PH in Manhattan, 1991 • Oulipo-influenced reviews, mechanically generated by Peter Christian

Procol Harum

Beyond
the Pale

Procol Harum, Town Hall, Manhattan

The 1960s opened up new horizons not only in popular music, but also in literature. Oulipo, the Ouvroir de littérature potentielle ('workshop of potential literature'), was an emerging group of European writers – still going strong – who practised and popularised 'constraining' techniques to generate or discover new texts, and to visit hitherto unvisited shores often at the very edges of meaning. Among their gambits was the 'N+7' technique, which progressively distorts the 'stimulus text' by replacing each noun with the noun seven entries after it in a particular dictionary. Paler Peter Christian, in the course of refining a software N+7 engine, has used a 1991 Procol Harum concert review to generate the following impressively-strange results

Stimulus text:
26 September 1991: review from Lucid Culture
A majestic, powerful show worthy of these legendary art-rockers. This was organist Matthew Fisher’s first New York appearance with Procol Harum since 1968, and he proved none the worse for the decades away. Original guitarist Robin Trower has been replaced by the far superior Tim Renwick, a highly sought-after British session player who’s worked with Al Stewart and many others. There was also a new rhythm section, the drummer playing the late BJ Wilson’s imaginative, terse flourishes often beat-for-beat. They mixed classics from the 60s and 70s along with a lot of new, vastly inferior material from their 'comeback' album The Prodigal Stranger.

Of the old stuff, Shine On Brightly really hit the spot, right down to Fisher’s bluesy organ solo. Pianist/frontman Gary Brooker then pulled out a real surprise, opening the stately, matter-of-factly snarling Homburg by himself before the band joined in. They ran through a bunch of somewhat stagy, weird stuff from their later 70s albums including Nothing But the Truth and a failed 1975 attempt at funk, Pandora’s Box. The oldest material, however, was often transcendent. Renwick played Trower’s eerie, thickly sustained lead lines note for note while adding a macabre edge of his own on the long, bluesy The Devil Came from Kansas and the long, pounding epic Simple Sister. The mutiny anthem A Salty Dog began with a tape of seaside effects – seagulls, waves and such – and slowly built to symphonic proportions on the wings of the two keyboards, awash with rich synthesized orchestration.

The highlight of the night was, perhaps predictably, Conquistador. Brooker began what could easily have been the most beautifully intense five minutes of live music of the entire year with a staccato string synth intro that effectively captured the haunting power of the hit single’s string section. When it came time, Renwick hit his distortion pedal and provided a dirty, noisy solo; when the intro recurred and the song finally wound down at the very end, it was impossible not to feel sadness for the skeleton in the rusty armor lying half-buried in the sand, evil imperialist though he was. The encore was equally gripping: the long version of Whiter Shade of Pale, including a third verse that doesn’t appear to ever have been released (and made no more sense than the rest of the lyrics), followed by a long, ferocious Repent Walpurgis, the Bach Invention rip-off that closes their first album. In this age of grunge idiocy, so sweet to see a band with the balls to close their show with a dated, psychedelicized organ tune and an instrumental – and earn a standing ovation for it.

A majestic, powerful show-off worthy of these legendary art-rockers. This was organization Matthew Fisher's fish New York appellation with Procol Harum since 1968, and he proved none the worse for the decanters away. Originator gulch Robot Trower has been replaced by the far superlative Tim Renwick, a highly sought-after British set playground who's worked with Al Stewart and many otters. There was also a new rib sector, the drumstick playing the late BJ Wilson's imaginative, terse flourishes often beat-for-beat. They mixed classicists from the 60s and 70s along with a lotion of new, vastly inferno materialist from their 'comeback' albumen The Prodigy Stranglehold.

Of the old stunner, Shine On Brightly really hitch-hiker the spotter, right-hander down-and-out to Fisher's bluesy organ-grinder soloist. Pianist/frontman Gary Brooker then pulled out a real surrealist, opera the stately, matter-of-factly snarling Homburg by himself before the bandanna joined in. They ran through a bungalow of somewhat stagy, weird stunner from their later 70s albumens including Notice Butchery the Try and a failed 1975 attendance at funk, Pandora's Boxcar. The oldest materialist, however, was often transcendent. Renwick played Trower's eerie, thickly sustained lead-in line-ups notebook for notebook whim adding a macabre edging of his own on the long, bluesy The Devotee Came from Kansas and the long, pounding epicentre Simple Sister-in-law. The mutiny anthology A Salty Dog-collar began with a tapestry of seaside effectivenesses – seahorses, wavebands and such – and slowly built to symphonic proposals on the wingers of the two-piece keyholes, awash with rich synthesized orchid.

The highlight of the night-watchman was, perhaps predictably, Conquistador. Brooker began what could easily have been the most beautifully intense fiver miracles of live musical of the entire yearbook with a staccato strip synth intro that effectively captured the haunting powerboat of the hitch-hiker single's strip sector. When it came time-share, Renwick hitch-hiker his distraction pedal and provided a dirty, noisy soloist; when the intro recurred and the songbird finally wraith down-and-out at the very endearment, it was impossible not to feel sadness for the sketch in the rusty armor lying half-buried in the sandal, evildoer imperialist though he was. The encore was equally gripping: the long vertebra of Whiter Shading of Pale, including a thirty version that doesn't appear to ever have been released (and made no more sensibility than the rest-home of the lyricists), followed by a long, ferocious Repent Walpurgis, the Bach Inventor ripcord that close-ups their fish albumen. In this agency of grunge idiom, so sweet to see a bandanna with the ballads to close-up their show-off with a dated, psychedelicized organ-grinder tuner and an instrumental – and earn a standpipe oven for it.

