PROCOL HARUM - "A Whiter Shade of Pale"

Procol Harum
"A Whiter Shade of Pale"
Single / B-side: "Lime Street Blues"
Released: 12 May 1967
Album: Procol Harum (Released: September 1967)
Writers: Gary Brooker, Keith Reid, Matthew Fisher
Label: Deram Records

"A Whiter Shade of Pale" is the debut single by the English rock band Procol Harum, released 12 May 1967. One of the counterculture anthems of the 1967 Summer of Love, it is one of fewer than 30 singles to have sold over 10 million copies worldwide. This was the first song Procol Harum recorded. After it became a hit, they fired their original drummer and guitarist, replacing them with Barry Wilson and Robin Trower - more experienced musicians who could handle the subsequent touring.

Procol Harum's single: "A Whiter Shade of Pale' (1967, front cover)

Procol Harum - "A Whiter Shade of Pale" (music video, 1967)

With its Bach-derived instrumental melody, soulful vocals, and unusual lyrics, written by the song's co-authors Gary Brooker, Keith Reid, and organist Matthew Fisher, "A Whiter Shade of Pale" reached No. 1 in several countries when released in 1967. In the years since, it has become an enduring classic. As of 2009, it was the most played song in the last 75 years in public places in the United Kingdom, and the UK performing rights group Phonographic Performance Limited in 2004 recognised it as the most-played record by British broadcasting of the past 70 years. Also in 2004, Rolling Stone placed "A Whiter Shade of Pale" No. 57 on its list of the 500 Greatest Songs of All Time. British TV station Channel 4 placed the song at No. 19 in its chart of the 100 greatest number one singles.

In 1977, the song was named joint winner (along with Queen's "Bohemian Rhapsody") of the Best British Pop Single 1952–1977 at the Brit Awards. In 1998 the song was inducted into the Grammy Hall of Fame. More than 1000 recorded cover versions by other artists are known. The song has been included in many music compilations over the decades and has also been used in the soundtracks of numerous films, including The Big Chill, Purple Haze, Breaking the Waves, The Boat That Rocked, Oblivion, and in Martin Scorsese's segment of New York Stories. Cover versions of the song have also been featured in many films, for example by King Curtis in Withnail and I and byAnnie Lennox in The Net.

The original writing credits were for Brooker and Reid only. On 30 July 2009, Matthew Fisher won co-writing credit for adding the organ parts to the original music in a unanimous ruling from the Law Lords.

Procol Harum's single: "A Whiter Shade of Pale' (1967, front cover)

The song was performed and recorded at Olympic Studios in London, England, with Gary Brooker providing the vocals and piano, Matthew Fisher on a Hammond M-102 organ, David Knights on bass and Ray Royer on guitar. Drums were by session drummer Bill Eyden. A few days later, the song was re-recorded with the band's then newly recruited drummer Bobby Harrison, but that version was discarded and one of the original mono recordings was chosen for release.

Producer for the record was Denny Cordell and Keith Grant was the sound engineer.

The song was included on the original U.S. release of the Procol Harum album, but not on the UK version.

Procol Harum's album: Procol Harum, 1967

Reid got the title and starting point for the song at a party. He overheard someone at the party saying to a woman, "You've turned a whiter shade of pale," and the phrase stuck in his mind. The original lyrics had four verses, of which only two are heard on the original recording. The third verse has been heard in live performances by Procol Harum, and more seldom also the fourth. The author of Procol Harum: beyond the pale, Claes Johansen, suggests that the song "deals in metaphorical form with a male/female relationship which after some negotiation ends in a sexual act." This is supported by Tim de Lisle in Lives of the Great Songs, who remarks that the lyrics concern a drunken seduction, which is described through references to sex as a form of travel, usually nautical, using mythical and literary journeys. Other observers have also commented that the lyrics concern a sexual relationship.

Structurally and thematically, the song is unusual in many respects. While the recorded version is 4:03 long, it is composed of only two verses, each with chorus. The piece is also more instrument-driven than most songs of the period, and with a much looser rhyme scheme. Its unusually allusive and referential lyrics are much more complex than most lyrics of the time. Thus, this piece can be considered an early example of progressive rock.

