Procol Harum

小簡(jiǎn)介
優(yōu)雅的英倫文人復(fù)古搖滾─Procol Harum
本文作者／dionysos (林碩彥)
西洋樂(lè)壇這數(shù)十年來(lái)令人印象深刻的經(jīng)典名曲，大多集中在六十年代中后到七十年代晚期。排除掉省視歷史的角度，有可能是因?yàn)楫?dāng)時(shí)努力嘗試的優(yōu)秀人才較多，也或許是那份高亢的文人情懷現(xiàn)在早已不復(fù)見(jiàn)吧：在充斥著解構(gòu)、拼貼、重組各式音樂(lè)的九十年代，標(biāo)榜文學(xué)與藝術(shù)的音符能讓我欣賞而不會(huì)感到虛矯造作的，不妨聽(tīng)聽(tīng)《A Whiter Shade Of Pale》 (Brooker / Reid 1967).....
音符是如此吸引人而詩(shī)意又隱諱難解，所以這幾十年里探討詩(shī)中涵義與旋律出處的文章到處可見(jiàn)。有人說(shuō)它是出自Bach第三號(hào)管弦樂(lè)組曲(Suite No3 in D major)的第二樂(lè)章(Air)，那段虔誠(chéng)祈禱般的G弦上之歌﹔有人說(shuō)歌詞中的故事是出自希臘神話，而且?guī)в薪骞胖S今的用意。就算是對(duì)巴洛克時(shí)期的古典樂(lè)或希臘神話不了解的，還是可以聽(tīng)聽(tīng)蕩氣繞梁的管風(fēng)琴獨(dú)奏與蒼涼凄美的歌聲。那是一種令人憂郁而又無(wú)從宣泄的愁緒，不須震耳欲聾的重?fù)u滾來(lái)釋出，而是深沉凝重的藍(lán)調(diào)搖滾就可悄悄地掃除了平日淤積在我們心底的瑣碎與殘?jiān)?br />原先出自The Paramounts樂(lè)團(tuán)身兼鋼琴與主唱的Gary Brooker，在英國(guó)R&B(節(jié)奏與藍(lán)調(diào))與靈魂樂(lè)界中被與當(dāng)時(shí)的Elton John視為并駕齊驅(qū)的才子，但是都缺乏了一種寫(xiě)詞的才能(后來(lái)Elton John也有了Bernie Taupin)。1966年有天在某個(gè)DJ家他碰到Keith Reid，在英國(guó)的文學(xué)圈子里被認(rèn)為是年輕新秀的才子，兩人一拍即合。Brooker解散了原先的樂(lè)團(tuán)而另組Procol Harum，而Reid是關(guān)鍵的"看不見(jiàn)的那支手"負(fù)責(zé)營(yíng)造樂(lè)曲的內(nèi)涵與深意。此外重要團(tuán)員還有Matthew Fisher演奏管風(fēng)琴、B. J. Wilson負(fù)責(zé)敲擊樂(lè)器、Robin Trower彈奏吉他。
1967年，英美都籠罩在反戰(zhàn)運(yùn)動(dòng)的風(fēng)潮里，所有樂(lè)團(tuán)都彌漫著迷幻搖滾的氣息。Procol Harum的首張專(zhuān)輯《A Whiter Shade Of Pale》(1967)由于發(fā)行商的策略問(wèn)題，全面發(fā)行已經(jīng)延到1968年了。在這之間也發(fā)生了一件影響音樂(lè)史的大事，就是同期The Beatle的經(jīng)典《Sgt. Pepper's Lonely Hearts Club Band》(1967)里的立體聲錄音與表現(xiàn)出的多重聲道音場(chǎng)為之后的音樂(lè)產(chǎn)業(yè)帶來(lái)無(wú)可估計(jì)的影響，加上Procol的求好心切，連帶使其處女作面臨重新錄制的命運(yùn)。但上述意外卻不能絲毫湮蓋這張專(zhuān)輯的價(jià)值，{A Whiter Shade of Pale}開(kāi)頭如神啟、空靈般的管風(fēng)琴旋律是最令人永難忘懷的，三十多年來(lái)有關(guān)它的傳說(shuō)不斷，同時(shí)也是后代試圖探討或詮釋六十年代精神的最佳曲目(注1)。當(dāng)然不要忘了其它在這首恒久傳唱的金曲之外同樣優(yōu)秀的好歌。如第二首石破天驚、電吉他搖滾為主的{Conquistador}。{She Wandered Through the Garden Fence}簡(jiǎn)單的旋律與歌詞吟誦搭配得宜，organ同樣扮演起獨(dú)奏與伴奏要角。{Mabel}是明顯的將迷幻搖滾元素大雜繪的小品，在{Keleidoscope}里玩地更瘋狂。Brooker招牌中慢板的{Cerde}使人聯(lián)想到黑人靈魂樂(lè)的影響。五分鐘的演奏曲{Repent Walpurgis}，它結(jié)合了管風(fēng)琴瑰麗的音色、纖細(xì)的鋼琴獨(dú)奏、鼓與電吉他完美緊密的搭配，是頂級(jí)的結(jié)尾。
