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Download links and information about Parachute by The Pretty Things. This album was released in 1970 and it belongs to Rock, Progressive Rock, Psychedelic genres. It contains 19 tracks with total duration of 01:02:18 minutes.

Artist: The Pretty Things
Release date: 1970
Genre: Rock, Progressive Rock, Psychedelic
Tracks: 19
Duration: 01:02:18
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No. Title Length
1. Scene One 1:50
2. The Good Mr Square 1:26
3. She Was Tall, She Was High 1:33
4. In The Square 1:55
5. The Letter 1:38
6. Rain 2:28
7. Miss Fay Regrets 3:24
8. Cries From The Midnight Circus 6:25
9. Grass 4:19
10. Sickle Clowns 6:33
11. She's A Lover 3:29
12. What's The Use 1:42
13. Parachute 3:48
14. Blue Serge Blues 3:51
15. October 26Th 4:54
16. Cold Stone 3:09
17. Stone-Hearted Mama 3:26
18. Summer Time 4:28
19. Circus Mind 2:00



If S.F. Sorrow is the Pretty Things' Sgt. Pepper, Magical Mystery Tour, and Yellow Submarine wrapped in one, then Parachute is their more succinct White Album and Abbey Road. It's not just a time line comparison. The Pretties made this fascinating LP in the same studio as the Fab Four, London's Abbey Road, with Beatles engineer Norman Smith producing. "The Good Mr. Square" replicates the three-part harmony the Beatles were so proud of on "Because." Two songs later, the group assembles a brief, interconnected three-song suite like the famous ones on side two of Abbey Road. Bassist Wally Allen's vocals on tracks such as "Sickle Clowns" have the same throaty, mad anguish that John Lennon exhibited on "Yer Blues" and "Happiness Is a Warm Gun." If S.F. Sorrow is hard rock grandeur, then Parachute is its more bitter twist, the dream dying and the witching hour upon us. Yet, if this isn't as much of a triumph, the creative neurons are still firing throughout a multi-varied, cohesive LP. Like S.F. Sorrow, it's a surprisingly palatable concept LP. This time the topic is a generation caught between the conflicting calls of (rural) peace, love, and boredom, and (urban) sophistication, sex, and squalor in a harsh world. Somehow the departure of the band's main creative force, Dick Taylor, didn't diminish the writing and inspired variety. Allen stepped up big time into the collaborator role with singer Phil May. The harmonies remain a strong point on an otherwise rock-inclined record, and the nasty edge of perfectly balanced bombast in the best songs have been a lost art ever since. (There are 18 minutes of good stuff tacked on the Snapper edition, taken from singles.)