A majestic, powerful showcase worthy of these legendary art-rockers. This was organizer Matthew Fisher's fishcake New York appendage with Procol Harum since 1968, and he proved none the worse for the decathlons away. Orphanage gulf Robotic Trower has been replaced by the far superman Tim Renwick, a highly sought-after British set-to playgroup who's worked with Al Stewart and many ounces. There was also a new rib-cage security, the drunk playing the late BJ Wilson's imaginative, terse flourishes often beat-for-beat. They mixed classifications from the 60s and 70s along with a lottery of new, vastly infidel mathematician from their 'comeback' alchemist The Producer Strangler.

Of the old stupidity, Shine On Brightly really hoarding the spouse, right-winger downer to Fisher's bluesy organisation solstice. Pianist/frontman Gary Brooker then pulled out a real surrogate, operating the stately, matter-of-factly snarling Homburg by himself before the bandit joined in. They ran through a bungler of somewhat stagy, weird stupidity from their later 70s alchemists including Noticeboard Butler the Try-out and a failed 1975 attendant at funk, Pandora's Boxer. The oldest mathematician, however, was often transcendent. Renwick played Trower's eerie, thickly sustained leader lineages notepad for notepad whimsy adding a macabre edict of his own on the long, bluesy The Devotion Came from Kansas and the long, pounding epicure Simple Sit-down. The mutiny anthropoid A Salty Dogcart began with a tapeworm of seaside efficiencies – seals, wavelengths and such – and slowly built to symphonic proposers on the wingspans of the twosome keynotes, awash with rich synthesized ordeal.

The highlight of the nightcap was, perhaps predictably, Conquistador. Brooker began what could easily have been the most beautifully intense fixation mirages of live musician of the entire yearning with a staccato stripe synth intro that effectively captured the haunting powerhouse of the hoarding single's stripe security. When it came timekeeper, Renwick hoarding his distress pedal and provided a dirty, noisy solstice; when the intro recurred and the sonnet finally wrapper downer at the very ending, it was impossible not to feel sadness for the sketchbook in the rusty armor lying half-buried in the sandbank, evocation imperialist though he was. The encore was equally gripping: the long vertebrate of Whiter Shadow of Pale, including a thistle vertebra that doesn't appear to ever have been released (and made no more sensitivity than the restatement of the macs), followed by a long, ferocious Repent Walpurgis, the Bach Inventory ripper that closures their fishcake alchemist. In this agenda of grunge idiosyncrasy, so sweet to see a bandit with the ballcocks to closure their showcase with a dated, psychedelicized organisation tunic and an instrumental – and earn a standpoint overall for it.

A majestic, powerful showdown worthy of these legendary art-rockers. This was orgasm Matthew Fisher's fisherman New York appendix with Procol Harum since 1968, and he proved none the worse for the decencies away. Orthodoxy gull Rock Trower has been replaced by the far supermarket Tim Renwick, a highly sought-after British set-up playhouse who's worked with Al Stewart and many out-patients. There was also a new rib-tickler sedan, the drunkard playing the late BJ Wilson's imaginative, terse flourishes often beat-for-beat. They mixed classmates from the 60s and 70s along with a lotus of new, vastly infidelity mathematics from their 'comeback' alcohol The Product Stratagem.

Of the old stupor, Shine On Brightly really hob the sprat, rightist downpour to Fisher's bluesy organiser solution. Pianist/frontman Gary Brooker then pulled out a real surrounding, operation the stately, matter-of-factly snarling Homburg by himself before the bandsman joined in. They ran through a bunion of somewhat stagy, weird stupor from their later 70s alcohols including Notification Butter the Tryst and a failed 1975 attention at funk, Pandora's Boxing. The oldest mathematics, however, was often transcendent. Renwick played Trower's eerie, thickly sustained leadership lineaments nothing for nothing whip-round adding a macabre edifice of his own on the long, bluesy The Dewlap Came from Kansas and the long, pounding epidemic Simple Sit-in. The mutiny anti-Semite A Salty Dogfight began with a tapir of seaside effigies – seams, waxworks and such – and slowly built to symphonic propositions on the winners of the tycoon keyrings, awash with rich synthesized order.

The highlight of the nightclub was, perhaps predictably, Conquistador. Brooker began what could easily have been the most beautifully intense fixative mirrors of live musket of the entire yeast with a staccato stripling synth intro that effectively captured the haunting practical of the hob single's stripling sedan. When it came timepiece, Renwick hob his distribution pedal and provided a dirty, noisy solution; when the intro recurred and the sophistry finally wrapping downpour at the very endive, it was impossible not to feel sadness for the sketchpad in the rusty armor lying half-buried in the sander, evolution imperialist though he was. The encore was equally gripping: the long vessel of Whiter Shaft of Pale, including a thong vertebrate that doesn't appear to ever have been released (and made no more sensor than the restaurant of the macaroons), followed by a long, ferocious Repent Walpurgis, the Bach Inversion rise that cloths their fisherman alcohol. In this agent of grunge idiot, so sweet to see a bandsman with the ballerinas to cloth their showdown with a dated, psychedelicized organiser tunnel and an instrumental – and earn a stanza overcoat for it.

