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Procol Harum: Koko ura
Kattava historiikki yhdestä aikamme vaikutusvaltaisimmista rock-yhtyeistä. Procol Harumin vaiheet bändin itsensä kertomana.
Progressiivisen rockin historiassa ei liene kappaletta, joka suosiossaan ja unohtumattomuudessaan ohittaisi Procol Harumin vuonna 1967 julkaiseman debyyttisinglen A Whiter Shade of Pale. Siitä tuli välittömästi kansainvälinen megahitti, ja se on edelleen säilyttänyt paikkansa radioasemien soittolistoilla.
Yhtyeen tavaramerkiksi muodostunut laulu on ollut myös painolasti. Se on jättänyt varjoonsa paljon hienoja Procol Harum -kappaleita, ja sen tekijänoikeuksista on jouduttu käymään katkeraa ja kallista oikeustaistelua.
Rakettimaisesti maailmanmenestykseen noussut bändi hajosi vuonna 1977, mutta teki komean paluun neljätoista vuotta myöhemmin. Procol Harum täyttää yhä edelleen konserttisaleja maailmankiertueillaan.
Progressiivisen rockin historiassa ei liene kappaletta, joka suosiossaan ja unohtumattomuudessaan ohittaisi Procol Harumin vuonna 1967 julkaiseman debyyttisinglen A Whiter Shade of Pale. Siitä tuli välittömästi kansainvälinen megahitti, ja se on edelleen säilyttänyt paikkansa radioasemien soittolistoilla.
Yhtyeen tavaramerkiksi muodostunut laulu on ollut myös painolasti. Se on jättänyt varjoonsa paljon hienoja Procol Harum -kappaleita, ja sen tekijänoikeuksista on jouduttu käymään katkeraa ja kallista oikeustaistelua.
Rakettimaisesti maailmanmenestykseen noussut bändi hajosi vuonna 1977, mutta teki komean paluun neljätoista vuotta myöhemmin. Procol Harum täyttää yhä edelleen konserttisaleja maailmankiertueillaan.
- GenresMusic
441 pages, Hardcover
First published November 20, 2012
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November 16, 2012
Henry Scott-Irvine has written a superb account of the origin, success and excess with all sundry trials, triumphs and tribulations associated with the rapid rise in the charts of a rock band with a truly unique sound. If The Ghosts of A Whiter Shade of Pale: Procol Harum would have been turned into a mystery novel it might have been titled “The Case of the Missing Acetate”. For there are mysterious threads that run throughout this book and the careers of those associated with the band. The more a fan, like myself, discovers about Procol Harum, falsehood or truth, the more questions arise about those salad days. The author has deftly surveyed the landscape surrounding Procol Harum and presented us with a rich array of band history, anecdotes from band members and insight into the devilish machinations of the music industry. With his vast experience of research into documenting the recordings of the swinging 1960s and the psychedelic 1970s, Scott-Irvine was dutifully poised to use his many contacts in the music business to enhance his portrait of the band that defies description and labeling.
How was he to do this? A big fan of the band himself, Scott-Irvine chose to arrange his book chronologically. Written mostly in the third person, he starts by introducing the reader to the music scene in Britain in the early 60s and the pre-Procol R&B band called The Paramounts. Early on we get the feeling that guitarist Robin Trower would eventually start his own band and pianist Gary Brooker would evolve into one of the best singers to come out of that era. For six years The Paramounts played on the same stage as some of the biggest acts going including The Rolling Stones but they were almost exclusively a cover band influenced buy American Soul and Rhythm and Blues artists. After giving up the paramount ghost of stardom, Gary Brooker thought he would write songs for other people. How he got together with lyricist Keith Reid and how they worked together is one of the most intriguing facets of the book.
