Well if it's not my eagerness to be contrary, but is my favorite album of all British. And they do not like either of them. The producer, Reg Tilsley, put metal strings and without their consent and were not satisfied with the result. In this third album, leaving the ferocity of their previous two albums and take the path that takes them to " SF Sorrow" (1968) and " Parachutes" (1970) considered the summit of the whole.
This was the first album of Pretty I had. Then I did with "SF Sorrow " disappointed me. Today I like, but eventually I found a record of production. That is, many different elements to hide the lack of songs about regular basis. A defect, to cite an epitome disk where the production masks the songs, which happens to some critical acclaim as "Ok Computer " (1997) by Radiohead. By the way, "Paranoid Android " from that album of Radiohead copy the riff from "In the square " from "Parachutes ."
guess I should be a shock for fans of the group, after the first two albums devoted to rhythm & blues that left the Stones like the tuna, although copying a bag (with that extra bit of rudeness ), listen to dive in these records so melancholy, to a certain point, sound level, equidistant between Love (how to use the arrangements) and Kinks (cabaret music, swing and the contents of the letters, besides a version of " A house in the country " of "Face To Face " 1966, included in the extras), but as a very personal record. Many of the songs seem miniature, almost skeletons of song and earn enough thanks to the additive noise to which they are exposed. Showing weakness in those moments as creators of the set. The winds were blowing badly for the groups of his rope and things were changing very fast in the pop scene for a group like them survive if changes direction. So, this is an album rushed and forced, the Pretty have to write songs in a style that are not prepared and as not relying too heavily on its creative engine, are given a producer garnish songs. Unexpectedly, the play they went well.
heard the record, the truth that one can not imagine these songs without the arrangements. For example, the acoustic "Death of a socialite " (which according to them was inspired by the lavish and thick " A day in the life " by the Beatles! Even remember much more to "Death of a clown "by the Kinks) without these metals would be a song too spartan and at no time the brass section is too intrusive, but provides pace and variety to the piece. Another example could be the monotony with which they performed "The sun ," a piece with a certain air to the first Animals that did not use the orchestration to create those cardboard melodrama stone so aided when the rock / pop uses the resources of the music called serious. But who benefits from these as they would a song too flat "plain." " There Will Never Be Another Day " is a return to its origins taking advantage of the addition of metals to give a boost to the matter of rhythm.
One of the jewels of the album is "House of ten ." A languid slow song embellished by harp and strings creating a very melancholic atmosphere. The best of album next to " Growing in My Mind" with a very Stones on the stage of " Aftermath" (think "Out of Time " or "Take it or leave it"). In fact the disc is an experiment in pop Pretties sophisticated in the way of the Stones "Between The Buttons " of the same 67. " Photographer " sounds like a version of "Subterranean Homesick Blues " Dylan turned into rhythm & blues to metal, a bit like a version of Harry Nilsson made later, but not half the raw boogie Nilsson and Lennon created on your hard together. And the final piece "My time " again stressed about my impression. Would this song a memorable if not for the instrumental accompaniment that provides Tilsley? I insist, is too restrained, without stifling the songs.
EXTRA MATERIAL: We mentioned version of the Kinks, which seems higher than those to be more raw and driven, but does not contribute almost nothing to the original. And no arrangements Tilsley versions of various songs from the album, where you can see that clearly won the final treatment.
DOWNLOAD LINK:
http://sharebee.com/0046c08e
This was the first album of Pretty I had. Then I did with "SF Sorrow " disappointed me. Today I like, but eventually I found a record of production. That is, many different elements to hide the lack of songs about regular basis. A defect, to cite an epitome disk where the production masks the songs, which happens to some critical acclaim as "Ok Computer " (1997) by Radiohead. By the way, "Paranoid Android " from that album of Radiohead copy the riff from "In the square " from "Parachutes ."
guess I should be a shock for fans of the group, after the first two albums devoted to rhythm & blues that left the Stones like the tuna, although copying a bag (with that extra bit of rudeness ), listen to dive in these records so melancholy, to a certain point, sound level, equidistant between Love (how to use the arrangements) and Kinks (cabaret music, swing and the contents of the letters, besides a version of " A house in the country " of "Face To Face " 1966, included in the extras), but as a very personal record. Many of the songs seem miniature, almost skeletons of song and earn enough thanks to the additive noise to which they are exposed. Showing weakness in those moments as creators of the set. The winds were blowing badly for the groups of his rope and things were changing very fast in the pop scene for a group like them survive if changes direction. So, this is an album rushed and forced, the Pretty have to write songs in a style that are not prepared and as not relying too heavily on its creative engine, are given a producer garnish songs. Unexpectedly, the play they went well.
heard the record, the truth that one can not imagine these songs without the arrangements. For example, the acoustic "Death of a socialite " (which according to them was inspired by the lavish and thick " A day in the life " by the Beatles! Even remember much more to "Death of a clown "by the Kinks) without these metals would be a song too spartan and at no time the brass section is too intrusive, but provides pace and variety to the piece. Another example could be the monotony with which they performed "The sun ," a piece with a certain air to the first Animals that did not use the orchestration to create those cardboard melodrama stone so aided when the rock / pop uses the resources of the music called serious. But who benefits from these as they would a song too flat "plain." " There Will Never Be Another Day " is a return to its origins taking advantage of the addition of metals to give a boost to the matter of rhythm.
One of the jewels of the album is "House of ten ." A languid slow song embellished by harp and strings creating a very melancholic atmosphere. The best of album next to " Growing in My Mind" with a very Stones on the stage of " Aftermath" (think "Out of Time " or "Take it or leave it"). In fact the disc is an experiment in pop Pretties sophisticated in the way of the Stones "Between The Buttons " of the same 67. " Photographer " sounds like a version of "Subterranean Homesick Blues " Dylan turned into rhythm & blues to metal, a bit like a version of Harry Nilsson made later, but not half the raw boogie Nilsson and Lennon created on your hard together. And the final piece "My time " again stressed about my impression. Would this song a memorable if not for the instrumental accompaniment that provides Tilsley? I insist, is too restrained, without stifling the songs.
EXTRA MATERIAL: We mentioned version of the Kinks, which seems higher than those to be more raw and driven, but does not contribute almost nothing to the original. And no arrangements Tilsley versions of various songs from the album, where you can see that clearly won the final treatment.
DOWNLOAD LINK:
http://sharebee.com/0046c08e
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