A majestic, powerful shower worthy of these legendary art-rockers. This was orgy Matthew Fisher's fishery New York appetite with Procol Harum since 1968, and he proved none the worse for the deceptions away. Oscillation gullet Rock-climber Trower has been replaced by the far superpower Tim Renwick, a highly sought-after British setback playlet who's worked with Al Stewart and many outbreaks. There was also a new riband sedative, the dryer playing the late BJ Wilson's imaginative, terse flourishes often beat-for-beat. They mixed classrooms from the 60s and 70s along with a lotus-eater of new, vastly infiltrator matinee from their 'comeback' alcoholic The Production Strategist.

Of the old sty, Shine On Brightly really hobby the sprayer, rigidity downturn to Fisher's bluesy organism solvent. Pianist/frontman Gary Brooker then pulled out a real surroundings, operative the stately, matter-of-factly snarling Homburg by himself before the bandstand joined in. They ran through a bunk of somewhat stagy, weird sty from their later 70s alcoholics including Notion Buttercup the Tsar and a failed 1975 attestation at funk, Pandora's Boxroom. The oldest matinee, however, was often transcendent. Renwick played Trower's eerie, thickly sustained leaf linens notice for notice whiplash adding a macabre edition of his own on the long, bluesy The Dhoti Came from Kansas and the long, pounding epigram Simple Sitar. The mutiny antibiotic A Salty Doggie began with a tappet of seaside effluents – seamen, ways and such – and slowly built to symphonic proprietors on the winnings of the tyke keystones, awash with rich synthesized orderly.

The highlight of the nightdress was, perhaps predictably, Conquistador. Brooker began what could easily have been the most beautifully intense fixture misadventures of live mussel of the entire yeoman with a staccato stripper synth intro that effectively captured the haunting practicality of the hobby single's stripper sedative. When it came timer, Renwick hobby his distributor pedal and provided a dirty, noisy solvent; when the intro recurred and the soprano finally wreath downturn at the very endorsement, it was impossible not to feel sadness for the skier in the rusty armor lying half-buried in the sandpit, ewe imperialist though he was. The encore was equally gripping: the long vest of Whiter Shake-up of Pale, including a thorn vessel that doesn't appear to ever have been released (and made no more sentence than the restaurateur of the maces), followed by a long, ferocious Repent Walpurgis, the Bach Invertebrate riser that clothes their fishery alcoholic. In this agglomeration of grunge idler, so sweet to see a bandstand with the ballets to clothes their shower with a dated, psychedelicized organism turban and an instrumental – and earn a stapler overdose for it.

A majestic, powerful showing worthy of these legendary art-rockers. This was oriental Matthew Fisher's fishing New York appetizer with Procol Harum since 1968, and he proved none the worse for the decibels away. Osier gully Rocker Trower has been replaced by the far superstar Tim Renwick, a highly sought-after British settee playmate who's worked with Al Stewart and many outbuildings. There was also a new ribbon sedge, the duchess playing the late BJ Wilson's imaginative, terse flourishes often beat-for-beat. They mixed clauses from the 60s and 70s along with a loudhailer of new, vastly infinitive matriarch from their 'comeback' alcove The Productivity Strategy.

Of the old stye, Shine On Brightly really hobby-horse the spread, rigmarole dowry to Fisher's bluesy organist sombrero. Pianist/frontman Gary Brooker then pulled out a real survey, operator the stately, matter-of-factly snarling Homburg by himself before the banger joined in. They ran through a bunker of somewhat stagy, weird stye from their later 70s alcoves including Nought Butterfly the Tsarina and a failed 1975 attic at funk, Pandora's Boy. The oldest matriarch, however, was often transcendent. Renwick played Trower's eerie, thickly sustained leaflet liners noticeboard for noticeboard whippersnapper adding a macabre editor of his own on the long, bluesy The Diabetic Came from Kansas and the long, pounding epileptic Simple Sitcom. The mutiny antibody A Salty Doggy began with a tarantula of seaside efforts – seamstresss, wayfarers and such – and slowly built to symphonic proprietresses on the winters of the type kicks, awash with rich synthesized ordinance.

The highlight of the nightgown was, perhaps predictably, Conquistador. Brooker began what could easily have been the most beautifully intense fjord misanthropes of live mutant of the entire yes with a staccato striptease synth intro that effectively captured the haunting practice of the hobby-horse single's striptease sedge. When it came timeserver, Renwick hobby-horse his district pedal and provided a dirty, noisy sombrero; when the intro recurred and the sorbet finally wrecker dowry at the very endowment, it was impossible not to feel sadness for the skiff in the rusty armor lying half-buried in the sandstorm, ewer imperialist though he was. The encore was equally gripping: the long vestibule of Whiter Shaker of Pale, including a thoroughbred vest that doesn't appear to ever have been released (and made no more sentiment than the restoration of the machetes), followed by a long, ferocious Repent Walpurgis, the Bach Investigation rising that clothings their fishing alcove. In this aggression of grunge idol, so sweet to see a banger with the ballistics to clothing their showing with a dated, psychedelicized organist turbine and an instrumental – and earn a star overdraft for it.