Of course, the leading lady in this tale is the mega-hit A Whiter Shade of Pale. Penned by Keith Reid and put to music by Gary Brooker, it featured the sweeping organ of Matthew Fisher and Brooker’s soulful voice. Both Brooker and Fisher were inspired by Bach but the authorship of the song’s music was to be contested by Fisher in a long drawn-out court case 38 years after it reached number 1 in the U. K. singles charts. A telling paragraph from page 44 puts the song’s publication in perspective:
‘Beyond the extraordinary success that ‘A Whiter Shade Of Pale’
achieved in the summer of 1967 was the inescapable fact that,
although - with the exception of drummer Bill Eyden - not
strictly the work of session musicians, it had been recorded by
a group assembled for the recording session at which it was
produced. The six musicians on the record had no history
together, none of the experiences that The Paramounts had
shared, none of the fraternity, understanding and sympathy
that comes from long nights spent in the back of a van traipsing
home after an unmemorable gig 150 miles away.’
The genesis for the recording of AWSOP was the songwriting collaboration of Brooker/Reid. They had a hit before they were a band. They had a hit and they and everyone around them were scrambling. All hands on deck! A few fell overboard but Fisher and bass player, David Knights remained and ex-Paramounts band mates drummer, B. J. Wilson and Robin Trower were recruited. The author gives a stunning blow by blow of the waters of fame and keeps an objective viewpoint while letting Fisher, Brooker, Trower and Reid explain the course they were taking on the first three albums. Though Matthew Fisher disliked touring and quit the band after producing ‘A Salty Dog’ he later joined the band during their resurgence in the 90’s and then later in the new millennium.
Both Brooker and Fisher come across as sincere in their stance on authorship of AWSOP. My two main objections, and they are mine not the author’s, is that number 1: Fisher’s claim that it was never about the money just rings false. We learn that at one point in the proceedings the estate on which Gary Brooker lives was compared to the modest “shabby” domicile of Mr Fisher. Number 2: 38 years certainly seems beyond the pale. All this notwithstanding it is a shame that the case ever went to court. They made great music together but in the end Scott-Irvine had to address the situation and he does so with aplomb.
Each recording and lineup change is explained both in creative and technical terms. Procol went through changes, as most bands did, but they were able to re-define their group within the epic voyage that their idea of artistic creation entailed. The marvelous drumming of B. J. Wilson was a constant during their original run through 1977. Robin Trower set the precedent on bluesy, soulful guitar. Gary Brooker’s piano and voice along with Keith Reid’s words still define the essence of Procol. Chris Copping, another former member of The Paramounts, took over on organ while also playing bass and kick-started the band when it needed it most. Dave Ball played ably on the “live” recording with the Edmonton Symphony Orchestra. Mick Grabham was the perfect choice to succeed Ball on guitar and played on some of Procol’s finest classical pieces, ‘The Blue Danube’ and ‘Adagio de Albinoni’ as well as rocking out on such numbers as ‘Toujours L’Amour’ and ‘Drunk Again’. At no time are there dead spots in this biography of a band. The addition/subtraction of other various members involved stories and tidbits of information only a master documentarian could assemble. Hard to believe that the excellent combination of Geoff Whitehorn on guitar and Matt Pegg on bass has been with the band 21 and 19 years respectively.
A truly fine bit of writing that also covers the solo efforts of these great musicians and the charity work of Gary Brooker and friends. But I do have a few minor disagreements with the author. On page 140-141 we find the description of Procol’s appearance on the TV show, The Midnight Special....”five songs - four from Grand Hotel and ‘Conquistador’.” No mention of ‘Drunk Again’ but I saw the show and that was the first time I heard the song which was excluded from their next album. To make matters worse, the author states on page 150 that “it was not a strong song”. I must protest. Strong song and Grabham rocks. And, on page 157, “Procol’s worst ever song in the shape of ‘The Final Thrust’...” Henry, what has become of third person impartiality? The author can be excused because it is impossible for a fan not to be passionate
about this music. I would agree that ‘The Final Thrust’ was a poor choice for a single but personally love the song and think that it fits a certain Procol profile perfectly. I agree with Chris Copping on the merits of ‘So Far Behind’. Great arrangement on The Well’s on Fire. The Albert Bros. production of Something Magic notwithstanding, that album is under appreciated. A lot of good stuff there. The song, ‘No More Fear of Flying’ could have been a hit for Procol. ‘Two Fools in Love’ holds a special place in my heart and to call it “insipid” should be a crime. All meant to be taken in the spirit in which it was written.