Composition of the song is often regarded as being derived from Johann Sebastian Bach's well-known "Air on the G String". The similarity is referred to in the 1982 play The Real Thing by Tom Stoppardand 1991 film The Commitments. However, the song has been linked to other works by Bach. Dutch author Maarten't Hart calls "A Whiter Shade of Pale" an "original adaptation" of the sinfonia from Bach's Ich steh mit einem Fuß im Grabe, BWV 156 (which has a similar melody to the "Air on the G String"). The stepwise bass motion of the song's Hammond organ obbligatto is close to the "Air on a G String", but Fisher has acknowledged Bach's "Sleepers, Wake!" as an inspiration for the ornamentation.

The music also borrows ideas from "When a Man Loves a Woman" by Percy Sledge, who has covered "A Whiter Shade of Pale".

Procol Harum single 45 RPM "A Whiter Shade of Pale", 1967

Procol Harum - "A Whiter Shade of Pale"  (promo video, 1967)

Over time, "A Whiter Shade of Pale" has earned extensive critical acclaim: 

- John Lennon was a great fan of the song and was known to have played it repeatedly in his Rolls Royce. When it was released in England, Lennon (and friends in his circle) reportedly mistook Brooker's voice for that of Steve Winwood, who had popularity at the time with The Spencer Davis Group.

- Brian Wilson of the Beach Boys believed that the song was his personal funeral march, later explaining in 2004 that he momentarily thinks he's at his own funeral every time he hears the record.

Video:

The first video for the song was shot in the ruins of Witley Court in Worcestershire, England. The Witley Court video features four of the five musicians who played on the hit single: Gary Brooker, Matthew Fisher, David Knights and Ray Royer, in performance and walking through the ruins. Only the drummer in the video isn't on the record: early band member Bobby Harrison is seen miming to session man Bill Eyden's drumming. According to Shindig! Magazine's Procol Harum cover story by Alan Robinson (November–December 2009 issue – page 55), the video was directed by Peter Clifton whose insertion of Vietnam War newsreel footage caused it to be banned from airplay on the Top of the Pops TV show. The band subsequently made another video using "Scopitone" technology, but by this time, Robin Trower and B.J. Wilson had replaced Royer and Harrison in the band, so only three of the five musicians on the recording are represented, and no performance footage included – only the five musicians cavorting around London, running across fields, etc. This lineup, with Fisher in a monk's cowl, also mimed to the song on Top of the Pops, (though Gary Brooker sang live) and black-and-white footage of this performance has been shown online, perhaps constituting the third video of the song from 1967.

There was also a video shot as part of Joel Gallen's Deja-View music video series. Originally airing on various networks in late 1985 through 1986, this video starred Harry Dean Stanton and Bernie Taupin, but featured no member of the band. It has also aired on VH1 Classic, and has recently surfaced online.

Procol Harum in the 6os

Line-up / Musicians:

Gary Brooker – vocals, piano

Matthew Fisher – organ

Dave Knights – bass guitar
Ray Royer – guitar 
Bill Eyden – drums 
Keith Reid – lyrics

Links / Reviews:
wikipedia: A Whiter Shade of Pale
songfacts: A Whiter Shade of Pale by Procol Harum
allmusic: Procol Harum - A Whiter Shade of Pale
Procol Harum official website:  Meanings in 'A Whiter Shade of Pale'
rollingstone: 500 Greatest Songs o All Time - Procol Harum "Whiter Shade of Pale"
progarchives: "A Whiter Shade of Pale" 40th Anniversary Edition

KING CRIMSON - "The Court of the Crimson King"

King Crimson

"The Court of the Crimson King"

Single;

# A-side "The Court of the Crimson King, Pt. 1"

# B-side "The Court of the Crimson King, Pt. 2

Released: 1969

Album: In the Court of the Crimson King (Released 12 Oktober 1969)

Writers: Ian Mc Donald, Peter Sinfield

Label: Island Records, Atlantic Records

"The Court of the Crimson King" is the fifth and final track from the British progressive rock band King Crimson's debut album, In the Court of the Crimson King. This track also released as a single which song is split into two parts. This is the best-known song from one of the pioneers of the progressive rock movement. It evokes imagery of a black queen, funeral march and fire witch in a medieval royal court.

King Crimson's single: "The Court of the Crimson King", 1969

King Crimson - "The Court of the Crimson King", (live at BBC) 

The track is dominated by a distinct riff performed on the Mellotron. The turnaround on Mellotron (played by Ian McDonald) was inspired by James Brown.

