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Hard
to Remember, Hard to Forget
‘Procol Rarum’ − the lost songs of Brooker/Reid
Saturday 21 July 2007: Charlie Allison, for BtP
BtP presents • Procol Harum's 40th Birthday Celebrations • 20 / 21 July 2007 |
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London: 21 July 2007: Gary Brooker and Guests at St John’s Smith Square
It’s day two of the 40th Birthday weekend and the Palers
banish fatigue and sense intrigue − which of Procol’s secret stuff would we be
hearing tonight and indeed who would be performing it? As we gathered at 2 pm
for the day ahead, these questions were ‘the talk of the steamie.’ (It’s really
satisfying to introduce this international brigade to a good old Scottish
expression, but I really put that in for George Lovell − the second great Scot
book-launching today with his personal Procol reminiscence The Waiter Brought a Tray. A detailed critique will follow later,
but on first sighting it looks just as wizard as JK Rowling’s marginally more
publicised effort!)
Briefly, I’ll first report on the afternoon programme, where
in addition to George’s signing session, we heard Doc Wallace’s fine words of
thanks and a great Palers’ Band performance. Their first set started somewhat
comically − the Smith Square residents had asked for the sound to be turned
down, so the band chose to begin with The
Unquiet Zone! Highlights were a
rousing Into the Flood, our ‘Odd
Couple’ George and Al Edelist waltzing hilariously through The Final Thrust and the charismatic Dave Ball joining the band for
Seem to Have the Blues (Most of the
Time).
We reconvened at 7.30 with a splendid Palers’ Project set
for the first half of the evening. Roland sought a sound man with ‘Is it on,
Graham?’ − you know he’s been waiting years to say that − then we were into The Piper’s Tune. Roland revealed that
since hearing Joe Cocker’s transformation of With a Little Help from my Friends, he and his brother had wondered
why no-one covered Procol Harum’s songs and therefore set out to ‘sing the
songs wrong’, like Joe had done.
We progressed through She
Wandered Through the Garden Fence (Dave Knight thought Keith Reid would be
horrified by this), a blues version of All
Our Dreams are Sold, arranged by guitarist Gary Shepard and his South
Carolina neighbour, who just happened to be Capt Beefheart’s bass player) and
One-Eye’s vaudevillian Robert’s Other
Box.
Next an absolute treat − indeed one of the highlights of the
whole weekend − The Milk of Human
Kindness, featuring the haunting B flat cornet of Peter Clare. If Procol
themselves ever thought of revisiting neglected songs in their canon for
alternate treatment (now there’s an idea!) they could consider this arrangement
as a most beautiful demo.
I’ll be kind and say nothing about a dire Pursuit of Happiness and move quickly to
Butterfly Boys, an energetic
performance with the excellent Mr Whitehorn guesting on guitar (as he does on
the CD). Roland paid tribute to Chris Cooke for all the help he had given BtP
in organising the 40th weekend, and also Antonio Costa Barbé, whose
idea it had been to muster these arrangements in live performance, when it
seemed logistically impossible. Appropriately it was that Italian maestro who
brought the set towards a close with a moving interpretation of what he
described as the aristocratic New Lamps
for Old.
Just before descending to the crypt for light refreshment
(and further speculation) we were treated to a further treat from up on high − Ian
Hockley playing the St John’s church organ. No, it wasn’t the expected Bach,
but a wonderful rendition of The Thin End
of the Wedge − Procol’s acknowledged Ugly Duckling had just become a swan!
Now for the second half − and the main event, still shrouded
in mystery. Roland and Jens reflected on the words and music of Brooker and
Reid which had meant so much in our lives for the past forty years.
They started with one we’d heard before (but not yet
recorded) Alpha − chugging and
bluesy. The musicians were clearly enjoying themselves − sparking off each
other − so we knew it was going to be a good gig.
Gary’s next one was ‘off my album which nobody bought’ (most
of us did, of course!) (No More) Fear of Flying. This was full of pace
and power − Tim Renwick then Frank Mead soloed expertly and the Maestro sang
& played brilliantly.
Now another lost song (‘when is a song lost − when it can’t
be found’) and one that mentioned forty years − now that set us thinking. Gary
said ‘we’ll have to get some pipes going’ and we sensed it might be McGreggor. Frank Mead did some clacking percussion
as Gary told the tale of the soldier brave.
The guys trooped off and Gary was joined by Josh Phillips on
the Hammond for a tender four-handed Salad
Days − or to be more correct the ‘ice-cream version’ --which although
having a less-than-serious preliminary verse, proved to be a sensitive,
beautiful ‘neglected treasure’.
