The Pretty Things are an English rock band from London, who originally formed in 1963. They took their name from Willie Dixon’s 1955 song “Pretty Thing”. Their most commercially successful period was the mid-1960s, although they continue to perform to this day. David Bowie covered two of their songs on his album Pin Ups. (More from Wikipedia)
In the early years, the Klubs were a hard-driving rhythm and blues band that performed a lot of covers of Rolling Stones and Pretty Things songs. They made several trips to London for gigs, including appearances at Tiles and the well-known Marquee. In one show in July 1966 at Tiles, they were actually the headlining band, with supportive acts the Fleur de Lys and the Eyes (not the same band as the UARB, the Eyes).
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The band’s drummer Twink (real name: John Alder) was originally in a tough rhythm and blues band called the Fairies – it won’t be much longer before that band joins the ranks of the UARB’s – and is perhaps best known as the drummer for the Pretty Things on their ground-breaking 1968 concept album called S.F. Sorrow.
(July 2013)
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Mick Farren’s early writing was for one of the first underground newspapers, International Times (later called IT after threats of litigation by The Times of London); he wrote articles for the newspaper and also edited IT for a period of time. The newspaper was founded in November 1966 and was a mixture of rock music promotion, polemical journalism, and scandalous humor. The London police repeatedly raided the newspaper’s office in an attempt to shut them down; IT responded by hosting a benefit rock concert called The 14 Hour Technicolor Dream in April 1967 featuring Pink Floyd, the Pretty Things, Savoy Brown, the Crazy World of Arthur Brown, Soft Machine, and the Move.
I certainly can’t compete with the description of Mona – The Carnivorous Circus provided by Dave Thompson for Allmusic, so I won’t even try: “Mick Farren convened a more-or-less all-star band from the same disreputable circles he’d always moved in. Carnivorous Circus was cut, the first essential album of the 1970s, and it’s still one of the most unrepentantly nasty, gratuitously ugly records ever made. Rock history loves to bandy those terms around, then apply them to this week’s most fashionable long-haired gnarly snarlies. And it’s true, the Pretty Things, MC5, the Pink Fairies, the Broughtons [Edgar Broughton Band], any of the myriad ’60s freakbeat bands captured on sundry Nuggets and Pebbles type collections, they’ve all dipped a toe into those malevolently murky waters. Some of them have even swum around a little. Carnivorous Circus goes the whole hog and then some, holding its breath and descending to the seabed. Now it owns a roadhouse and wrestles giant squid for fun.”
The musicians on Mona – The Carnivorous Circus include compadres that Mick Farren worked with over the years, including Steve Peregrin Took (previously in Tyrannosaurus Rex with Marc Bolan, who found great fame after shortening the band name a few years later to T. Rex) and Twink (real name: John Alder), who is best known as the drummer for the Pretty Things when they made one of their most renowned albums, S.F. Sorrow.
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I picked up a 2001 CD by Shagrat called Pink Jackets Required, and it is a delight. This music was evidently made by the earliest lineup of the band. In the review of the album for Allmusic, Dean McFarlane gives it four stars and reports: “This album was recorded in 1969 just before Tyrannosaurus Rex embarked on their first U.S. tour and was completed on [Steve Peregrin] Took’s return. Although it is in effect a collection of demos, and some of the tracks will be known to fans of Think Pink – primitive takes of ‘The Coming of the Other One’ and ‘The Sparrow Is a Sign’ will be familiar – in fact, Pink Jackets Required is one of the most astonishing albums either of the pair recorded, and in popular opinion and rock-evidence surpasses the Twink Think Pink album. The name Shagrat was bounced around for an incarnation of one of Twink’s other groups with members of the Pink Fairies, but that unit was entirely different from the genius brilliance of the project with Steven Peregrin Took. Simply, this should be tracked down and given serious attention by those who love A Beard of Stars [by Tyrannosaurus Rex], Deviants, Pretty Things, and early T. Rex.”
Standout songs on Think Pink include “Ten Thousand Words in a Cardboard Box”, “The Coming of the Other One” and “The Sparrow Is a Sign”. Dean McFarlane in his Allmusic review also gives Think Pink four stars and writes: “Think Pink is an incredibly varied album with no two songs resembling each other, but then one assumes an acid masterpiece like ‘Ten Thousand Words in a Cardboard Box’ will stay on high rotation for at least a week on the stereos of most psychedelia fans, so overall album flow may not be such an issue. This is pure psychedelic acid rock of the highest order. If one can imagine a fusion of the Incredible String Band, Deviants, early Pink Floyd, and a fair dose of Twink’s heredity as a member of Tomorrow and the Pretty Things, you get an idea of what he was up to. Not known for doing things in halves, he shows little restraint in the assembly of a group designed to tear the roof off the psychedelic scene.”