The main part of the song is split up into 4 verses, divided by an instrumental section called "The Return of the Fire Witch". The song climaxes at seven minutes, but continues with a little reprise (called "The Dance of the Puppets"), before ending on an abrupt and free time scale.

The British outfit mixed together jazz and classical symphonic elements for In the Court of the Crimson King, largely departing from the blues influences that rock music had been founded upon. It has been cited by many as the first ever prog-rock LP.

King Crimson's single: "The Court of the Crimson King" (Island, 1969)

King Crimson - "The Court of the Crimson King"  

An Atlantic Records advert at the time of the album's release claimed it featured the heaviest riffs on record since Mahler's 8th Symphony. "I know it had to cost ten thousand pounds to make," The Who's Pete Townshend was quoted as saying. "I can't tell if it's worth it."

"...The nine-minute "The Court of the Crimson King" may have some of the bombast and pretension that early progressive rock in general is accused of purveying. But few, if any, early progressive rock tracks were as powerful, perfectly evoking the magical yet ghastly faces and artwork adorning the album sleeve..."

(Allmuisic review by: Richie Unterberger)

The song has some lovely Mellotron laced over Lake's smooth vocals. The influences of Jazz are prominent throughout and the band are so tight the music tends to punch holes within the fabric of the musicscapes. The feeling of alienation and a barren soundscape are exemplified in the way the song is structured. There is a veritable wall of sound with Mellotron strings, pounding bass and crushing drums. There are some great vocals here that are so memorable such as "The black queen chants the funeral march, the cracked brass bells will ring, to summon back the fire witch in the court of the crimson king."

(Progarchives review by: AtomicCrimsonRush)

Steve Hackett - "The Court of the Crimson King" (Tokyo, 1996)

King Crimson's album: In the Court of the Crimson King" (1969)

The song was covered by King Crimson members Ian McDonald and John Wetton with Steve Hackett on Hackett's Tokyo Tapes and by Greg Lake featuring Gary Moore on Lake's Live at Hammersmith Odeon 1981 live album released by King Biscuit Records in 1996.

Line-up / Musicians:

Robert Fripp – guitar

Greg Lake – bass guitar, lead vocals

Ian McDonald – mellotron, harpsichord, organ, flute, backing vocals

Michael Giles – drums, percussion, backing vocals

Peter Sinfield – lyrics

Links / Reviews:
wikipedia:  The Court of the Crimson King 

songfacts:  The Court of the Crimson King by King Crimson 

allmusic: King Crimson - The Court of the Crimson King/ The Return of the Fire Witch / The Dance of the...

progarchives: King Crimson - The Court of the Crimson King 

THE ANIMALS - "The House of the Rising Sun"

The Animals
"The House of the Rising Sun"
Single / B-side: "Talkin' 'bout You"
Released: 19 June 1964 (UK), August 1964 (US)
Album: The Animals (Released: September 1964)
Writer: Traditional, arranged by Alan Price
Label: Columbia Graphophone (UK), MGM (US)

"The House of the Rising Sun" is a traditional folk song, sometimes called "Rising Sun Blues". It tells of a life gone wrong in New Orleans. The most successful commercial version, recorded in 1964 by the English rock group The Animals, was a number one hit in the United Kingdom, the United States, Sweden, Finland, and Canada.

The Animals's single: "The House of the Rising Sun", 1964 (US version)

The Animals - "The House of the Rising Sun" (1964 vinyl 45 RPM)

The Animals' "House of the Rising Sun" was a trans-Atlantic hit: after having reached the top of the UK pop singles in July 1964, it topped the U.S. pop singles two months later in September, when it became the first British Invasion number one unconnected with The Beatles; it was the group's breakthrough hit in both countries and became their signature song. The song was less successful in Ireland, only peaking at #10 and dropping off the charts one week later. Ireland had the showband scene and did not consider rhythm and blues a very popular type of music. The song was also a hit in a number of other countries.

The Animals' rendering of the song is recognized as one of the classics of British pop music. Writer Lester Bangs labeled it "a brilliant rearrangement" and "a new standard rendition of an old standard composition."  It ranked number 122 on Rolling Stone magazine's 500 Greatest Songs of All Time list. It is also one of The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll. The RIAA placed it as number 240 on their Songs of the Century list. In 1999 it received a Grammy Hall of Fame Award. It has long since become a staple of oldies and classic rock radio formats. A 2005 Five poll ranked it as Britains' fourth favourite number one song.

