The Pretty Things was preceded by Little Boy Blue and the Blue Boys which consisted of Dick Taylor, fellow Sidcup Art College student Keith Richards, and Mick Jagger. When Brian Jones joined Little Boy Blue and the Blues Boys as guitarist, Taylor was pushed from playing guitar to bass and the Rolling Stones were formed.
Several months later Dick Taylor (born Richard Clifford Taylor, 28 January 1943, in Dartford, Kent) quit the newly formed Rolling Stones to pursue his schooling when he was accepted at London Central School of Art, where he met up with Phil May (born Phillip Arthur Dennis Kattner, on 9 November 1944, in Dartford, Kent: died 15 May 2020) and they formed Pretty Things.
Taylor was once again playing his preferred guitar with May singing and playing harmonica. They recruited Brian Pendleton (born 13 April 1944 in Wolverhampton–died 16 May 2001 in Maidstone, Kent) on rhythm guitar; John Stax (born John Edward Lee Fullegar, 6 April 1944 in Crayford, Kent) on bass; and, after trying a couple of different drummers, including Pete Kitley and Viv Andrews, stuck with Viv Prince (born Vivian St John Prince, 9 August 1944, in Loughborough, Leices).
Early career
They caused a sensation in England, and their first three singles — "Rosalyn" #41, "Don't Bring Me Down" #10, and the self-penned "Honey I Need" at #13 — appeared in the UK singles chart in 1964-1965. They never had a hit in the United States, but had considerable success in their native United Kingdom and in Australia, New Zealand, Germany, and the Netherlands in the middle of the decade. However, in the U.S. they, along with The Yardbirds and Van Morrison's Them, were a huge influence on hundreds of garage bands, including the MC5 and The Seeds.
Their early material was hard-edged blues-rock influenced by Bo Diddley (they took their name from Diddley's 1955 song "Pretty Thing" in humorous contrast to their unkempt long-haired appearance) and Jimmy Reed, much like that of their contemporaries The Stones and The Yardbirds. They were known for wild "rock and roll" behaviour and shocking the establishment; their song "Midnight to Six Man" defined the mod lifestyle. Around this time, the first of what would be many personnel changes over the years also began, with Prince the first to go late in 1965. He was replaced by Skip Alan. Pendleton left late in 1966, and was not initially replaced. Then, Stax quit early in 1967 and Jon Povey and Wally Waller joined to make the band a five piece once again.
After an uncomfortable flirtation with mainstream pop on the Emotions album in 1967, they embraced psychedelia, producing the groundbreaking concept album S.F. Sorrow during 1967-68. This album, released in late 1968, is arguably one of the first rock operas, preceding The Who's Tommy by about a year. It was recorded in the legendary Abbey Road Studios six months after The Beatles' Sgt. Pepper's Lonely Hearts Club Band, and Pink Floyd's The Piper at the Gates of Dawn. Each album shares a similar forward-thinking late-1960s psychedelic sound (as well as sharing the same record producer, Norman Smith, as the Floyd). S.F. Sorrow was followed by the highly-acclaimed record album Parachute, which continued the psychedelic sound and was named "Album of the Year" in 1970 by Rolling Stone Magazine. During this period they also recorded an album for a young French millionaire, Philippe DeBarge, which was intended only to be circulated among the man's social circle. The acetate has since been bootlegged.
Later career
From this point on, the group enjoyed less in the way of commercial success, but the devotion of a strong cult following, especially with critics and other rock musicians. Their material in the early 1970s tended towards more the hard rock and early heavy metal end of the spectrum, although still blues-based, on albums like Silk Torpedo. 1980's Cross Talk saw them incorporating influences of punk and New Wave into their hard rock sound; like most of their records, it was an artistic but not a commercial success.
With a new manager, Mark St John, they gigged sporadically during the 1980s. By the end of the decade their profile had almost disappeared, when founder members Phil May and Dick Taylor reformed the band for a successful European blues tour in late 1990 with Stan Webb's Chicken Shack and Luther Allison. This gigging outfit included drummer Hans Waterman (formerly of Dutch rock group Solution), bassist Roelf ter Velt and guitarist/keyboardist Barkley McKay (Waco Brothers and Pine Valley Cosmonaut's with Jon Langford of Mekon Fame). This line up regularly toured the European mainland playing a revitalised set that show cased their earlier, rootsy blues and r'n'b materiel, until late 1994. By 1995, they reformed the Cross Talk line-up and added Frank Holland on guitar in place of Peter Tolson. Their label, Snapper Music, issued remastered CDs with many bonus tracks, plus a DVD of a re-recording of S.F. Sorrow at Abbey Road Studios (with Dave Gilmour & Arthur Brown guesting). They toured more frequently, including a tour of the U.S. for the first time in decades
Original rhythm guitarist Brian Pendleton died of lung cancer on May 16, 2001.
