PROCOL HARUM [AKA: A WHITER SHADE OF PALE]

Another one from my own vaults--one I'm grateful to own as it's an album I have historically enjoyed--I am unfortunately reviewing in the wake of the passing of another great artist: this time, Gary Brooker (1945-2022). Brooker was the lead vocalist, pianist and a key songwriter for Procol Harum; along with The Moody Blues and The Nice, one of the earliest bands to bridge the gap between the psychedelic and... something else. In general, to compare them to their other peers, these bands were more artful, perhaps, and more classically inspired. This will be a review of the slightly different original UK-pressed version, self-titled and excluding the earlier, landmark radio hit "A Whiter Shade of Pale".

Our album starts with "Conquistador", a track that does not translate as simply Psychedelic Rock nor as simple, radio-ready Rock music (I suppose, too, this concept in general was still relatively new)--though it is relatively poppy--significant in 1967. Well known, Procol Harum was a key player in what we now know to be (early) Progressive Rock. Perhaps, in the popular Psychedelic vein, a contemporary could be found in The Doors, but unlike them they offer more Pop and have more Soul. To me, therefore, innately British (more on that sentiment below).

"She Wandered Through the Garden Fence" is a sure favorite of mine, I feel a must-hear from early Prog. Poppy, too, this has a memorable hook, bright organ (neo-classically poised, I must add) and straight- ahead rhythm, though I quite like the very-of-the-time drumming. Wonderfully placed next is "Something Following Me", a soulful number, but very straight, even in comparison to the former. With Beat, R'n'B and 'Northern Soul', as it were, the UK has had a longstanding love and appreciation for the genre (Soul, that is).

Very other, we have the sort of honky-tonk "Mabel". It's cute haha. Interestingly enough, though at first glance I'd say it doesn't have a lot to offer, it does have some notable textural choices. Gratefully, we move onto the very cool groove of "Cerdes (Outside the Gates Of)", a backwards name if there ever was one. This is organ-driven and features some nice, bluesy lead guitar throughout. Honestly, this latter element is one I often forget they have going for them. And they really do: great soloing.

Starting the second side with a memorable piano riff and simmering organ, "A Christmas Camel" (har-har) is another with sure Proto-Prog significance to my ears. This is followed by the upbeat "Kaleidoscope" (Boy, the Freaks really loved those things, didn't they?), with fuzzy guitar, Rock 'n' Roll piano and Ringo drag, much to my delight. Good track. Much more low and slow is "Salad Days (Are Here Again)"--God, I sure do know a lot of songs and albums entitled "Salad Days"--this track is very R'n'B and yet also reminds me of the Roots Rock of mid-60s Bob Dylan (likely, really). The organ is nice, but ultimately the song is a low-light.

Next is "Good Captain Clack", a sort of Music Hall quickie-but-a-goodie. Fun track with group vocals and what sounds like a Wurlitzer. The album then ends perhaps with the most progressive track of them all, "Repent Walpurgis", with cool, rolling drums, open organ and a strong build of guitar soloing to the middle section, a near-solo piano, which it itself builds with the rhythm section and a triumphant and yet wary classical-inspired theme.

True Rate: 3.5/5.0