第二張專(zhuān)輯《Shine On Brightly》(1968)的錄制時(shí)間跨越了67與68年，曲風(fēng)與上張類(lèi)似，多了些搖滾的風(fēng)味。{Shine On Brightly}與{Quite Rightly So}都是當(dāng)時(shí)電臺(tái)強(qiáng)力放送的熱力搖滾。{Rambling On}有段神妙的小故事。{In Held Twas in I}是十七分鐘令人印象深刻的長(zhǎng)篇敘事曲，包含了所有Procol的音樂(lè)風(fēng)格，五個(gè)完整的段落緊密結(jié)合而不突兀。由Brooker的口白開(kāi)始，歷經(jīng)人聲清唱、東方色彩濃厚的詩(shī)詞內(nèi)容，Trower的頻臨瘋狂的吉他結(jié)尾。別忘了當(dāng)時(shí)是1968年，所謂的前衛(wèi)搖滾才剛啟蒙而已。這首曲子與同年英倫入侵時(shí)期代表團(tuán)The Pretty Things的短篇歌劇《S.E.Sorrow》(1968)共同被認(rèn)為是The Who于次年發(fā)表的搖滾音樂(lè)劇Tommy(1969)的主要影響來(lái)源。
第三張專(zhuān)輯《A Salty Dog》(1969)，延續(xù)著以往風(fēng)格，只是較為清淡了點(diǎn)。也有難忘的經(jīng)典名曲，但這又不得不提到我的當(dāng)兵生涯。漫漫役期伴隨著我最久的就是海水的鹽味與海洋的遼闊，然而在這段看海的日子里音樂(lè)是我的避風(fēng)港。這首與專(zhuān)輯同名單曲描述的不是那伏特加與葡萄柚的調(diào)酒，而是一名水手在港邊對(duì)汪洋大海的記憶。剛開(kāi)始是海鷗叫聲與海水拍打岸邊的景象，伴隨沙啞的嗓音續(xù)說(shuō)著感傷的往事。曾在咱們船(役齡逾半世紀(jì)的陽(yáng)字號(hào)驅(qū)逐艦)于臺(tái)灣海峽高速航行時(shí)大聲地用隨身聽(tīng)放著這首曲子，讓它不斷刺激我腦海深處與淚腺分泌。其它的曲子也是不錯(cuò)的，{The Milk of Human Kindness}、{Juicy John Pink}有精湛的藍(lán)調(diào)吉他演出。{Too Much Between Us}乍聽(tīng)下像John Lennon，美麗的抒情歌謠。{Devil Came From Kansas}詭異的合聲與Wilson駭人的鼓擊震撼著耳膜。{Wreck of the Hesperus}有鋼琴與氣勢(shì)壯大的交響樂(lè)團(tuán)襯底。
《Home》(1970)，有些低調(diào)陰沉的杰作，是早期concept album的先驅(qū)者之一。它觸及了一般人避談的，以節(jié)奏對(duì)比的方式、戲謔的封套插畫(huà)與幽默的歌詞來(lái)體現(xiàn)惡夢(mèng)與死亡的概念。樂(lè)團(tuán)的成員也有些為變動(dòng)，核心團(tuán)員Fisher離開(kāi)，前Paramounts的Chris Copping成為貝斯手而作詞者Reid則彈起管風(fēng)琴起來(lái)了。{Whisky Train}是Trower最有名的吉他搖滾，有向貓王Elvis Presly的Mysterious Train致敬的味道。{Still There're be More}有著粗暴狂野的歌詞。{Barnyard Story}卻是憂傷自憐的ballad。{Whaling Stories}是總結(jié)前述的概念，一場(chǎng)超現(xiàn)實(shí)的海上噩夢(mèng)。由慢至快，經(jīng)由樂(lè)手們暢快淋漓的重力搖滾合奏后回歸平淡。{Your Own Choice}作為專(zhuān)輯的結(jié)尾是很合適的，神經(jīng)質(zhì)的唱白與Larry Alder擔(dān)任口琴獨(dú)奏(不掛名)。