In the early 2000's, they released new recordings, including a live album and the studio album Rage Before Beauty.
In 2003, Alan Lakey's biography of the band, Growing Old Disgracefully, was published by Firefly. The book dealt with the long and involved history of the band, and paid special attention to the legal proceedings issued against EMI in the 1990s.
The band did their final tour in 2018.
I'm Calling
The Pretty Things Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Uncovering investigations
And I like that
You were born on another planet
In words of the man I think you have it,
And I want some
Well every time I try to call you on the telephone
Another star appears high in the heavens and I guess I don't care
Imagination
Uncovering a Watergate investigation,
That's good
You were born on another planet,
In the words of the man you have it,
And I think I'd like some.
Well every time I try to call you on the telephone etc.
I keep, calling calling can't get the number
My garden's full of green vegetation
And underneath the greenfly I think something's
Growing there
You were born on another planet
In the words of the book I think you've read it,
I want some.
Well every time I try to call you on the telephone etc.
I can't reach that number, I keep calling.
The Pretty Things's song "I'm Calling" is about a person who is infatuated with someone who they believe is unique and otherworldly. The first verse talks about the subject's "loaded imagination," which the singer finds intriguing. The second line of the verse, "Uncovering investigations," implies that this person is very curious and always looking for answers. The singer then says that they like these qualities, indicating that they are drawn to this person's character. The second verse repeats these ideas, but this time adds in the line "Watergate investigation," which alludes to the political scandal of the early 1970s. This suggests that the subject is not just curious about personal matters, but also political ones. The chorus then comes back in, highlighting the singer's frustration at not being able to reach this person on the telephone.
The third verse takes a turn into more surreal territory. The singer talks about their garden being full of "green vegetation," but also mentions that something else might be growing there. This could be a metaphor for their feelings about this person - on the surface, everything seems normal and healthy, but there's something deeper and more mysterious brewing beneath the surface. The final lines of the verse return to the idea that the subject is from another planet, concluding with the singer once again expressing a desire to be closer to them.
Overall, the song paints a picture of a person who is captivated by someone who seems to be unlike anyone else they've ever met. The subject's curiosity and otherworldliness are what draw the singer to them, but at the same time, their elusiveness makes the singer frustrated and anxious.
Line by Line Meaning
You've got a loaded imagination
You have a vivid and creative mind, capable of exploring new ideas and possibilities.
Uncovering investigations
You enjoy uncovering the truth and investigating matters that pique your curiosity.
And I like that
I find your qualities and interests appealing and attractive.
You were born on another planet
You seem unique and different, like you come from another world.
In words of the man I think you have it,
I think you possess the qualities and attributes of someone highly regarded or respected.
And I want some
I am drawn to those qualities and would like to experience them or have them in my life.
Well every time I try to call you on the telephone
Despite my efforts to reach out to you, I am unable to connect with you through conventional means of communication.
I'm full of sadness when I know that you're not there
I feel a deep sense of disappointment and sorrow when I realize that you are not available or present in my life.
Another star appears high in the heavens and I guess I don't care
Although the appearance of a new star would typically be seen as significant, I am too preoccupied with my own emotions and desires to give it much consideration.
My garden's full of green vegetation
My surroundings are rich and abundant with greenery and life.
And underneath the greenfly I think something's
Beneath the surface of this thriving environment, I sense that something else is growing or sprouting.
Growing there
This unseen or unknown development may hold promise or potential, and I am hopeful for what it may bring.
In the words of the book I think you've read it,
I believe you are well-versed in a particular book or subject matter, and therefore possess a certain level of knowledge or insight.
I want some.
I am interested in learning more about this book or subject matter, and would appreciate your guidance or perspective.
I can't reach that number, I keep calling.
Despite my repeated attempts, I am still unable to successfully contact you through the phone.
Lyrics © Universal Music Publishing Group
Written by: PETER TOLSON, PHILIP MAY
Lyrics Licensed & Provided by LyricFind