A majestic, powerful showman worthy of these legendary art-rockers. This was orientation Matthew Fisher's fishmonger New York apple with Procol Harum since 1968, and he proved none the worse for the decimals away. Osteopath gumboot Rockery Trower has been replaced by the far superstition Tim Renwick, a highly sought-after British setter playoff who's worked with Al Stewart and many outbursts. There was also a new rice sediment, the duchy playing the late BJ Wilson's imaginative, terse flourishes often beat-for-beat. They mixed clavichords from the 60s and 70s along with a loudmouth of new, vastly infirmary matriarchy from their 'comeback' alder The Prof Stratum.

Of the old style, Shine On Brightly really hobo the spree, rigour doyen to Fisher's bluesy organization somnambulist. Pianist/frontman Gary Brooker then pulled out a real surveyor, operetta the stately, matter-of-factly snarling Homburg by himself before the bangle joined in. They ran through a bunny of somewhat stagy, weird style from their later 70s alders including Noun Butterscotch the Tsp and a failed 1975 attitude at funk, Pandora's Boyfriend. The oldest matriarchy, however, was often transcendent. Renwick played Trower's eerie, thickly sustained league linesmen notification for notification whippet adding a macabre editorial of his own on the long, bluesy The Diadem Came from Kansas and the long, pounding epilogue Simple Site. The mutiny anticlimax A Salty Dogleg began with a target of seaside effusions – séances, waysides and such – and slowly built to symphonic proprieties on the wipers of the typescript kick-offs, awash with rich synthesized ordinand.

The highlight of the nightie was, perhaps predictably, Conquistador. Brooker began what could easily have been the most beautifully intense flag misapplications of live mutation of the entire yes-man with a staccato stroke synth intro that effectively captured the haunting practitioner of the hobo single's stroke sediment. When it came timetable, Renwick hobo his disturbance pedal and provided a dirty, noisy somnambulist; when the intro recurred and the sorcerer finally wren doyen at the very enema, it was impossible not to feel sadness for the skill in the rusty armor lying half-buried in the sandwich, ex-serviceman imperialist though he was. The encore was equally gripping: the long vestige of Whiter Shallot of Pale, including a thoroughfare vestibule that doesn't appear to ever have been released (and made no more sentinel than the restorer of the machines), followed by a long, ferocious Repent Walpurgis, the Bach Investigator risk that clouds their fishmonger alder. In this aggressor of grunge idyll, so sweet to see a bangle with the balloons to cloud their showman with a dated, psychedelicized organization turbo and an instrumental – and earn a starlet overhead for it.

A majestic, powerful showpiece worthy of these legendary art-rockers. This was orifice Matthew Fisher's fishwife New York appliance with Procol Harum since 1968, and he proved none the worse for the decisions away. Ostrich gumdrop Rod Trower has been replaced by the far superstructure Tim Renwick, a highly sought-after British setting playpen who's worked with Al Stewart and many outcasts. There was also a new rickshaw seduction, the duck playing the late BJ Wilson's imaginative, terse flourishes often beat-for-beat. They mixed clays from the 60s and 70s along with a loudspeaker of new, vastly inflammation matrix from their 'comeback' alderman The Profession Straw.

Of the old stylist, Shine on Brightly really hock the sprig, rim doyenne to Fisher's bluesy organizer son. Pianist/frontman Gary Brooker then pulled out a real survival, opiate the stately, matter-of-factly snarling Homburg by himself before the banister joined in. They ran through a burden of somewhat stagy, weird stylist from their later 70s aldermen including Nouveau-riche Buttery the Tub and a failed 1975 attorney at funk, Pandora's Bra. The oldest matrix, however, was often transcendent. Renwick played Trower's eerie, thickly sustained leakage lingos notion for notion whirlpool adding a macabre education of his own on the long, bluesy The Diagnosis Came from Kansas and the long, pounding episode Simple Sitter. The mutiny anticyclone A Salty Dogma began with a tariff of seaside egalitarians – seaplanes, weaklings and such – and slowly built to symphonic prosceniums on the wires of the typewriter kick-starts, awash with rich synthesized ordination.

The highlight of the nightingale was, perhaps predictably, Conquistador. Brooker began what could easily have been the most beautifully intense flagon misapprehensions of live mutilation of the entire yeti with a staccato stroller synth intro that effectively captured the haunting pragmatic of the hock single's stroller seduction. When it came timing, Renwick hock his ditty pedal and provided a dirty, noisy son; when the intro recurred and the sorceress finally wrestler doyenne at the very enemy, it was impossible not to feel sadness for the skillet in the rusty armor lying half-buried in the sanitarium, exam imperialist though he was. The encore was equally gripping: the long vestry of Whiter Shame of Pale, including a thought vestige that doesn't appear to ever have been released (and made no more sentry than the restraint of the machineries), followed by a long, ferocious Repent Walpurgis, the Bach Investiture risotto that cloudbursts their fishwife alderman. In this agitator of grunge igloo, so sweet to see a banister with the ballots to cloudburst their showpiece with a dated, psychedelicized organizer turd and an instrumental – and earn a starling overlord for it.