《Broken Barricades》(1971)，這是筆者唯一找不到的專(zhuān)輯，連Amazon.com也長(zhǎng)期缺貨。一般來(lái)說(shuō)，它是還不錯(cuò)的作品，但是沒(méi)有前四張來(lái)的精采。{Simple Sister}是Procol演唱會(huì)開(kāi)場(chǎng)常拿來(lái)激起情緒的重節(jié)奏作品。Trower在結(jié)束本專(zhuān)輯的宣傳后宣布離團(tuán)，第一代的經(jīng)典陣容到此宣告瓦解?！禠ive in Concert》(1972)與加拿大的Edmonton交響樂(lè)團(tuán)合作，包括五十二名團(tuán)員與二十四名的合唱團(tuán)的大編制。{ A Salty Dog }保持著原曲憂愁的美感、{ In Held Twas in I}也持續(xù)著攝人的音樂(lè)張力。{Conquistador}或許是一大寶藏，加入管弦樂(lè)的伴奏效果出奇地好。
1973年P(guān)rocol離開(kāi)原來(lái)的東家轉(zhuǎn)到Chrysalis，同年發(fā)表《Grand Hotel》(1973)。失去了創(chuàng)團(tuán)兩位大將的Procol并未使人失望，仍舊有Brooker殷實(shí)的男中音與Reid超現(xiàn)實(shí)主義啟發(fā)的詩(shī)詞，封套內(nèi)頁(yè)攝影與插畫(huà)也頗有看頭。{Grand Hotel}有華麗的交響樂(lè)編曲，與熱力澎湃的電吉他相互輝映。{A Rum Tale}是招牌式的中慢板抒懷歌謠、{TV Caesar}是另外一首有美妙旋律與弦樂(lè)映襯的小品、{A Souvenir in London}里Wilson演奏著許多不知名的敲擊樂(lè)器。{Fries}仍舊有默契極佳的演出與管弦樂(lè)配合，還有清澈秀異的女高音獨(dú)唱。
《Exotic Birds and Fruit》(1974)是一張備受冷落而竟有此遭遇的好專(zhuān)輯，只能說(shuō)是它宣傳不夠吧?它是一張從頭搖滾到底的杰作，只不過(guò)在激昂之余還保有Procol式的氣質(zhì)。{Nothing But the Truth}開(kāi)頭便是Wilson強(qiáng)勁的鼓擊，Brooker有較野性的表演，英國(guó)的名DJ John Peel便相當(dāng)欣賞這支單曲。{As Strong As Samson}有流暢的旋律，B.J Cole有精采的串場(chǎng)演出。{Butterfly Boys}、{Monsieur}亦是標(biāo)準(zhǔn)的藍(lán)調(diào)與硬式搖滾，只是比其它樂(lè)團(tuán)多了管風(fēng)琴的演出。封面繪畫(huà)的作者是Jacob Bogdani(1670-1724)，內(nèi)容頗符合專(zhuān)輯名稱(chēng)。
《Procol's Ninth》(1975)，顧名思義是Procol的第九張專(zhuān)輯。它不尋常的原因有兩個(gè)。一在于它換了個(gè)制作人，由原先熟悉的班底轉(zhuǎn)為曾為Elvis Presly制作許多熱門(mén)單曲的Jerry Leiber與Mike Stoller，他兩位老兄的風(fēng)格著實(shí)不大像大家熟悉的Procol反而傾向草根性的美式節(jié)奏藍(lán)調(diào)。另外有了首翻唱曲，The Beatles的{Eight Days a Week}，也是個(gè)很奇怪的決定。雖然這不能算是一張有創(chuàng)意的作品，至少{Fool's Gold}、{Typewriter Torment}還勉強(qiáng)保有了Procol的水準(zhǔn)。
有不少樂(lè)評(píng)對(duì)《Something Magic》(1977)感到失望，我覺(jué)得它是ok的﹔能以那樣的專(zhuān)輯內(nèi)容放在當(dāng)時(shí)熱門(mén)的Disco與Punk風(fēng)潮來(lái)看是些許過(guò)時(shí)，但是它的固執(zhí)在老樂(lè)迷耳中或許是欣慰的。{Something Magic}還是Procol Harum，不變的中慢板歌謠。{Wizard Man}有典型英國(guó)佬的幽默與譏諷、{Stranger in Space}也是不為人注意的佳作，好聽(tīng)的抒情歌。{The Worm and the Tree}久違的十七分鐘長(zhǎng)曲，若單就音樂(lè)部分可說(shuō)是相當(dāng)細(xì)膩精采，不過(guò)Brooker在這里以念白方式反而削弱了其音樂(lè)張力。若以歌唱方式來(lái)演出也許會(huì)更好。分三段敘述著一株大樹(shù)被蟲(chóng)侵蝕由盛轉(zhuǎn)衰，最后被人類(lèi)解救的歷程。