The Animals' album: The Animals (US front cover)

The Animals - The House of the Rising Sun (music video)

Historians have not been able to definitively identify The House Of The Rising Sun, but here are the two most popular theories:

- The song is about a brothel in New Orleans. "The House Of The Rising Sun" was named after Madame Marianne LeSoleil Levant (which means "Rising Sun" in French) and was open for business from 1862 (occupation by Union troops) until 1874, when it was closed due to complaints by neighbors. It was located at 826-830 St. Louis St.

- It's about a women's prison in New Orleans called the Orleans Parish women's prison, which had an entrance gate adorned with rising sun artwork. This would explain the "ball and chain" lyrics in the song.

Musicologists say that it is based on the tradition of broadside ballads such as The Unfortunate Rake of the 18th century and that English emigrants took the song to America where it was adapted to its later New Orleans setting. There is also a mentioning of a house-like pub called the "Rising Sun" in the classic "Black Beauty" tale, which was set in London, England and was published in 1877 which may or may not have influenced the song's 

An interview with Eric Burdon revealed that he first heard the song in a club in Newcastle, England, where it was sung by the Northumbrian folk singer Johnny Handle. The Animals were on tour with Chuck Berry and chose it because they wanted something distinctive to sing. This interview refutes assertions that the inspiration for their arrangement came from Bob Dylan. The band enjoyed a huge hit with the song, much to Dylan's chagrin when his version was referred to as a cover. The irony of this was not lost on Dave Van Ronk, who said the whole issue was a "tempest in a teapot," and that Dylan stopped playing the song after The Animals' hit because fans accused Dylan of plagiarism. Dylan has said he first heard The Animals' version on his car radio and "jumped out of his car seat" because he liked it so much.

The Animals' version transposes the narrative of the song from the point of view of a woman led into a life of degradation, to that of a man, whose father was now a gambler and drunkard, as opposed to the sweetheart in earlier versions.  The Animals version was one of the first songs to put a rock rhythm to a folk song, something Dylan did a lot soon after.

The Animals had begun featuring their arrangement of "House of the Rising Sun" during a joint concert tour with Chuck Berry, using it as their closing number to differentiate themselves from acts that always closed with straight rockers. It got a tremendous reaction from the audience, convincing initially reluctant producer Mickie Most that it had hit potential and between tour stops the group went to a small recording studio on Kingsway in London to capture it.

The Animals - "The House of the Rising Sun" (The Ed Sullivan Show 1964)

The Animals 1964

Recorded in just one take on 18 May 1964, it started with a famous electric guitar A minor chord arpeggio by Hilton Valentine. The performance took off with Burdon's lead vocal, which has been variously described as "howling," "soulful," and as "...deep and gravelly as the north-east English coal town of Newcastle that spawned him." Finally, Alan Price's pulsating organ part (played on a Vox Continental) completed the sound. Burdon later said, "We were looking for a song that would grab people's attention."

Line-up / Musicians:
Eric Burdon – vocals
Alan Price – keyboards
Hilton Valentine – guitar
Chas Chandler – bass
John Steel – drums

Links / Reviews:
wikipedia: The House of the Rising Sun
songfacts: The House of the Rising Sun by The Animals
allmusic: The Animals - The House of the Rising Sun
americanbluesscene: A Brief History of House of the Rising Sun

LED ZEPPELIN - "Kashmir"

Led Zeppelin
"Kashmir"
Album: Physical Graffiti
Released: 24 February 1975
Writers: Jimmy Page, Robert Plant, and John Bonham
Label: Swan Song

"Kashmir" is a song by the English rock band Led Zeppelin from their sixth album Physical Graffiti, released in 1975. It was written by Jimmy Page and Robert Plant (with contributions from John Bonham) over a period of three years with lyrics dating to 1973. The song became a concert staple, being performed by the band at almost every concert since its release. Page and Plant released a longer live version, recorded with an Egyptian/Moroccan orchestra, on No Quarter: Jimmy Page and Robert Plant Unledded (1994) and continued to perform the song with an orchestra on their 1995 tour.

The original title was "Driving To Kashmir

Led Zeppelin's album: Physical Graffitti
(photo courtesy of Swan Song)

Led Zeppelin - "Kashmir" (from the album Physical Graffiti)

The song runs for 8:28, a length that radio stations usually consider too long to play. However, upon its release, radio stations aired "Kashmir", especially after seeing "Stairway to Heaven", which was almost as long, do so well.