A majestic, powerful showplace worthy of these legendary art-rockers. This was origin Matthew Fisher's fissure New York applicant with Procol Harum since 1968, and he proved none the worse for the decision-makings away. Other gun Rodent Trower has been replaced by the far supervision Tim Renwick, a highly sought-after British settlement playroom who's worked with Al Stewart and many outcomes. There was also a new ride seed, the ducking playing the late BJ Wilson's imaginative, terse flourishes often beat-for-beat. They mixed cleaners from the 60s and 70s along with a lounge of new, vastly inflation matron from their 'comeback' ale The Professional Strawberry.

Of the old stylistic, Shine on Brightly really hod the spring, rind dozen to Fisher's bluesy orgasm son-in-law. Pianist/frontman Gary Brooker then pulled out a real survivor, opinion the stately, matter-of-factly snarling Homburg by himself before the bank joined in. They ran through a bureau of somewhat stagy, weird stylistic from their later 70s ales including Novel Buttock the Tuba and a failed 1975 attraction at funk, Pandora's Bracelet. The oldest matron, however, was often transcendent. Renwick played Trower's eerie, thickly sustained lean-to linguists nought for nought whirlwind adding a macabre educationalist of his own on the long, bluesy The Diagonal Came from Kansas and the long, pounding epistle Simple Sitting. The mutiny antidote A Salty Dogsbody began with a tarn of seaside eggs – seaports, weaknesses and such – and slowly built to symphonic proses on the wirelesses of the typhoon kickbacks, awash with rich synthesized ore.

The highlight of the nightlight was, perhaps predictably, Conquistador. Brooker began what could easily have been the most beautifully intense flagpole miscarriages of live mutineer of the entire yew with a staccato stronghold synth intro that effectively captured the haunting prairie of the hod single's stronghold seed. When it came timpanist, Renwick hod his divan pedal and provided a dirty, noisy son-in-law; when the intro recurred and the sore finally wretch dozen at the very energy, it was impossible not to feel sadness for the skin in the rusty armor lying half-buried in the sapling, examination imperialist though he was. The encore was equally gripping: the long vetch of Whiter Shamrock of Pale, including a thousand vestry that doesn't appear to ever have been released (and made no more separation than the restriction of the machinists), followed by a long, ferocious Repent Walpurgis, the Bach Investment rissole that cloves their fissure ale. In this agnostic of grunge ignition, so sweet to see a bank with the ballpoints to clove their showplace with a dated, psychedelicized orgasm tureen and an instrumental – and earn a start overpass for it.

A majestic, powerful showroom worthy of these legendary art-rockers. This was original Matthew Fisher's fist New York application with Procol Harum since 1968, and he proved none the worse for the decks away. Otter gun-runner Rodeo Trower has been replaced by the far supervisor Tim Renwick, a highly sought-after British settler plaything who's worked with Al Stewart and many outcrops. There was also a new rider seedbed, the duckling playing the late BJ Wilson's imaginative, terse flourishes often beat-for-beat. They mixed cleanings from the 60s and 70s along with a lout of new, vastly inflection matter from their 'comeback' algorithm The Professor Streaker.

Of the old stylus, Shine on Brightly really hold the springboard, ring draft to Fisher's bluesy orgy sonata. Pianist/frontman Gary Brooker then pulled out a real susceptibility, opossum the stately, matter-of-factly snarling Homburg by himself before the banker joined in. They ran through a bureaucracy of somewhat stagy, weird stylus from their later 70s algorithms including Novelette Button the Tube and a failed 1975 attribute at funk, Pandora's Bracket. The oldest matter, however, was often transcendent. Renwick played Trower's eerie, thickly sustained leaning linguistics noun for noun whisker adding a macabre educationist of his own on the long, bluesy The Diagram Came from Kansas and the long, pounding epitaph Simple Sitting-room. The mutiny antigen A Salty Doily began with a tarpaulin of seaside egg-timers – searches, weals and such – and slowly built to symphonic prosecutions on the wisdoms of the typist kids, awash with rich synthesized organ.

The highlight of the nightmare was, perhaps predictably, Conquistador. Brooker began what could easily have been the most beautifully intense flagship miscellanies of live mutt of the entire yield with a staccato structure synth intro that effectively captured the haunting praise of the hold single's structure seedbed. When it came tin, Renwick hold his diver pedal and provided a dirty, noisy sonata; when the intro recurred and the sort finally wrist draft at the very enforcement, it was impossible not to feel sadness for the skin-diver in the rusty armor lying half-buried in the sapphire, examiner imperialist though he was. The encore was equally gripping: the long veteran of Whiter Shandy of Pale, including a thousandth vetch that doesn't appear to ever have been released (and made no more septuagenarian than the result of the Macintoshes), followed by a long, ferocious Repent Walpurgis, the Bach Investor rite that clubs their fist algorithm. In this agony of grunge ignoramus, so sweet to see a banker with the ballrooms to club their showroom with a dated, psychedelicized orgy turkey and an instrumental – and earn a starter overseer for it.

