“London’s Pretty Things were always there in the swinging 60s, in tune with the times, if not in time with them (if that makes any sense), which means that by 1968, they were launching into realms psychedelic and beyond with the epic tale of Sebastian F Sorrow, a full-on integrated cycle of songs that hit the culture many months before the Who’s Tommy would make the notion of a rock opera a genuinely big deal. No, SF Sorrow didn’t sell that well, doesn’t generally get name-checked when the experts are trying to make sense of the age, but for me anyway, it stands up better than Tommy, minute for minute, song for song, maybe because it’s only a one record set, with the high point coming on side two, when SF Sorrow encounters the mysterious Baron Saturday (intended to represent Baron Samedi of Haitian Voodoo notoriety), who ‘borrows his eyes’ for a trip through the underworld, with terrifying consequences.” (Philip Random)