In the constant debate among such nerds as myself (in fact, a debate that I hold primarily with myself) over what constitutes the first rock opera, S.F. Sorrow holds the lead, coming out a full year before Tommy (and, according to one source I cannot recall, Tommy was Pete Townsend's response to a request by his label to "do something like S.F. Sorrow"). Aside from its historical significance, however, S.F. Sorrow is also one of the best albums of the sixties, and my favorite piece of psychedelia. The story cycle, the dreary tale of an Englishman from birth to war to love, widowerhood and then into his mind for some sort of psychic cataclysm, is a bit muddled, but, hey, so are Tommy (although Tommy's conclusion and thematic statements are clearer) and the Wall (the ending of which seems heavily influenced by S.F. Sorrow). Having to put some work into interpretation isn't really a problem, though, and the songs are strong enough to make the experience more than worthwhile without worrying about what exactly is happening. The overall tone is pretty dark, although the first half of the album contains some lovely lighthearted songs, including "Bracelets of Fingers" and the really smashing psych-power pop "She Says Good Morning." "Baron Saturday," a song that personifies some of the darker forces in the world, is also standout track among winners, with some killer lyrics delivered in an upper class sneer, a groovy, loping bassline, and a wonderfully warped percussion jam. Overall, the sound is very good, despite having been recorded in mono.Recorded in Abbey Road at the same time as Sgt. Peppers and Piper at the Gates of Dawn, it was the little brother that got squeezed out, although, honestly, I like it better than either (although Piper is right in there). According to the band, George Harrison's guitar was "borrowed" for use on several tracks.The bonus tracks are a huge addition as well, many of them collecting single releases and demos that were a part of convincing the label to back their psychedelic opus. Some of these tracks are as good as anything on the album, especially the brilliant "Talking About the Good Times," my very favorite track. If you are a fan of British psychedelia of any stripe, and you don't need your albums to all have happy endings (for, whatever does happen to poor Mr. Sorrow, it ain't happy. Look to S.F. Happy for that), this album is as highly recommended as anything in that genre.For more psychedelia recs, see my trustee RevUp64's excellent series!