前張專(zhuān)輯市場(chǎng)與樂(lè)評(píng)上的失利使他們消失了好一陣子，在這段期間團(tuán)員們各自發(fā)展自己的音樂(lè)事業(yè)，Brooker組成以自己名字為名的五重奏，發(fā)表數(shù)張個(gè)人專(zhuān)輯不脫早期Procol的框架。九十年代初期Brooker與Fisher、Trower終于重新聚首，發(fā)表了當(dāng)年算是重大回歸的作品《Prodigal Stranger》(1991)，但是鼓手BJ Wilson稍早已不幸逝世，這張就提獻(xiàn)給他。整張專(zhuān)輯一路聽(tīng)下來(lái)，歌詞不再具有Reid時(shí)期的詩(shī)意與想象力。早期的古典樂(lè)編曲影響也已不再，接替的是八十年代摩登氣息的搖滾風(fēng)味。最令人滿意的是Brooker的嗓音仍維持在極佳狀態(tài)，{The Truth Won't Fade Away}、{Learn to Fly}仍是不錯(cuò)的搖滾佳構(gòu)﹔{Perpetual Motion}、{The Pursuit of Happiness}依舊有著B(niǎo)rooker深邃優(yōu)美的聲音表情。
《The Long Goodbye》(1995)其實(shí)不能算是Procol的正規(guī)作品，充其量只是Brooker掛名與倫敦交響樂(lè)團(tuán)與倫敦愛(ài)樂(lè)合作把Procol的代表性作品重新編曲錄制的專(zhuān)輯，制作人之一是前Curved Air的Darryl Way。{Repent Walpurgis}是唯一有老團(tuán)員參與的曲子，莊嚴(yán)肅穆的管風(fēng)琴演出為一大賣(mài)點(diǎn)。其它的樂(lè)曲大都是守成有余創(chuàng)意不足，{Grand Hotel}找來(lái)男高音獨(dú)唱我就不覺(jué)得是好主意、{Simple Sister}更莫名其妙地找來(lái)Tom Jones。我應(yīng)該是為了搜集齊{A Whiter Shade of Pale}不同版本才買(mǎi)下來(lái)的。
也許是Keith Reid對(duì)于海的迷戀或是源于他本身經(jīng)驗(yàn)，Procol Harum在他
的影響下有好幾張專(zhuān)輯內(nèi)容與封面都是以海洋或船舶的神秘與玄幻為主題，對(duì)于我這個(gè)當(dāng)過(guò)海軍的小兵而言當(dāng)然就有其致命的吸引力了(注2)?，F(xiàn)代巴洛克、古典藍(lán)調(diào)、藝術(shù)搖滾，都可以用來(lái)形容Procol Harum的音樂(lè)風(fēng)格?？此茝?fù)古幽情的搖滾樂(lè)團(tuán)到處都是，但聽(tīng)聽(tīng)那優(yōu)美雋永的管風(fēng)琴聲響、渾厚婉轉(zhuǎn)的歌聲、時(shí)而伴隨過(guò)往記憶的動(dòng)人旋律，我的選擇或許只有Procol Harum。
注1：提到{A Whiter Shade of Pale}或以本曲為討論主軸的如雅痞懷舊電影大寒(Big Chills)、Alan Parker的追夢(mèng)者(The Commitments)、Martin Scorsese其中第一小段的大都會(huì)故事(NewYork Stories)。筆者手邊翻唱過(guò)這首歌的有靈魂樂(lè)的Percy Sledge、藍(lán)調(diào)搖滾的Joe Cocker、德裔女子金屬偶像Doro Pesch(前Warlock主唱)、國(guó)內(nèi)早期pub唱將蘇芮、新浪潮音樂(lè)女伶Annie Lennox及最近在平面媒體上密集強(qiáng)打、令人直起雞皮疙瘩的Sarah Brightman。
注2：如A Salty Dog與Something Magic的封面繪圖及數(shù)首令人印象深刻的單曲，不過(guò)它們大都是偏重黑暗與夢(mèng)境式的描述。
注3：參考資料--
所有重新再版的專(zhuān)輯內(nèi)頁(yè)簡(jiǎn)介，由Henry Scott-Irvine撰寫(xiě)。
內(nèi)容詳盡的樂(lè)迷網(wǎng)站 - http://www.geocities.com/Area51/2202/proc_albums.html
注4：專(zhuān)輯列表與推薦
Procol Harum (1967又名Whiter Shade Of Pale) *****
Shine On Brightly (1968) ****
A Salty Dog (1969) ****(an extra * for the title track)