The song includes many distinctive musical patterns of classical Moroccan, Indian and Middle Eastern music. Page explained, "I had a sitar for some time and I was interested in modal tunings and Arabic stuff. It started off with a riff and then employed Eastern lines underneath."

The lyrics were written by Plant in 1973 immediately after Led Zeppelin's 1973 US Tour, in an area he called "the waste lands" of Southern Morocco, while driving from Goulimine to Tantan in the Sahara Desert. This was despite the fact that the song is named after Kashmir, a region in the northwestern part of the Himalayas.

In an interview he gave to William S. Burroughs in 1975, Page mentioned that at the time the song was composed, none of the band members had ever been to Kashmir.

Orchestral brass and strings with electric guitar and mellotron strings appear in the song. This is one of the few Led Zeppelin songs to use outside musicians. Session players were brought in for the string and horn sections. According to Jones, "the secret of successful keyboard string parts is to play only the parts that a real string section would play. That is, one line for the First Violins, one line for Second Violins, one for Violas, one for Cellos, one for Basses. Some divided parts [two or more notes to a line] are allowed, but keep them to a minimum. Think melodically".

Led Zeppelin - "Kashmir" (music video)

Led Zeppelin's performance, 1975
(Photo by Mick Gold / Redferns - rollingstone.com)

"Kashmir" was played live at almost every Led Zeppelin concert from its debut in 1975. One live version, from Led Zeppelin's performance at Knebworth in 1979, is featured on disc 2 of the Led Zeppelin DVD. This performance came from the band's first show at the venue on 4 August. The surviving members also performed the song at the Atlantic Records 40th Anniversary concert in 1988. It was again performed at Led Zeppelin's reunion show at the The O₂, London on 10 December 2007 and later released on Celebration Day. That concert's rendition of the song, due to its appearance in the film, has been nominated for the Grammy Award for Best Rock Performance at the 56th Grammys.

Led Zeppelin's "Kashmir" on Celebration Day project

Led Zeppelin - "Kashmir" (Celebration Day)

Page and Plant recorded another live version of "Kashmir" in 1994, released on their album No Quarter: Jimmy Page and Robert Plant Unledded. For this arrangement, they added an orchestra and Egyptian musicians.

All four members of Led Zeppelin have agreed that "Kashmir" is one of their best musical achievements. John Paul Jones suggested that it showcases all of the elements that made up the Led Zeppelin sound. Plant has stated that "Kashmir" is the "definitive Led Zeppelin song",and that it "was one of my favourite [Led] Zeppelin tracks because it possessed all the latent energy and power that wasn't heavy metal. It was something else. It was the pride of Led Zeppelin." During a television interview in January 2008, he also named "Kashmir" as his first choice of all Led Zeppelin songs that he would perform, commenting "I'm most proud of that one". Page has indicated he thinks that the song is one of the band's best compositions.

Led Zeppelin - "Kashmir" (Earl's Court Arena, 1975)

Peter Grant: "I remember Bonzo having me listen to the demo of 'Kashmir' with only him and Jimmy. It was fantastic. What's funny is that after a first recording of the song, we found it sounded a bit like a dirge. We were in Paris, we had Atlantic listen to it, and we all thought it really sounded like a dirge. So Richard (Cole) was sent to Southall in London to find a Pakistanese orchestra. Jonesy put it all together and the final result was exactly what was needed. He was an exceptional arranger." 

Kashmir, also known as Cashmere, is a lush mountain region North of Pakistan. India and Pakistan have disputed control of the area for years. The fabric Cashmere is made from the hair of goats from the region. The area is also famous for growing poppies, from which heroin is made. 

Line-up / Musicians:

Jimmy Page – lead guitar
Robert Plant – lead vocals
John Paul Jones – bass guitar, mellotron, strings and brass arrangements
John Bonham – drums
With:
Uncredited musicians - strings and brass

Links / Reviews: 
wikipedia: Kashmir (song)
songfacts: Kashmir by Led Zeppelin
allmusic: kashmir - led zeppelin
rollingstone: The 40 Greatest Led Zeppelin Songs of All Time
ultimateclassicrock: led-zeppelin-kashmir-live-song-review