I thoroughly enjoyed gorging myself on Procol Harum love and lore while reading this book. It is a serious and in-depth appraisal of all the various ghosts that haunt Harum Land. At one point I found myself laughing out loud. Twice I was brought to tears. Many times I was illuminated. If there is one thing to stress amidst the controversy it is this: Procol Harum, most notably Gary Brooker, never sold out his perfectionism or professionalism. The music stands paramount to any hurdles the industry has to offer. Well done, Henry!
How was he to do this? A big fan of the band himself, Scott-Irvine chose to arrange his book chronologically. Written mostly in the third person, he starts by introducing the reader to the music scene in Britain in the early 60s and the pre-Procol R&B band called The Paramounts. Early on we get the feeling that guitarist Robin Trower would eventually start his own band and pianist Gary Brooker would evolve into one of the best singers to come out of that era. For six years The Paramounts played on the same stage as some of the biggest acts going including The Rolling Stones but they were almost exclusively a cover band influenced buy American Soul and Rhythm and Blues artists. After giving up the paramount ghost of stardom, Gary Brooker thought he would write songs for other people. How he got together with lyricist Keith Reid and how they worked together is one of the most intriguing facets of the book.
Of course, the leading lady in this tale is the mega-hit A Whiter Shade of Pale. Penned by Keith Reid and put to music by Gary Brooker, it featured the sweeping organ of Matthew Fisher and Brooker’s soulful voice. Both Brooker and Fisher were inspired by Bach but the authorship of the song’s music was to be contested by Fisher in a long drawn-out court case 38 years after it reached number 1 in the U. K. singles charts. A telling paragraph from page 44 puts the song’s publication in perspective:
‘Beyond the extraordinary success that ‘A Whiter Shade Of Pale’
achieved in the summer of 1967 was the inescapable fact that,
although - with the exception of drummer Bill Eyden - not
strictly the work of session musicians, it had been recorded by
a group assembled for the recording session at which it was
produced. The six musicians on the record had no history
together, none of the experiences that The Paramounts had
shared, none of the fraternity, understanding and sympathy
that comes from long nights spent in the back of a van traipsing
home after an unmemorable gig 150 miles away.’
The genesis for the recording of AWSOP was the songwriting collaboration of Brooker/Reid. They had a hit before they were a band. They had a hit and they and everyone around them were scrambling. All hands on deck! A few fell overboard but Fisher and bass player, David Knights remained and ex-Paramounts band mates drummer, B. J. Wilson and Robin Trower were recruited. The author gives a stunning blow by blow of the waters of fame and keeps an objective viewpoint while letting Fisher, Brooker, Trower and Reid explain the course they were taking on the first three albums. Though Matthew Fisher disliked touring and quit the band after producing ‘A Salty Dog’ he later joined the band during their resurgence in the 90’s and then later in the new millennium.
Both Brooker and Fisher come across as sincere in their stance on authorship of AWSOP. My two main objections, and they are mine not the author’s, is that number 1: Fisher’s claim that it was never about the money just rings false. We learn that at one point in the proceedings the estate on which Gary Brooker lives was compared to the modest “shabby” domicile of Mr Fisher. Number 2: 38 years certainly seems beyond the pale. All this notwithstanding it is a shame that the case ever went to court. They made great music together but in the end Scott-Irvine had to address the situation and he does so with aplomb.
Each recording and lineup change is explained both in creative and technical terms. Procol went through changes, as most bands did, but they were able to re-define their group within the epic voyage that their idea of artistic creation entailed. The marvelous drumming of B. J. Wilson was a constant during their original run through 1977. Robin Trower set the precedent on bluesy, soulful guitar. Gary Brooker’s piano and voice along with Keith Reid’s words still define the essence of Procol. Chris Copping, another former member of The Paramounts, took over on organ while also playing bass and kick-started the band when it needed it most. Dave Ball played ably on the “live” recording with the Edmonton Symphony Orchestra. Mick Grabham was the perfect choice to succeed Ball on guitar and played on some of Procol’s finest classical pieces, ‘The Blue Danube’ and ‘Adagio de Albinoni’ as well as rocking out on such numbers as ‘Toujours L’Amour’ and ‘Drunk Again’. At no time are there dead spots in this biography of a band. The addition/subtraction of other various members involved stories and tidbits of information only a master documentarian could assemble. Hard to believe that the excellent combination of Geoff Whitehorn on guitar and Matt Pegg on bass has been with the band 21 and 19 years respectively.