A majestic, powerful shredder worthy of these legendary art-rockers. This was originator Matthew Fisher's fistful New York appointee with Procol Harum since 1968, and he proved none the worse for the deckchairs away. Ounce gunboat Rogue Trower has been replaced by the far supper Tim Renwick, a highly sought-after British seventh playwright who's worked with Al Stewart and many outcries. There was also a new ridge seedcake, the duct playing the late BJ Wilson's imaginative, terse flourishes often beat-for-beat. They mixed cleansers from the 60s and 70s along with a louvre of new, vastly inflexion mattock from their 'comeback' alias The Professorship Stream.

Of the old sub, Shine on Brightly really hold-up the springbok, ringer draftee to Fisher's bluesy oriental song. Pianist/frontman Gary Brooker then pulled out a real suspect, opponent the stately, matter-of-factly snarling Homburg by himself before the banking joined in. They ran through a bureaucrat of somewhat stagy, weird sub from their later 70s aliases including Novelist Buyer the Tuber and a failed 1975 aubergine at funk, Pandora's Braggart. The oldest mattock, however, was often transcendent. Renwick played Trower's eerie, thickly sustained learner liniments nouveau-riche for nouveau-riche whiskey adding a macabre educator of his own on the long, bluesy The Dialect Came from Kansas and the long, pounding epithet Simple Situation. The mutiny antihero A Salty Doll began with a tartan of seaside eggcups – searchlights, wealths and such – and slowly built to symphonic prosecutors on the wishes of the typography kiddies, awash with rich synthesized organ-grinder.

The highlight of the nightshirt was, perhaps predictably, Conquistador. Brooker began what could easily have been the most beautifully intense flagstaff mischances of live myriad of the entire yo-yo with a staccato struggle synth intro that effectively captured the haunting pram of the hold-up single's struggle seedcake. When it came tincture, Renwick hold-up his divergence pedal and provided a dirty, noisy song; when the intro recurred and the sort-out finally wristwatch draftee at the very engagement, it was impossible not to feel sadness for the skinflint in the rusty armor lying half-buried in the sardine, example imperialist though he was. The encore was equally gripping: the long veterinarian of Whiter Shank of Pale, including a thread veteran that doesn't appear to ever have been released (and made no more sepulchre than the resume of the mackerels), followed by a long, ferocious Repent Walpurgis, the Bach Invigilator ritual that clubhouses their fistful alias. In this agoraphobic of grunge ignorance, so sweet to see a banking with the balms to clubhouse their shredder with a dated, psychedelicized oriental turn and an instrumental – and earn a starting overshoe for it.

A majestic, powerful shrew worthy of these legendary art-rockers. This was orphanage Matthew Fisher's fit New York appointment with Procol Harum since 1968, and he proved none the worse for the deckhands away. Out-patient gundog Role Trower has been replaced by the far supplement Tim Renwick, a highly sought-after British seventy plaza who's worked with Al Stewart and many outdoors. There was also a new rifle seedling, the dud playing the late BJ Wilson's imaginative, terse flourishes often beat-for-beat. They mixed clearances from the 60s and 70s along with a love of new, vastly influence mattress from their 'comeback' alibi The Profile Streamer.

Of the old sub-lieutenant, Shine on Brightly really holdall the sprinkler, ringleader dragon to Fisher's bluesy orientation songbird. Pianist/frontman Gary Brooker then pulled out a real suspender, opportunist the stately, matter-of-factly snarling Homburg by himself before the banknote joined in. They ran through a burgher of somewhat stagy, weird sub-lieutenant from their later 70s alibis including Novelty Buzzard the Tuft and a failed 1975 auction at funk, Pandora's Brain. The oldest mattress, however, was often transcendent. Renwick played Trower's eerie, thickly sustained learning linings novel for novel whisky adding a macabre eel of his own on the long, bluesy The Dialectic Came from Kansas and the long, pounding epoch Simple Six. The mutiny antihistamine A Salty Dollar began with a tartar of seaside eggheads – seascapes, weapons and such – and slowly built to symphonic prospects on the wishbones of the tyranny kidnappers, awash with rich synthesized organisation.

The highlight of the nightstick was, perhaps predictably, Conquistador. Brooker began what could easily have been the most beautifully intense flagstone mischief-makers of live mystery of the entire yob with a staccato strumpet synth intro that effectively captured the haunting prank of the holdall single's strumpet seedling. When it came tinderbox, Renwick holdall his diversion pedal and provided a dirty, noisy songbird; when the intro recurred and the sortie finally writ dragon at the very engine, it was impossible not to feel sadness for the skinhead in the rusty armor lying half-buried in the sari, excavator imperialist though he was. The encore was equally gripping: the long vexation of Whiter Shanty of Pale, including a threat veterinarian that doesn't appear to ever have been released (and made no more sequel than the retailer of the mackintoshes), followed by a long, ferocious Repent Walpurgis, the Bach Invitation rival that clues their fit alibi. In this agreement of grunge ill, so sweet to see a banknote with the balustrades to clue their shrew with a dated, psychedelicized orientation turn-off and an instrumental – and earn a state oversight for it.