Home (1970) ****
Broken Barricades (1971) ?
Live in Concert (1972) **
Grand Hotel (1973) ***
Exotic Birds and Fruit (1974) ***
Procol's Ninth (1975) **
Something Magic (1977) ***
Prodigal Stranger (1991) ***
The Long Goodbye (1995) *
by Bruce Eder
Procol Harum is arguably the most successful accidental group creation — that is, a band originally assembled to take advantage of the success of a record created in the studio — in the history of progressive rock. With A Whiter Shade of Pale a monster hit right out of the box, the band evolved from a studio ensemble into a successful live act, their music built around an eclectic mix of blues-based rock riffs and grand classical themes. With singer/pianist Gary Brooker and lyricist Keith Reid providing the bands entire repertory, their music evolved in decidedly linear fashion, the only major surprises coming from the periodic lineup changes that added a new instrumental voice to the proceedings. At their most accessible, as on A Whiter Shade of Pale and Conquistador, they were one of the most popular of progressive rock bands, their singles outselling all rivals, and their most ambitious album tracks still have a strong following.
Procol Harums roots and origins are as convoluted as its success — especially between 1967 and 1973 — was pronounced. Pianist Gary Brooker (b. May 29, 1945, Southend, Essex, England) had formed a group at school called the Paramounts at age 14, with guitarist Robin Trower (b. Mar. 9, 1945, Southend, Essex) and bassist Chris Copping (b. Aug. 29, 1945 Southend, Essex), with singer Bob Scott and drummer Mick Brownlee. After achieving a certain degree of success at local youth clubs and dances, covering established rock & roll hits, Brooker took over the vocalist spot from the departed Scott, and the group continued working after its members graduated — by 1962, they were doing formidable (by British standards) covers of American R&B, and got a residency at the Shades Club in Southend.