A truly fine bit of writing that also covers the solo efforts of these great musicians and the charity work of Gary Brooker and friends. But I do have a few minor disagreements with the author. On page 140-141 we find the description of Procol’s appearance on the TV show, The Midnight Special....”five songs - four from Grand Hotel and ‘Conquistador’.” No mention of ‘Drunk Again’ but I saw the show and that was the first time I heard the song which was excluded from their next album. To make matters worse, the author states on page 150 that “it was not a strong song”. I must protest. Strong song and Grabham rocks. And, on page 157, “Procol’s worst ever song in the shape of ‘The Final Thrust’...” Henry, what has become of third person impartiality? The author can be excused because it is impossible for a fan not to be passionate
about this music. I would agree that ‘The Final Thrust’ was a poor choice for a single but personally love the song and think that it fits a certain Procol profile perfectly. I agree with Chris Copping on the merits of ‘So Far Behind’. Great arrangement on The Well’s on Fire. The Albert Bros. production of Something Magic notwithstanding, that album is under appreciated. A lot of good stuff there. The song, ‘No More Fear of Flying’ could have been a hit for Procol. ‘Two Fools in Love’ holds a special place in my heart and to call it “insipid” should be a crime. All meant to be taken in the spirit in which it was written.
I thoroughly enjoyed gorging myself on Procol Harum love and lore while reading this book. It is a serious and in-depth appraisal of all the various ghosts that haunt Harum Land. At one point I found myself laughing out loud. Twice I was brought to tears. Many times I was illuminated. If there is one thing to stress amidst the controversy it is this: Procol Harum, most notably Gary Brooker, never sold out his perfectionism or professionalism. The music stands paramount to any hurdles the industry has to offer. Well done, Henry!
August 1, 2015
Author Scott-Irvine's challenge in writing this book is that Procol's biggest moment - one of the defining moments for popular music in the end of the 20th century - took place effectively before the real story - or the real band begins. Whiter Shade of Pale will be in the first sentence of almost every story about PH, a song everyone knows. The story is mostly downhill after 1967, with some peaks. Personally, they were one of my favorite groups, and I believe that their work contains many great tracks. Yes, some greater than Whiter Shade of Pale.
If you try to put your finger on the moment that Rock asked Classical music to go to the prom, I'd say Eleanor Rigby not Whiter Shade of Pale. But I think that WSP spawned progressive rock as a genre - Yes, Genesis, etc. It was that important. Still, its first three albums all followed up on the concept.
The title of the book tells a large part of the story. The band could never escape the gravitational force of its biggest hit. This was a problem because Whiter Shade concealed the band's R&B roots. This was something of a trap. For a while, they worked to develop the third stream approach of Whiter Shade, but the band was also pulled back to its roots. I don't know if the band suffered an identity crisis but for sure their label's marketing department did. How do we sell them? Who are they?
I also question about the objectivity of the author, who recently has collaborated with the band on projects, as well as a number of the reviews he uses to bolster opinion on the albums. Often the reviews are universally favorable -- except for Rolling Stone. the critical point is that in the years 1970-75, Rolling Stone was the US market's oracle. Still, for most of its run, Procol Harum drew and sold well in the US.
Back to the beginning: how do you write a book about an entertainer that peaks right at the beginning? The answer here is a story about the band's shifting personnel and shifting fortunes, miscalculations, getting picked apart by the business people. In short, many of the usual miseries. But it's not a tell-all kind of book. It does not roll in the mud. It sticks to the music and the music business. That's admirable.
If you try to put your finger on the moment that Rock asked Classical music to go to the prom, I'd say Eleanor Rigby not Whiter Shade of Pale. But I think that WSP spawned progressive rock as a genre - Yes, Genesis, etc. It was that important. Still, its first three albums all followed up on the concept.
