Procol Harum
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Procol Harum (the A Whiter Shade of Pale group)
readies reissues
UK-based reissues specialist Union Square Music (www.unionsquaremusic.co.uk)
is reissuing expanded digital versions of Procol Harum’s classic
albums Grand Hotel, Exotic Birds and Fruit,
Procol’s Ninth and Something Magic on 1 November 2010
allowing fans of sophisticated music the chance to re-evaluate
one of rock’s most consistently innovative bands. Careful
remastering has brought out hitherto elusive nuances;
judiciously-selected bonus tracks offer a unique insight into
the compositions of Gary Brooker (music), Keith Reid (words) and
their less-frequent collaborators, and into Procol Harum’s
studio methodology.
Procol’s Ninth
When a top band has been on the road for some years, with a catalogue of
successful recordings behind them, it is sometimes helpful to bring in fresh
blood in the pursuit of new horizons. When Procol Harum came to record their
1975 album Procol’s Ninth, they decided on a drastic change of policy.
The result was an unexpected collaboration between Procol and one of America’s
top producer/songwriter teams, Jerry Leiber and Mike Stoller.
Since the 1950s the duo had written a vast number of hits for the likes of Elvis
Presley, Ben E. King and The Coasters. Gary Brooker had grown up listening to
these hits and when he discovered that they were in Britain producing the debut
album for Stealer’s Wheel, he asked them to work with Procol and was thrilled
when they agreed. “The album was named after Beethoven’s Ninth Symphony,
which was a bit tongue-in-cheek, but it was in fact our ninth album. As it
turned out there was a huge difference between this one and our previous
albums,” says Gary.
While there were a few tussles about material, with the producers trying to
persuade Gary and co. to record songs they’d recently written for Peggy Lee
(Procol eventually recorded their tune I Keep Forgetting, a hit for Chuck
Jackson the previous decade) Leiber and Stoller made a significant difference to
the band’s sound, which had greater clarity in the ‘mix’. This was immediately
apparent on Pandora’s Box, the somewhat mysterious, Latin-tinged opening
cut, which took Procol back into the singles charts, reaching No. 16 in the UK,
and led to three appearances on Top of the Pops.
Other album highlights include Fool’s Gold, with excellent work by
Mick Grabham on guitar and pounding chords from the twin keyboards of Chris
Copping (organ) and Brooker (piano); Taking the Time, on which the piano
and guitar are augmented by vintage brass riffs that make the band sound like
Duke Ellington’s Orchestra; and The Unquiet Zone, which takes a left turn
into what can quite easily be described as Latin funk territory, with diverse
rhythms and nifty cowbell from the always exciting drummer BJ Wilson.
Procol’s Ninth reached Number 52 in the US chart. The album also made a
little piece of history when it became one of the very first by a serious rock
group to be released in Poland. Procol were also the first group to visit the
country, since a Rolling Stones concert in the 60s, which led to a ban on all
‘decadent’ western rock music.
The digital release is augmented by three previously unreleased bonus tracks
selected by Gary and Keith from the session tapes – raw versions of The
Unquiet Zone, Taking the Time and Fool’s Gold.
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