Brownlee exited the band in early 1963 and was replaced by Barry J. (B.J.) Wilson (b. Mar. 18, 1947, Southend, Essex), who auditioned after answering an ad in Melody Maker. Nine months later, in September of 1963, bassist Chris Copping opted out of the professional musicians corps to attend Leicester University, and he was replaced by Diz Derrick. The following month, the Paramounts demo record, consisting of covers of the Coasters Poison Ivy and Bobby Blands Farther on up the Road, got them an audition at EMI. This resulted in their being signed to the Parlophone label, with their producer, Ron Richards, the recording manager best-known for his many years of work with the Hollies.
The Paramounts first single, Poison Ivy, released in January of 1964, reached number 35 on the British charts. The group also got an important endorsement from the Rolling Stones, with whom theyd worked on the television show Thank Your Lucky Stars, who called the Paramounts their favorite British R&B band. Unfortunately, none of the groups subsequent Parlophone singles over the next 18 months found any chart success, and by mid-66, the Paramounts had been reduced to serving as a backing band for popsters Sandy Shaw and Chris Andrews. In September of 1966, the Paramounts went their separate ways; Derrick out of the business, Trower and Wilson to gigs with other bands, and, most fortuitously, Gary Brooker decided to develop his career as a songwriter.
This led Brooker into a partnership with lyricist Keith Reid (b. Oct. 19, 1945), whom he met through a mutual acquaintance, R&B impresario Guy Stevens. By the spring of 1967, they had a considerable body of songs prepared and began looking for a band to play them. An advertisement in Melody Maker led to the formation of a band initially called the Pinewoods, with Brooker as pianist/singer, Matthew Fisher (b. Mar. 7, 1946, Croydon, Surrey) on organ, Ray Royer (b. Oct. 8, 1945) on guitar, Dave Knights (b. June 28, 1945, London) on bass, and Bobby Harrison (b. June 28, 1943, London) on drums. Their first recording, produced by Denny Cordell, was of a piece of surreal Reid poetry called A Whiter Shade Of Pale, which Brooker set to music loosely derived from Johann Sebastian Bachs Air on a G String from the Suite No. 3 in D Major.
By the time this recording was ready for release, the Pinewoods had been rechristened Procol Harum, a name derived, as alternate stories tell it, either from Stevens cats birth certificate, Procol Harun, or the Latin procul for far from these things (hey, it was the mid-60s, and either is possible). In early May of 1967, the group performed A Whiter Shade of Pale at the Speakeasy Club in London, while Cordell arranged for a release of the single on English Decca (London Records in America), on the companies Deram label. Ironically, Cordells one-time clients the Moody Blues were about to break out of a long commercial tail-spin on the very same label with a similar, classically-tinged pair of recordings, Nights in White Satin and Days of Future Passed, and between the two groups and their breakthrough hits, Deram Records would be permanently characterized as a progressive rock imprint.
Cordell had also sent a copy of A Whiter Shade of Pale to Radio London, one of Englands legendary off-shore pirate radio stations (they competed with the staid BBC, which had the official broadcast monopoly, and were infinitely more beloved by the teenagers and most bands), which played the record. Not only was Radio London deluged with listener requests for more plays, but Deram suddenly found itself with orders for a record not scheduled for release for another month — before May was half over, it was pushed up on the schedule and rushed into shops.
Meanwhile, the prototypal Procol Harum made its concert debut in London opening for Jimi Hendrix at the Saville Theater on June 4, 1967. Four days later, A Whiter Shade of Pale reached the top of the British charts for the first of a six-week run in the top spot, making Procol Harum only the sixth recording act in the history of British popular music to reach the number one spot on its first release (not even the Beatles did that). The following month, the record reached number five on the American charts, with sales in the United States rising to over a million copies (and six million copies worldwide).