The title of the book tells a large part of the story. The band could never escape the gravitational force of its biggest hit. This was a problem because Whiter Shade concealed the band's R&B roots. This was something of a trap. For a while, they worked to develop the third stream approach of Whiter Shade, but the band was also pulled back to its roots. I don't know if the band suffered an identity crisis but for sure their label's marketing department did. How do we sell them? Who are they?
I also question about the objectivity of the author, who recently has collaborated with the band on projects, as well as a number of the reviews he uses to bolster opinion on the albums. Often the reviews are universally favorable -- except for Rolling Stone. the critical point is that in the years 1970-75, Rolling Stone was the US market's oracle. Still, for most of its run, Procol Harum drew and sold well in the US.
Back to the beginning: how do you write a book about an entertainer that peaks right at the beginning? The answer here is a story about the band's shifting personnel and shifting fortunes, miscalculations, getting picked apart by the business people. In short, many of the usual miseries. But it's not a tell-all kind of book. It does not roll in the mud. It sticks to the music and the music business. That's admirable.
March 6, 2013
This is a well-written and exhaustive account of the recording and touring history of Procol Harum. It takes us from the days of the Paramounts in the Southend of the early sixties right through to the draining four-year court case that pitted the band's original organist against his former employers over forty years later. The coverage is comprehensive and well organised and the early chapters on the Southend scene are especially engrossing.
In spite of the determinedly factual basis of the book, it's entertainingly written in a relaxed and highly readable style. As you'd expect, there is much quoting from interviews with band members and others closely connected to them and a selection of photographs.
Overall, I found it a little light on analysis perhaps: the author prefers to let the facts and the interviewees' own words stand for themselves rather than offering his own interpretation or critique but then some may see that as a strength of the book rather than a weakness!
Without a doubt, this is an essential book for anyone even remotely interested in the band and its origins. No prior knowledge is assumed: this is definitely not an "insider" book for fans only. Thoroughly recommended.
In spite of the determinedly factual basis of the book, it's entertainingly written in a relaxed and highly readable style. As you'd expect, there is much quoting from interviews with band members and others closely connected to them and a selection of photographs.
Overall, I found it a little light on analysis perhaps: the author prefers to let the facts and the interviewees' own words stand for themselves rather than offering his own interpretation or critique but then some may see that as a strength of the book rather than a weakness!
Without a doubt, this is an essential book for anyone even remotely interested in the band and its origins. No prior knowledge is assumed: this is definitely not an "insider" book for fans only. Thoroughly recommended.
April 20, 2018
Procol Harumin historia on varsin mielenkiintoinen. Ensisinglestä "A Whiter Shades on Pale" tuli tavallaan puolivahingossa jättimenestys heti ilmestyttyään ja sitten bändille tulikin kiire kasata pysyvämpää kokoonpanoa. Vastaavanlaista menestyskappaletta Procol Harum ei onnistunut toistamiseen tekemään, joskin kelvollisesti menestyneitä albumeita syntyi tasaiseen tahtiin 60-luvun lopulta 70-luvun lopulle. Hiipunut suosio kuitenkin hajotti tässä kohden orkesterin, joskin 90-luvulla koitti uusi yritys ja siitä eteenpäin Procol Harum on keikkaillut harvakseltaan ja vielä harvemmin julkaissut uutta musiikkia.
Scott-Irvine on seurannut Procol Harumin tekemisiä pitkään ja kirjan pohjana onkin hänen aikojen saatossa tekemänsä orkesterin haastattelut. Lähdeaineisto on siis varsin mielenkiintoinen, eikä nojaa pelkästään musiikkilehdissä julkaistuihin artikkeleihin ja/tai aikaisempiin kirjoihin.
Kronologisesti etenevän teoksen mielenkiintoisin anti on kuitenkin vasta lopussa. Vuonna 2005 alkuperäisen bändin kosketinsoittaja Matthew Fischer nosti oikeusjutun A Whiter Shade of Pale -kappaleen tekijäoikeuksista. Fischerin mukaan hän oli oleellisessa osassa kappaleen sävellystyössä, eikä ole vuosien saatossa saanut nimeään tekijätietoihin, vaikka on siitä muutamaan otteeseen pyytänytkin. Oikeutta käytiin usean vuoden ajan ja lopulta Fischer voitti.
