THE PRETTY THINGS The Pretty Things LP FONTANA 1965 UK orig 1st press+Mono RARE
£
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Description
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THE PRETTY THINGS
PHIL MAY, VIV PRINCE, DICK TAYLOR, BRIAN PENDLETON, JOHN STAX
Seminal British R&B band that never broke big, despite talent to spare
and a notable psychedelic masterpiece in 1968's S.F. Sorrow.
Of all the original British Invasion groups, perhaps none were as underappreciated
in the United States as the Pretty Things. Featuring the hoarse vocals of Mick Jagger-lookalike Phil May
and the stinging leads of guitarist Dick Taylor (who actually played in early versions
of the Rolling Stones with Jagger and Keith Richards), the Pretties recorded a clutch
of raunchy R&B rockers in the mid-'60s that offered a punkier, rawer version of the early Stones sound
"THE PRETTY THINGS"
1965 LP FONTANA RECORDS MONO TL 5239
MADE IN ENGLAND ORIGINAL FIRST PRESSING
LAMINATED COVER (on front)
Barcode and Other Identifiers
LABEL: FONTANA - BLACK & SILVER LABEL - SILVER TEXT
Catalog on cover: (spine) TL 5239; (rear) TL 5239 (687 341 TL)
Catalog on labels: TL.5239 (687 341 TL) [(687 341 1L / 687 341 2L)]
Matrix / Runout (Side A, Stamped): 687341 1L//1 ? 420 11 12
Matrix / Runout (Side B, Stamped): 687341 2L//1 ? 420 1 ICI (or 1C1) 1
On labels: MONO ?
Recording First Published 1965
Rights society: (Side A) 1, 6. Jewel Music; 2. Copyright Control; 3, 5. Dunmo Music; 4. Francis Day & Hunter
(Side B) 1. Dunmo Music; 2-4, 6. Jewel Music; 5. 142 Music
On back cover: Liner notes by Jimmy Duncan and Bryan Morrison
WARNING-Copyright subsists in all Fontana recordings........62 Oxford Street London, W.1.
from my records collection
tracklisting
Side A: ROAD RUNNER - JUDGEMENT DAY -13 CHESTER STREET
BIG CITY - UNKNOWN BLUES - MAMA, KEEP YOUR BIG MOUTH SHUT
Side B: HONEY, I NEED - OH BABY DOLL - SHE'S FINE SHE'S MINE
DON'T LIE TO ME - THE MOON IS RISING - PRETTY THING
grading
RECORD VG(+) (please, read above description)
SLEEVE VG(+) (please, see pictures and read above description)
The Pretty Things is recorded with practically every song and instrument pushing the needle into the red (i.e., overload).
Normally, that would be a problem, except for the fact that a third of the repertory was written by Bo Diddley
and most of the other two-thirds was inspired by him (even their version of Chuck Berry's "Oh Baby Doll"
sounds like it was lifted from the Two Great Guitars sessions where the two legends crossed swords),
and Bo spent most of his career with his amplifiers set on "11" in a world where ten was the max.
In the meantime, records like this would point the way not only toward the work of such
American garage band icons as the MC5, but blast a path through the wilderness
that the likes of Billy Childish and his band the Milkshakes and their successors would traverse...(AllMusic)
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