All of this seemed to bode well for the band, except for the fact that it had only a single song in its repertory and no real stage act — literal one-hit wonders. The same month that the record peaked in the United States, Royer and Harrison were sacked and replaced by Brookers former Paramounts bandmates Robin Trower and B.J. Wilson on guitar and drums, respectively.
The real Procol Harum band was now in place and a second single, Homburg, was duly recorded. Reminiscent of Whiter Shade of Pale in its tone of dark grandeur, this single, released in October of 1967 on EMIs Regal Zonophone label, got to number six on the British charts. The groups debut album, entitled Procol Harum, managed to reach number 47 in America during October of 1967, based on A Whiter Shade of Pale being among its tracks (which included the first version of Conquistador) — but a British version of the LP, issued over there without the hit, failed to attract any significant sales. The single Homburg, however, got no higher than number 34 in America a month later.
On March 26, 1968, A Whiter Shade of Pale won the International Song of the Year award at the 13th Annual Ivor Novello Awards (sort of the British equivalent of the Grammys). The groups newest single, Quite Rightly So, however, only reached the number 50 spot in England in April of that year. A new contract for the group was secured with A&M Records in America (they remained on Regal Zonophone in England), and by November, a second album, Shine on Brightly, highlighted by an 18-minute epic entitled In Held Twas I, was finished and in the stores, and rose to number 24 in America but failed to chart in England. The next month, they were playing the Miami Pop Festival in front of 100,000 people, on a bill that included Chuck Berry, Canned Heat, the blues version of Fleetwood Mac, and the Turtles, among others.
In March of 1969, David Knights and Matthew Fisher exited the lineup shortly after finishing work on the groups new album, A Salty Dog, preferring management and production to the performing side of the music business. Knights departure opened the way for bassist Chris Copping to join Procol Harum (thus re-creating the lineup of the Paramounts), playing bass and organ. Another American tour followed the next month, and in June of 1969 A Salty Dog was issued. This record, considered by many to be the original groups best work, combined high-energy blues and classical influences on a grand scale, and returned the band to the U.S. charts at number 32, while the title song ascended the British charts to number 44. The album subsequently reached number 27 in England, the groups first long-player to chart in their own country.
Despite the groups moderate sales in England and America, they remained among the more popular progressive rock bands, capable of reaching more middle-brow listeners who didnt have the patience for Emerson, Lake & Palmer or King Crimson. Robin Trowers flashy guitar quickly made him the star of the group, as much as singer/pianist Brooker, and he was considered in the same league with Alvin Lee and any number of late-60s/early-70s British blues axemen. Matthew Fishers stately, cathedral-like organ had been a seminal part of the bands sound, juxtaposed with Trowers blues-based riffing and Reids unusual, darkly witty lyrics as voiced by Brooker. Following Fishers departure, the group took on a more straightforward rock sound, but Trowers playing remained a major attraction to the majority of fans.
Whaling Stories was an example of quintessential Procol Harum, a mix of 19th century oratorio that sounds like it came out of a Victorian-era cathedral, with fiery blues riffs blazing at its center. And being soaked in Reids dark, eerie, regret-filled lyrics didnt stop A Salty Dog from becoming one of the groups most popular songs.
It was a year before their next album, Home, was released, in June of 1970, ascending to the American number 34 and the British 49 spot. This marked the end of the groups contract with Regal Zonophone/EMI, and on the release of their next LP in July of 1971, they were now on Chrysalis in England. Broken Barricades reached number 32 in America and 41 in England, but it also marked the departure of Robin Trower. The founding guitarist left that month and subsequently organized his own group, with a sound modeled along lines similar to Jimi Hendrix, which had great success in America throughout the 1970s.