Kirja on kokonaisuudessaan hyvin tuotettu. Taittojälki on miellyttävän väljää, kuvia on ripoteltu sivuille paljon ja asianmukaiset liitteet diskografioineen löytyy. Kerronta on melkolailla toteavaa ja paikoitellen puuduttavaakin. Mukaansa tempaavaa otetta Scott-Irvine ei ole kirjaan saanut. Mutta varsin mojovan tietopaketin kuitenkin.
Scott-Irvine on seurannut Procol Harumin tekemisiä pitkään ja kirjan pohjana onkin hänen aikojen saatossa tekemänsä orkesterin haastattelut. Lähdeaineisto on siis varsin mielenkiintoinen, eikä nojaa pelkästään musiikkilehdissä julkaistuihin artikkeleihin ja/tai aikaisempiin kirjoihin.
Kronologisesti etenevän teoksen mielenkiintoisin anti on kuitenkin vasta lopussa. Vuonna 2005 alkuperäisen bändin kosketinsoittaja Matthew Fischer nosti oikeusjutun A Whiter Shade of Pale -kappaleen tekijäoikeuksista. Fischerin mukaan hän oli oleellisessa osassa kappaleen sävellystyössä, eikä ole vuosien saatossa saanut nimeään tekijätietoihin, vaikka on siitä muutamaan otteeseen pyytänytkin. Oikeutta käytiin usean vuoden ajan ja lopulta Fischer voitti.
Kirja on kokonaisuudessaan hyvin tuotettu. Taittojälki on miellyttävän väljää, kuvia on ripoteltu sivuille paljon ja asianmukaiset liitteet diskografioineen löytyy. Kerronta on melkolailla toteavaa ja paikoitellen puuduttavaakin. Mukaansa tempaavaa otetta Scott-Irvine ei ole kirjaan saanut. Mutta varsin mojovan tietopaketin kuitenkin.
June 3, 2023
Thorough overview of a band about which much hasn't really been written, and was always more than "Whiter Shade of Pale", although that song and its genesis (and later court proceedings) are well documented.
April 14, 2013
"We skipped the light fandango, turned cartwheels 'cross the floor... '
Forever changing the face of pop music when they burst onto the scene in 1967 with the mega-hit, A Whiter Shade of Pale, Procol Harum remains one of the more important – if least-recognized – forces in the evolution of rock and roll. The profound effect of their aforementioned iconic world-wide hit song not only served to propel the band into the public's consciousness but also became the albatross that would overshadow the rest of the band's fine work and lead to a bitter court case some 38 years later.
Author Henry Scott-Irvine's comprehensive history and homage to Procol Harum captures the flavor of the mid-sixties, tracing the beginnings of Procol Harum as far back as Gary Brooker's first group, The Paramounts - a local R&B cover band. Eventually landing a recording contract and gaining high praise from The Rolling Stones and other up-and-coming rock bands, The Paramounts nevertheless ended and Brooker focused on song writing. Brooker eventually partnered with lyricist Keith Reid – a pairing that would lead to the creation of Procol Harum as a vehicle for the unique songs that were emerging from their combined efforts. The Brooker/Reid formula still works to this day, as the book's author points out – but it's a story full of personnel changes, money problems, questionable management and seemingly frequent bad luck. Scott-Irvine also takes us behind the scenes as Procol Harum pioneers orchestral rock and hints at the the roots of progressive rock by introducing a 17 minute opus on their second album. By the book's end we're brought right up to the current incarnation of the band, a capable and congenial musical unit touring the world, dispelling ghosts as they go.