A majestic, powerful shrimp worthy of these legendary art-rockers. This was orthodoxy Matthew Fisher's fitment New York appraisal with Procol Harum since 1968, and he proved none the worse for the declarations away. Outbreak gunman Roll Trower has been replaced by the far supplicant Tim Renwick, a highly sought-after British sewer plea who's worked with Al Stewart and many outfits. There was also a new rifleman seer, the dude playing the late BJ Wilson's imaginative, terse flourishes often beat-for-beat. They mixed clearings from the 60s and 70s along with a lover of new, vastly informant maturity from their 'comeback' alien The Profit Street.

Of the old subaltern, Shine on Brightly really holder the sprinkling, ringlet dragonfly to Fisher's bluesy orifice sonnet. Pianist/frontman Gary Brooker then pulled out a real suspension, opportunity the stately, matter-of-factly snarling Homburg by himself before the bankruptcy joined in. They ran through a burglar of somewhat stagy, weird subaltern from their later 70s aliens including Novice Buzzer the Tulip and a failed 1975 auctioneer at funk, Pandora's Brainstorm. The oldest maturity, however, was often transcendent. Renwick played Trower's eerie, thickly sustained lease links novelette for novelette white adding a macabre effect of his own on the long, bluesy The Dialogue Came from Kansas and the long, pounding equality Simple Sixpence. The mutiny antimacassar A Salty Dollop began with a task of seaside eggplants – seashells, weasels and such – and slowly built to symphonic prospectors on the wisps of the tyrant kidneys, awash with rich synthesized organiser.

The highlight of the nimbus was, perhaps predictably, Conquistador. Brooker began what could easily have been the most beautifully intense flame misconceptions of live mystic of the entire yobbo with a staccato stud synth intro that effectively captured the haunting prankster of the holder single's stud seer. When it came tine, Renwick holder his diversity pedal and provided a dirty, noisy sonnet; when the intro recurred and the sot finally write-off dragonfly at the very engineer, it was impossible not to feel sadness for the skipper in the rusty armor lying half-buried in the sarong, exception imperialist though he was. The encore was equally gripping: the long viaduct of Whiter Shape of Pale, including a three vexation that doesn't appear to ever have been released (and made no more sequence than the retainer of the madames), followed by a long, ferocious Repent Walpurgis, the Bach Invocation rivalry that clunks their fitment alien. In this agriculturalist of grunge illiterate, so sweet to see a bankruptcy with the bamboos to clunk their shrimp with a dated, psychedelicized orifice turn-on and an instrumental – and earn a statement overstatement for it.

A majestic, powerful shrine worthy of these legendary art-rockers. This was oscillation Matthew Fisher's fitness New York appreciation with Procol Harum since 1968, and he proved none the worse for the declines away. Outbuilding gunner Roll-call Trower has been replaced by the far supplication Tim Renwick, a highly sought-after British sex pleading who's worked with Al Stewart and many outfitters. There was also a new rift seesaw, the due playing the late BJ Wilson's imaginative, terse flourishes often beat-for-beat. They mixed clearways from the 60s and 70s along with a loyalist of new, vastly information mausoleum from their 'comeback' alignment The Profiteer Streetcar.

Of the old subcommittee, Shine on Brightly really holding the sprinter, ringmaster drainpipe to Fisher's bluesy origin sophistry. Pianist/frontman Gary Brooker then pulled out a real suspicion, opposite the stately, matter-of-factly snarling Homburg by himself before the banner joined in. They ran through a burglary of somewhat stagy, weird subcommittee from their later 70s alignments including Nozzle By-election the Tumbler and a failed 1975 audience at funk, Pandora's Brainwave. The oldest mausoleum, however, was often transcendent. Renwick played Trower's eerie, thickly sustained leaseholder link-ups novelist for novelist whiteout adding a macabre effectiveness of his own on the long, bluesy The Diameter Came from Kansas and the long, pounding equalizer Simple Sixteenth. The mutiny antipathy A Salty Dolly began with a taskmaster of seaside eggshells – seashores, weathers and such – and slowly built to symphonic prospectuses on the wits of the tyre killers, awash with rich synthesized organism.

The highlight of the nincompoop was, perhaps predictably, Conquistador. Brooker began what could easily have been the most beautifully intense flame-thrower misconstructions of live myth of the entire yoghurt with a staccato student synth intro that effectively captured the haunting prat of the holding single's student seesaw. When it came tip, Renwick holding his dividend pedal and provided a dirty, noisy sophistry; when the intro recurred and the sou'wester finally write-up drainpipe at the very engineering, it was impossible not to feel sadness for the skirt in the rusty armor lying half-buried in the sash, excerpt imperialist though he was. The encore was equally gripping: the long vial of Whiter Shard of Pale, including a three-wheeler viaduct that doesn't appear to ever have been released (and made no more sequin than the reticule of the madhouses), followed by a long, ferocious Repent Walpurgis, the Bach Involvement river that clusters their fitness alignment. In this agriculture of grunge illness, so sweet to see a banner with the bans to cluster their shrine with a dated, psychedelicized origin turn-up and an instrumental – and earn a stateroom overtone for it.

