By ProgBlog, Dec 7 2014 05:57PM
The headline for a review of a Procol Harum gig in The Independent last week suggested that Procol Harum should be considered on an equal footing to Pink Floyd http://www.independent.co.uk/arts-entertainment/music/reviews/procol-harum-dominion-theatre-gig-review-poised-to-reclaim-their-rightful-place-alongside-pink-floyd-in-the-prog-rock-pantheon-9882262.html?origin=internalSearch but I’d have issues with this even if I held The Independent in any regard. Founded in 1986 by disaffected Daily Telegraph journalists, The Indy (as it liked to be known) maintained the banner "free from party political bias, free from proprietorial influence" until 2011 but always retained a pro-market predisposition. Fellow Barrovian Chris Blackhurst became editor in 2011 after circulating around the business pages of a number of Tory rags; Blackhurst was a student in my form at school whose father was a Conservative councillor and, though he says he originally was in favour of the comprehensive school system, wrote an op-ed for his paper in 2012 asking for the resurrection of Grammar schools. Owned by oligarch and former KGB Foreign Intelligence officer Alexander Lebedev since 2010, the standing of The Independent plummeted further in my eyes.
Forget my issues with the newspaper’s ownership and editorial bias. Procol Harum (named after a Burmese Blue cat that had been misspelled, the cat was meant to be called Procul Harun, ‘beyond these things’) do have a potential claim to a place in progressive rock history: In Held Twas In I, from their second album Shine On Brightly released in December 1968, is an almost side-long multi-part suite that some might consider to be the first prog track. Procol are obviously most famous for A Whiter Shade of Pale, the most played song on UK radio, a track that was released before but didn’t appear on their first (eponymous) album. The most striking thing about this single which came out before the album, is Matthew Fisher’s organ figure, a loose approximation of Bach’s Air on a G String and there’s nothing like it on the entire debut LP. Fisher, from South Croydon, had spent two terms at the Guildhall School of Music but had decided musical studies didn’t suit him. However, I think the best tracks on Procol Harum are those which most feature Fisher: the excellent Conquistador; the instrumental Repent Walpurgis (which was written by Fisher but does include some nice guitar); and She Wandered Through the Garden Fence, where the organ is gospel-jazz. Not even the classical motifs can hide the blues that dominate the rest of the album; the lyrics are almost all throwaway despite the strong vocal performance from Brooker but the playing is always solid. With the possible exception of Conquistador, none of this is prog, or even proto-prog territory. The more psychedelic songs sound a little bit like the shorter Thoughts of Emerlist Davjack offerings from The Nice but compared to Piper-era Floyd, there’s no sonic exploration and even Syd Barrett’s lyrical whimsy, set within the context of the dawn of psychedelia, comes across as something new and different. Perhaps this is because the Floyd were less established as musicians; intending to become a song writer, Brooker had originally ended his playing career (with The Paramounts) in 1966 when Pink Floyd were only just settling on a steady line-up and managing to get paid bookings. Both bands played to their strengths: Procol were a very British R&B group and Pink Floyd were plotting their course towards space rock.
Much of Procol’s second could have been written for their first album. The exception is the near 17 minute masterpiece In Held Twas In I which, though it wasn’t the first side-length track (Ars Longa Vita Brevis had been released a couple of months beforehand), it incorporated a broader sonic palette, utilising sitar and harpsichord, absorbing musical and theological influences from the East. It was both thought-provoking and fun and one of my student day party pieces was to recount the opening section Glimpses of Nirvana: “Well, my son. Life is like a beanstalk. Isn’t it?” The piece was a composite; shorter songs very neatly segued together to produce the full track but it is, nevertheless, a pretty successful and fulfilling piece of music. Matthew Fisher was again invited to provide material and he also sings on the section that he penned, In the Autumn of my Madness, which has a very memorable melody.
I first heard this song on Live In Concert with the Edmonton Symphony Orchestra, owned by one of Tony’s friends; with a much revised line-up and released in 1972, it coincided with my discovery of progressive rock. I bought the live album from Our Price in Lewisham in 1980 because apart from the epic In Held, it also has a really good version of Conquistador. This and a copy of Exotic Birds and Fruit that I picked up very cheap somewhere in the first few years after my arrival in London were my only Procol Harum albums for a very long time. I subsequently gave my copy of Exotic Birds away to a local charity shop having only played it a couple of times in twenty odd years and deciding I didn’t really like it. I had heard Something Magic (1977) on more than one occasion, an album owned by Infield Park Gang associate Mark Baker which, though not brilliant, wasn’t too bad mostly due to the side long track The Worm and the Tree. Those were the dog days of prog and the music on Something Magic reflected a lack of musical adventurousness. Exotic Birds and Fruit had been bought without a prior listen but at the time I figured that an album from 1974, from a band many consider to be a founding member of the progressive rock movement, would be ok. It wasn’t because they’d abandoned orchestrations and returned to more blues-based rock.
Meanwhile, Pink Floyd had gone from strength to strength, embraced long-form composition and recorded (a studio album) with an orchestra and choir (Atom Heart Mother, 1970) and gone on to break records with the chart longevity of Dark Side of the Moon. The Floyd were outward looking, Procol Harum were inward looking.
In 2005, former organist Matthew Fisher launched a legal battle against pianist and vocalist Gary Brooker over the musical copyright of A Whiter Shade of Pale. His initial success recognising that he had written the organ introduction and counter melody and therefore deserved royalties was challenged by Brooker at appeal and it wasn’t until Fisher took the case to the Law Lords, where he argued that a win without royalty money was never going to be recognised as a win at all, that Fisher emerged victorious. Baroness Hale, one of the five Law Lords involved in the hearing said in her contribution to the rulings: "As one of those people who do remember the Sixties, I am glad that the author of that memorable organ part has at last achieved the recognition he deserves."
Just because A Whiter Shade, Conquistador and In Held Twas In I were prime examples of the direction of travel of rock music in the late 60s, it doesn’t make them prog. A quick scan of articles by Pierre Perrone, the author of the Independent’s review, does not include much about progressive rock. More disturbingly, he had previously given the musical Rock of Ages a four star review. I assume his headline was referring to the recent release of The Endless River after a gap of 20 years but Perrone needs to do some better research if he's going to write about prog.