The book is highly readable, full of facts and well-illustrated with rare photos (in black & white and color) that cover the entire length of Procol Harum's career, right up to the present. Scott-Irvine assembles quotes and reminiscences culled from exclusive interviews with band members spanning Procol Harum's 40 year-plus career, including comments from Brooker, Reid and Matthew Fisher. Fisher, of course, was the man behind the Bach-inspired Hammond organ on A Whiter Shade of Pale and the initiator of the lawsuit disputing the authorship of that famous organ line and whether or not financial compensation was owed for more than three decades of royalties. This dilemma remains a point of contention that still stirs discussion throughout the band's sizable fan-base (partially represented by the impressive website, Beyond The Pale, found at www.procolharum.com ) and is treated fairly here, complete with the inclusion of court documents in the appendix section of the book. Like Monsieur R. Monde, spectral subject of the Procol Harum song of the same name, the ghost of A Whiter Shade of Pale persists to this day.
A key factor in the story of Procol Harum has much to do with the popular culture of the era into which the band was born. At a time when pop groups were supposed to be cheery mop-top lads that huddled together and produced bouncy hit singles, Procol Harum was a group that wouldn't compromise musical integrity, featured obscure, poetic lyrics over love songs, rejected the idea of corporate 'cuteness' and would end up replacing members fairly frequently before groups like Steely Dan did the same as a matter of course.
Procol Harum – The Ghosts of A Whiter Shade of Pale is a fine book for anyone interested in the music of the classic rock era, with 'cameo appearances' by The Beatles, The Rolling Stones, and other up-and-coming rockers of the day, quotes from the likes of Jimmy Page and a foreword by no less than Martin Scorsese! The legacy of stunning music by Procol Harum lives on to this day. Thankfully, we can read the book and also go see these masters of classic rock in concert, doing what they've always done best, and A Whiter Shade of Pale is only one small part of the package, as the author clearly shows. Recommended reading for fans, rock historians, and anyone interested in an inside look at how the music business isn't always as simple as it seems on the outside.
- Bert Saraco
Forever changing the face of pop music when they burst onto the scene in 1967 with the mega-hit, A Whiter Shade of Pale, Procol Harum remains one of the more important – if least-recognized – forces in the evolution of rock and roll. The profound effect of their aforementioned iconic world-wide hit song not only served to propel the band into the public's consciousness but also became the albatross that would overshadow the rest of the band's fine work and lead to a bitter court case some 38 years later.
Author Henry Scott-Irvine's comprehensive history and homage to Procol Harum captures the flavor of the mid-sixties, tracing the beginnings of Procol Harum as far back as Gary Brooker's first group, The Paramounts - a local R&B cover band. Eventually landing a recording contract and gaining high praise from The Rolling Stones and other up-and-coming rock bands, The Paramounts nevertheless ended and Brooker focused on song writing. Brooker eventually partnered with lyricist Keith Reid – a pairing that would lead to the creation of Procol Harum as a vehicle for the unique songs that were emerging from their combined efforts. The Brooker/Reid formula still works to this day, as the book's author points out – but it's a story full of personnel changes, money problems, questionable management and seemingly frequent bad luck. Scott-Irvine also takes us behind the scenes as Procol Harum pioneers orchestral rock and hints at the the roots of progressive rock by introducing a 17 minute opus on their second album. By the book's end we're brought right up to the current incarnation of the band, a capable and congenial musical unit touring the world, dispelling ghosts as they go.
The book is highly readable, full of facts and well-illustrated with rare photos (in black & white and color) that cover the entire length of Procol Harum's career, right up to the present. Scott-Irvine assembles quotes and reminiscences culled from exclusive interviews with band members spanning Procol Harum's 40 year-plus career, including comments from Brooker, Reid and Matthew Fisher. Fisher, of course, was the man behind the Bach-inspired Hammond organ on A Whiter Shade of Pale and the initiator of the lawsuit disputing the authorship of that famous organ line and whether or not financial compensation was owed for more than three decades of royalties. This dilemma remains a point of contention that still stirs discussion throughout the band's sizable fan-base (partially represented by the impressive website, Beyond The Pale, found at www.procolharum.com ) and is treated fairly here, complete with the inclusion of court documents in the appendix section of the book. Like Monsieur R. Monde, spectral subject of the Procol Harum song of the same name, the ghost of A Whiter Shade of Pale persists to this day.