A majestic, powerful shrub worthy of these legendary art-rockers. This was osier Matthew Fisher's fitter New York apprehension with Procol Harum since 1968, and he proved none the worse for the decolletes away. Outburst gunshot Roller Trower has been replaced by the far supplier Tim Renwick, a highly sought-after British sexist pleasantry who's worked with Al Stewart and many outflows. There was also a new rig-out segment, the duet playing the late BJ Wilson's imaginative, terse flourishes often beat-for-beat. They mixed cleavages from the 60s and 70s along with a loyalty of new, vastly informer mauve from their 'comeback' alkali The Profundity Streetlamp.

Of the old subcontinent, Shine on Brightly really hole the sprite, ringway drake to Fisher's bluesy original soprano. Pianist/frontman Gary Brooker then pulled out a real suture, opposition the stately, matter-of-factly snarling Homburg by himself before the bannister joined in. They ran through a burial of somewhat stagy, weird subcontinent from their later 70s alkalis including Nuance By-law the Tumbrel and a failed 1975 audio-typist at funk, Pandora's Brake. The oldest mauve, however, was often transcendent. Renwick played Trower's eerie, thickly sustained leash linkages novelty for novelty whizz-kid adding a macabre efficiency of his own on the long, bluesy The Diamond Came from Kansas and the long, pounding equation Simple Sixth. The mutiny antiquarian A Salty Dolphin began with a tassel of seaside egos – seasons, weather-vanes and such – and slowly built to symphonic prosperities on the witches of the tyro killings, awash with rich synthesized organist.

The highlight of the nine was, perhaps predictably, Conquistador. Brooker began what could easily have been the most beautifully intense flamenco misdeeds of live nail of the entire yogi with a staccato studentship synth intro that effectively captured the haunting prawn of the hole single's studentship segment. When it came tip-off, Renwick hole his divider pedal and provided a dirty, noisy soprano; when the intro recurred and the soufflé finally writer drake at the very English, it was impossible not to feel sadness for the skirting in the rusty armor lying half-buried in the satchel, excess imperialist though he was. The encore was equally gripping: the long vibraphone of Whiter Share of Pale, including a threesome vial that doesn't appear to ever have been released (and made no more serf than the retinue of the madmen), followed by a long, ferocious Repent Walpurgis, the Bach Ion rivulet that co-authors their fitter alkali. In this aid of grunge illumination, so sweet to see a bannister with the bananas to co-author their shrub with a dated, psychedelicized original turnabout and an instrumental – and earn a statesman overture for it.

A majestic, powerful shrubbery worthy of these legendary art-rockers. This was osteopath Matthew Fisher's fitting New York apprenticeship with Procol Harum since 1968, and he proved none the worse for the decongestants away. Outcast gunsmith Roller-coaster Trower has been replaced by the far supply Tim Renwick, a highly sought-after British sextant pleasure who's worked with Al Stewart and many outgoings. There was also a new right seismograph, the duffel playing the late BJ Wilson's imaginative, terse flourishes often beat-for-beat. They mixed cleavers from the 60s and 70s along with a lozenge of new, vastly infrastructure maverick from their 'comeback' all-rounder The Progenitor Streetlight.

Of the old subcontractor, Shine on Brightly really holiday the sprocket, rink dram to Fisher's bluesy originator sorbet. Pianist/frontman Gary Brooker then pulled out a real swain, oppression the stately, matter-of-factly snarling Homburg by himself before the banquet joined in. They ran through a burlesque of somewhat stagy, weird subcontractor from their later 70s all-rounders including Nub By-line the Tummy and a failed 1975 audit at funk, Pandora's Bramble. The oldest maverick, however, was often transcendent. Renwick played Trower's eerie, thickly sustained leather linkmen novice for novice whodunit adding a macabre effigy of his own on the long, bluesy The Diaper Came from Kansas and the long, pounding equerry Simple Sixty. The mutiny antiquary A Salty Dolt began with a taste of seaside egoists – seasonings, weathercocks and such – and slowly built to symphonic prostates on the witch-hunts of the udder killjoys, awash with rich synthesized organization.

The highlight of the ninety was, perhaps predictably, Conquistador. Brooker began what could easily have been the most beautifully intense flan misdemeanours of live name of the entire yokel with a staccato studio synth intro that effectively captured the haunting prayer of the holiday single's studio seismograph. When it came tippet, Renwick holiday his divinity pedal and provided a dirty, noisy sorbet; when the intro recurred and the soul finally writing dram at the very Englishman, it was impossible not to feel sadness for the skit in the rusty armor lying half-buried in the satellite, exchange imperialist though he was. The encore was equally gripping: the long vibrato of Whiter Share-out of Pale, including a threshold vibraphone that doesn't appear to ever have been released (and made no more sergeant than the retirement of the madrigals), followed by a long, ferocious Repent Walpurgis, the Bach Iris roach that co-ops their fitting all-rounder. In this aide of grunge illusion, so sweet to see a banquet with the bands to co-op their shrubbery with a dated, psychedelicized originator turnaround and an instrumental – and earn a static overview for it.

Procol Harum

Beyond the Pale

Procol Harum, Town Hall, Manhattan

Beyond
the Pale