The following year, Mick Farren organized his idea of what a rock festival should be. Called Phun City, it took place from July 24 to July 26, 1970. Unlike Woodstock and most other similar festivals, there were no admission fees and no fences. After the funding for the concert was withdrawn, the organizers had to notify the bands scheduled to appear that they would have to perform for free. Most of the bands agreed to go on anyway; ironically, one of the few bands that didn’t play was Free, best known for their 1970 hit “All Right Now”. Rock musicians who did perform included MC5, the Pretty Things, Kevin Ayers, Shagrat, the Edgar Broughton Band, Mungo Jerry, Mighty Baby, and the Pink Fairies; the Beat poet William Burroughs was also there.
The first performance by what was then called the Rollin’ Stones – named after the landmark blues song “Rollin’ Stone” by Muddy Waters – took place on July 12, 1962 at the Marquee Club in London. The line-up at that time was Mick Jagger (lead vocals, harmonica), Keith Richards (guitar), Brian Jones (guitar, harmonica), Ian Stewart (piano), Dick Taylor (bass) and Mick Avory (drums – Avory himself recalls that it was actually Tony Chapman). Mick Jagger and Keith Richards had known each other as children and were reacquainted by Dick Taylor, who was a mutual friend. Bill Wyman replaced Dick Taylor on bass in December 1962; Taylor then became one of the founding members of the Pretty Things, a band that is as long-lived and (in some circles) as beloved as the Stones, though with a significantly lower profile. When Charlie Watts joined the band on drums in January 1963, and with Ian Stewart removed from the official band membership (also in 1963), the classic line-up of the Rolling Stones was born.
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While this line-up never recorded another album, the Crawdaddys secured their place in the rock firmament with their next two releases (both on Voxx Records): the single “There She Goes Again” b/w “Why Don’t You Smile Now” in early 1980, and an EP called 5 x 4 in August 1980. For my money, “There She Goes Again” is the one Velvet Underground song (written by Lou Reed) that is tailor-made to be covered by other bands. There is an obscure cover of “There She Goes Again” by the Electrical Banana in 1967 which is mentioned by Wikipedia; this is not the same band as the Electric Banana that was a pseudonym for the Pretty Things over several years. However, the only other cover version of “There She Goes Again” that I know of is by R.E.M.; and Peter Buck acknowledges that their recording is inspired by the Crawdaddys version. “There She Goes Again” is included on the Bomp! Records compilation CD Straight Outta Burbank, and that is where I learned about the song. The “B” side, “Why Don’t You Smile Now” was co-written by Lou Reed and John Cale but pre-dates their involvement with the Velvet Underground; “Why Don’t You Smile Now” was originally released on a 1965 single under the name the All-Night Workers.
(January 2015/2)
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Unlike several other recent posts of mine where Allmusic really had almost nothing to contribute on the band that I was writing about, there is a long article about the Primitives by Bruce Eder – maybe the longest that I have seen on Allmusic for any of the UARB’s and UARA’s over the years. The opening remarks make it clear how great Eder thinks the band was:
“The Primitives were never, ever exactly a household name, even in Oxford, where they had a serious following as a club band – and that’s a reminder that some things in life and history, and even music, are just so unfair as to be unsettling. The Primitives [were] signed to Pye Records in 1964 [and] never found even a small national audience in England. . . . Castle Communications issued their catalog on CD in 2003. That CD was a delight and a vexation; it proved in the listening that these guys deserved a lot better than cult or footnote status, but it also brought home the unfairness inherent in their status. Even in their second, slightly more pop-oriented incarnation, when they were allowed to cut loose and be who and what they really were – a loud band without a lot of subtlety but power to spare and the sincerity to put over their music – they rated a place near the top of Pye Records’ roster and in the upper reaches of the British Invasion pantheon. Listening to the CD, this reviewer found himself pained, to the point of shedding a tear, over the fact that this band only got to leave 24 songs behind from its prime years. . . .
“[T]heir sound was very similar to the Pretty Things, rooted heavily in American R&B, and [lead singer Jay] Roberts was a serious, powerful shouter who could sound seriously, achingly raspy, rough, and growly, while the others played with virtually none of the niceties or delicacy that usually marred British attempts at the music.”
(May 2015)
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