I doubt anyone would proclaim the Alice Cooper band’s debut release, Pretties For You, as their favourite album, yet it is strangely compelling. The psychedelic styling mixed with a high level of experimentation results in Pretties For You being located somewhere sonically between a garage band jam session and a demo recording. Yes, by conventional standards and that of the later Alice Cooper band records, Pretties For You is just bad, but as an album on its own, it showcases the era and origins of a band that would go on to have a successful career until, of course, Alice Cooper went solo and created an even larger monster, similar to Rob Zombie's move away from White Zombie. While Cooper was no doubt the pioneer, Zombie’s path a couple of decades later was not all that different to his idol’s as the early White Zombie recordings are also very raw and experimental.
Raw is perhaps the best way to describe Pretties For You and the vinyl re-issue I have is so badly mastered and pressed that it sounds like a beaten-up second-hand edition from 1969. That isn't necessarily a bad thing and the TIDAL Hi-Fi and Apple Music streams aren't much better, they just lack the noisy vinyl pressing, one that is also pressed off centre and has audible drift in the first song where one channel of audio is heard in a ghostly manner for the first few rotations of the record. There is even a broken groove on Swing Low, Sweet Cheerio, causing the album to play like a broken record, akin to a repetitive run-out groove. Nevertheless, I have contemplated replacing the 2009 Warner Bros. pressing with the newer 2017 re-issue, but as strange as it may sound, I kind of like the problems this pressing has as it has a character of its own. When the inoperative run-out groove presents itself, the softest of taps on my Pro-jet Debut Carbon’s plinth gets the needle tracking into the correct groove. Yes, it is a ritual, that's one reason why I love vinyl. Needless to say, it’s an imperfect format. Each and every play of an album will yield a different result, not unlike attending a concert where the performance, for any multitude of reasons, cannot be the same as the night before. No doubt some of you by now are questioning my sanity and wondering why I don’t simply get rid of this album considering it isn’t a favourite. Well, I can’t argue with that thought process, but as a life-long Alice Cooper fan, I find that I do enjoy the album, when in the mood, but I also acknowledge its flaws. Yet, I have been known to play the album on repeat for hours on end as it grows on you.
Titanic Overture is a garbled mess but is an interesting start to the album that really goes nowhere until the piano element comes into the mix. That's a shame as I’ve always wondered what would have been if the piano track didn’t fade out. Seems like we’ll never know unless there are unheard recordings floating around that I'm unaware of.
10 Minutes Before The Worm is just weird. Still, it’s interesting but you wouldn't play it outside of the album format. It also is the first time we hear Cooper's vocal and as you may notice he has remained true to that styling throughout the years.
Swing Low, Sweet Cheerio is a great tune with a divine introduction. However, that high pitch vocal, in places, really takes a solid song and turns it into an experience that isn't quite as memorable as one would have hoped for. Nevertheless, it is one of the best songs on the album and one that I would love to see Cooper rerecord. Interestingly, and as a side note, when listening via Apple Music, the high pitch of Cooper's vocal, that I mentioned earlier, is much more reserved and subsequently less ear piercing. It’s interesting because digital music is normally fatiguing, in that regard, not vinyl. It just goes to show that lossy music alternatives do have their place in a music-first audiophile setup. Plus, for those who don’t appreciate the risk of possibly receiving a broken record pressing, the digital counterpart, of course, plays seamlessly.
Today Mueller is similar to Ten Minutes Before The Worm. Weird, yet strangely compelling. I like it!
Living is a solid rock tune from the era and a valued addition to the album.
Fields Of Regret is a song I thoroughly enjoy. However, I’d love to see Cooper rerecord Fields Of Regret with Bob Ezrin, in the production, chair as there is a solid song hidden here, begging to be brought out into the open.
No Longer Umpire is short but enjoyable.
Levity Ball (Live At The Cheetah) is a great song but it's even more sonically compromised, than the rest of the album, as it's a live recording. Yes, dear reader, this is another song I would love to see Cooper rerecord.
B.B. On Mars is pure filler but works well within the album format.
Reflected is brilliant! Yes, the Alice Cooper band would rewrite and rerecord Reflected and release it as Elected on Billion Dollar Babies. However, I must say as much as I enjoy Elected, I prefer Reflected. Yes, there is a fanbase ready to Lynch me for that comment, but Reflected is, in my opinion, the one song that makes Pretties For You worth owning. Seriously, give it a listen.
Apple Bush is a quirky, but enjoyable, song.
Earwigs To Eternity is rather left of the centre but remains compelling and fits the experimental style of the album perfectly.
Changing Arranging is the final song on the album and is good enough to encourage me to listen to the album again and stay within the Alice Cooper catalogue.
Overall, Pretties For You is a solid debut by a band that had yet to find their sound and synergy. But, is it worth owning? For Alice Cooper fans I would say yes, but it isn't a landmark album and therefore will likely only appeal to the most dedicated fans and collectors. Hence, this is one album that you should consider streaming prior to outlaying the cash to buy Pretties For You on Vinyl, CD, the TIDAL Store (16/44.1kHz FLAC), or iTunes.