A key factor in the story of Procol Harum has much to do with the popular culture of the era into which the band was born. At a time when pop groups were supposed to be cheery mop-top lads that huddled together and produced bouncy hit singles, Procol Harum was a group that wouldn't compromise musical integrity, featured obscure, poetic lyrics over love songs, rejected the idea of corporate 'cuteness' and would end up replacing members fairly frequently before groups like Steely Dan did the same as a matter of course.
Procol Harum – The Ghosts of A Whiter Shade of Pale is a fine book for anyone interested in the music of the classic rock era, with 'cameo appearances' by The Beatles, The Rolling Stones, and other up-and-coming rockers of the day, quotes from the likes of Jimmy Page and a foreword by no less than Martin Scorsese! The legacy of stunning music by Procol Harum lives on to this day. Thankfully, we can read the book and also go see these masters of classic rock in concert, doing what they've always done best, and A Whiter Shade of Pale is only one small part of the package, as the author clearly shows. Recommended reading for fans, rock historians, and anyone interested in an inside look at how the music business isn't always as simple as it seems on the outside.
- Bert Saraco
August 2, 2015
This is a very detailed look at British band Procol Harum. Recommended to fans of the band.
April 27, 2024
meh…
I was disappointed overall. It might as well be called A Whiter Shade Of Pale. I do not understand why that song is held so high in the history of the band, when so many subsequent albums were excellent IMHO. Way too much detail on the never-ending legal battles.
I was disappointed overall. It might as well be called A Whiter Shade Of Pale. I do not understand why that song is held so high in the history of the band, when so many subsequent albums were excellent IMHO. Way too much detail on the never-ending legal battles.
May 6, 2022
An excellent band, but equally one that seems relatively anonymous to many.
This enjoyable biography helps to fill out the story of one of the most underrated bands around.
This enjoyable biography helps to fill out the story of one of the most underrated bands around.
September 14, 2015
Editorial Reviews
"The word definitive comes to mind" Fred Dellar. MOJO. 4 stars
"Martin Scorsese opens this definitive biog". Charlie Harris. WEED
"Solidly unpretentious" Oregano Rathbone. RECORD COLLECTOR. 4 stars
"H.S-I's thoroughly researched book" David Quantick. CLASSIC ROCK. 7 stars
"H.S-I takes us on a rigorous road trip" Chris Roberts. PROG.
"His excellent biography" Chris Twomey. SHINDIG
"Thoroughly researched... an enticing read" Jim Stewart. THE BEAT
"Related with real knowledge and insight". Den Browne. MUDKISS
A MUST FOR YOUR BOOKSHELF!
by John Bobin bassist for Mickey Jupp's Legend & The Fingers
Henry must be congratulated on delivering the best musical biography which I have ever read. He doesn't shy away from covering the bitter court case concerning the composing rights to A Whiter Shade of Pale. There are too many musical gems to name; A Salty Dog, As Strong as Samson, and Pandora's Box to name but three. With interesting insights from Martin Scorsese, Sir Alan Parker, Jimmy Page and Sebastian Faulks this is a must for your bookshelf. Rush out and buy this book right now. You will not regret it.
"The word definitive comes to mind" Fred Dellar. MOJO. 4 stars
"Martin Scorsese opens this definitive biog". Charlie Harris. WEED
"Solidly unpretentious" Oregano Rathbone. RECORD COLLECTOR. 4 stars
"H.S-I's thoroughly researched book" David Quantick. CLASSIC ROCK. 7 stars
"H.S-I takes us on a rigorous road trip" Chris Roberts. PROG.
"His excellent biography" Chris Twomey. SHINDIG
"Thoroughly researched... an enticing read" Jim Stewart. THE BEAT
"Related with real knowledge and insight". Den Browne. MUDKISS
A MUST FOR YOUR BOOKSHELF!
by John Bobin bassist for Mickey Jupp's Legend & The Fingers
Henry must be congratulated on delivering the best musical biography which I have ever read. He doesn't shy away from covering the bitter court case concerning the composing rights to A Whiter Shade of Pale. There are too many musical gems to name; A Salty Dog, As Strong as Samson, and Pandora's Box to name but three. With interesting insights from Martin Scorsese, Sir Alan Parker, Jimmy Page and Sebastian Faulks this is a must for your bookshelf. Rush out and buy this book right now. You will not regret it.
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