty Things. Thankfully, Snapper has the rights to the band's entire catalog, and has done an excellent job of remastering individual albums. This best-of is derived from that remastered material and does the Pretty Things proud with an extensive and exhaustive trawl through the group's archives…

The legendary cult heroes' final electric performance, recorded at the O2 Indigo London in December 2018. Celebrating 55 years of the greatest band most people have never heard of, The Final Bow captures The Pretty Things at their rocking and unique best across 3 sets of classic tracks featuring guest appearances from David Gilmour and Van Morrison…

Rage Before Beauty is by far the best of the latter-day Pretty Things albums. If you're already a fan, you'll hear all the things you love about the band. But fans and newcomers to the Pretties will be pleasantly surprised how much power these guys still display…

Who could ever have thought, going back to the Pretty Things' first recording session in 1965 – which started out so disastrously that their original producer quit in frustration – that it would come to this? The Pretty Things' early history in the studio featured the band with its amps seemingly turned up to 11, but for much of S.F. Sorrow the band is turned down to seven or four, or even two, or not amplified at all (except for Wally Allen's bass – natch), and they're doing all kinds of folkish things here that are still bluesy enough so you never forget who they are, amid weird little digressions on percussion and chorus; harmony vocals that are spooky, trippy, strange, and delightful; sitars included in the array of stringed instruments; and an organ trying hard to sound like a Mellotron…

Who could ever have thought, going back to the Pretty Things' first recording session in 1965 – which started out so disastrously that their original producer quit in frustration – that it would come to this? The Pretty Things' early history in the studio featured the band with its amps seemingly turned up to 11, but for much of S.F. Sorrow the band is turned down to seven or four, or even two, or not amplified at all (except for Wally Allen's bass – natch), and they're doing all kinds of folkish things here that are still bluesy enough so you never forget who they are, amid weird little digressions on percussion and chorus; harmony vocals that are spooky, trippy, strange, and delightful; sitars included in the array of stringed instruments; and an organ trying hard to sound like a Mellotron…

Live archive release from the British rockers. Recorded in 1992. They roar through a collection of classic material including 'Louie Louie', 'I Want Candy' and '96 Tears'. Lending a hand are some of their musical friends including members of the Inmates and Matthew Fisher of Procol Harum.