Trowers replacement, Dave Ball (b. Mar. 30, 1950), joined the same month, and the lineup expanded by one with the addition of Alan Cartwright on bass, which freed Chris Copping to concentrate full-time on the organ. The group returned to something of the sound it had before Fishers departure, although Trower was a tough act to follow. It was this version of the band that performed on August 6, 1971 in a concert with the Edmonton Symphony Orchestra and the DaCamera Singers in Edmonton, Alberta, Canada — the concert was a bold and expansive, richly orchestrated re-consideration of earlier material (though not A Whiter Shade of Pale) from the groups repertory, and, released as an official live album in 1972, proved to be the groups most successful LP release, peaking at number five and drawing in thousands of new fans.
In England, Procol Harum Live: In Concert With the Edmonton Symphony Orchestra only rose to number 48 in May of 1972, but it was competing with a reissue of the groups debut album (retitled A Whiter Shade of Pale, with the single added) paired with A Salty Dog, which outperformed it considerably, reaching number 26. A single lifted from the live record, Conquistador, redone in a rich and dramatic version, shot to number 16 in America and 22 in England that summer. Soon after, the U.S. distributor of the debut album, London Records, got further play from that record by re-releasing it with a sticker announcing the presence of the original version of Conquistador.
Amid all of this success, the groups lineup again was thrown into turmoil in September when Dave Ball left Procol Harum to join Long John Baldrys band. He was replaced by Mick Grabham, formerly of the bands Plastic Penny and Cochise. The bands next album, Grand Hotel, was a delightfully melodic and decadent collection (anticipating Bryan Ferry and Roxy Music in some respects) that featured guest backing vocals by Christianne Legrand of the a cappella singing group the Swingle Singers. That record, their first released on Chrysalis in America as well as England, peaked at number 21. Six months later, A&M released the first compilation of the bands material, Best of Procol Harum, which only made it to number 131 on the charts.
The groups next two albums, Exotic Birds and Fruit (May 1974) and Procols Ninth (September 1975), the latter produced by rock & roll songsmiths Jerry Leiber and Mike Stoller, performed moderately well, and Pandoras Box from Procols Ninth became one of their bigger hits in England, rising to number 16. July of 1976 saw a departure and a lateral shift in the groups lineup, as Alan Cartwright left the band and Chris Copping took over on bass, while Pete Solley joined as keyboard player.
By this time, the bands string had run out, as everyone seemed to know. A new album, Something Magic, barely scraped the U.S. charts in April of 1977, and the band split up following a final tour and a farewell concert at New Yorks Academy of Music on May 15, 1977. Only five months later, the band was back together for a one-off performance of A Whiter Shade of Pale, which had taken on a life of its own separate from the group — the song was named joint winner (along with Bohemian Rhapsody) of the Best British Pop Single 1952-1977, at the Britannia Awards to mark Queen Elizabeth IIs Silver Jubilee, and the band performed it live at the awards ceremony.
Apart from Trower, Gary Brooker was the most successful and visible of all ex-Procol Harum members, releasing three solo albums between 1979 and 1985. Fear of Flying (1979) on Chrysalis, produced by George Martin, attracted the most attention, but Lead Me to the Water (1982) on Mercury had some notable guest artists, including Eric Clapton and Phil Collins, while Echoes in the Night (1985) was co-produced by Brookers former bandmate Matthew Fisher. During the late 80s, however, Brooker had turned to writing orchestral music, principally ballet material, but this didnt stop him from turning up as a guest at one of the annual Fairport Convention reunions (Procol Harum and Fairport had played some important early gigs together) at Cropredy, Oxfordshire, in August of 1990 to sing A Whiter Shade of Pale.
Still, Procol Harum had faded from the consciousness of the music world by the end of the 1980s. The death of B.J. Wilson in 1990 went largely unreported, to the chagrin of many fans, and it seemed as though the group was a closed book.
Then, in August of 1991, Brooker re-formed Procol Harum with Trower, Fisher, Reid, and drummer Mark Brzezicki. An album, Prodigal Stranger, was recorded and released, and an 11-city tour of North America took place in September of 1991. Although this lineup didnt last — Trower and company, after all, were pushing 50 at the time — Brooker has kept a new version of Procol Harum together, in the guise of himself, guitarist Geoffrey Whitehorn, keyboardman Don Snow, and Brzezicki on drums, which toured the United States in 1992.