Familiar reinforcements (Messrs. Whitehorn, Pegg and drummer
Wright) arrived on stage − does this mean we now have Procol Harum with another
drummer to add to the BtP list?) The song − a louder, stingier Milk of Human Kindness, which was a tour de force for Geoff and then Josh − why
don’t they play this one (and indeed Salad
Days) more often?
Next, not a lost song, but a favourite song − A Rum Tale, which is always a wonderful
showcase for
‘I’ve been here since yesterday!’ said Gary, who then
explained the next lost song was one that Keith and he had written for Dusty
Springfield − but then they ‘couldn’t find her address’. There was a little bit
of Bachian prelude to this tender love song with a classical basis − if it had
all happened as planned I Realise
would have been much admired today. Maybe there’s still time for someone
special to give it a life?
Next a song where Gary couldn’t at first find a tune for
Keith’s splendid words ... and Robin Trower beat him to it. But now we hear
Gary’s Victims of the Fury − with the
Renwick/Bronze/Mead combo returned to the fray. Great piano at the start and at
the finish which dissolves to quiet.
Now a bit of
We moved on to an instrumental next − ‘I think I’ll let Tim
take the melody’ − a haunting tune vaguely similar to Local Hero which Gary later told me was Bird Island (‘at least that’s what it’s called today’). A lovely
tune with solos from Tim then Frank, trading and weaving in the final verse. This
programme is very well constructed for light and shade, and every song is being
loudly applauded.
Back with the Procol line-up Gary introduced a song ‘so lost
we couldn’t remember it’: the ‘Tamla Motown’ One Eye on the Future − very poppy and catchy − what reviewers used
to call ‘a possible single?’
Next a song not lost, but ‘recently rediscovered’ − Something Following Me. This was slower
and more coloured than all these years ago. Geoff’s guitar was great, Josh was
big in the choruses and Gary had a marvellous piano solo too. Slowed ending. Everyone
up cheering again.
Geoff gave way, with a bit of jostling, to Dave Ball, who
immediately called for technical help with the plethora of pedals − ‘I don’t do
folk!’ he jokingly stropped. The song, which could have been called Yours if you Want It, was strongly reminiscent of Hootchie Cootchie Man. This raw and
raucous R&B, with prolonged soloing from Dave and a blast from Frank Mead,
got the biggest standing cheer of the evening − I hadn’t realised that the
amiable Dave Ball was such an iconic figure, the most vertical and facially
animated guitarist of the weekend.
Now some real schmaltz from the vaults! Gary told us the next
song was commissioned (then not required) by a movie producer, sharing the story
that George Martin also composed a score for a major motion picture then was let
down by the movie moguls. Gary outlined the romantic brief of Dancing
Underneath the Moon, a languid lounge song with a smoky sax which I’ve seen
Gary perform on Dutch TV during a somewhat cheesy interlude in his solo career.
Back to a vaguely Scottish lilt for Chasing for the Chop with great piano and sax breaks; then we get a
bigger band to conclude wonderfully with Lieber and Stoller’s Poison Ivy − arguably the song that
started it all? Standing ovation!
Our webmeisters were then joined on stage by both Gary and
Keith for a special presentation. Roland explained that
Gary introduced the entire band, including ‘Francis
Marmaduke Mead’ and ‘Mr Procol Harum’ Josh Phillips (a moment to treasure for
him, I’m sure!) − in fact everyone
got a special mention and a generous cheer. And for an encore we had Gary’s
great message song for today, War is Not
Healthy − a bit of a rap really, but with room for all to improvise. Gary
moved round the stage encouraging his ‘big band’ as they took their spotlight
moments in turn − Tim, Frank then Geoff. The audience were all standing,
clapping and dancing on the spot in this fantastic finish to the programme. A
real blast!
Downstairs for drinks and to hear all the favourable
comments for a great night and indeed a great weekend. The Band, including
Keith, were all in attendance − many autographs were given and photographs
taken. Palers toasted friendship and the talk was of not only the past forty years
but speculation for the future − the only fly in the ointment being the
upcoming legal appeal in early October.
I left the hall at ten minutes to midnight and whom should I
run into outside in the street − Gary and Franky Brooker. I paused to thank him
once again and to enquire if they had been flooded at home (‘No, we’re all right’)
I hope we all have many opportunities to renew our
acquaintances and to listen to this great music in the live setting again. So
good health and safe travel till next we meet. Al, it’s over to you to be the
autumn correspondent in Holland and Italy. And Jens and Roland − keep it up! What
you’ve done for us needs blue plaques too.
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