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Life
at 33 1/3
By Carl Meyer
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All hands on deck
Procol Harum: A Salty Dog (Regal Zonophone) - Released: June 1969
An eccentric and puzzling band that never resembled
anyone but themselves. Put a Procol Harum disc on your turntable and you
know right away it’s them. I can’t really explain what their secret is,
but it should be possible to shed light on some of the components that
defines their uniqueness.
Gary Brooker’s voice is definitely one of the band’s signature sounds.
His timbre may at first appear to be a raspy grumble with a limited
range, but then he throws his head back and hits notes that defy reason.
The voice is overwhelmingly expressive. And because Keith Reid’s lyrics
are so mysterious, the Brooker accentuation and phrasing becomes your
only signpost in forest of dark shadows and strange occurences.
Brooker’s voice is spellbinding enough in itself. But then there’s the
music:
Brooker’s piano playing is a strange mixture of classical notes, clear
as ice, dripping from his fingers and fiery rhythm & blues chords. He is
cookin’ in the club and going epic all on the same album, quite often
even in the same song. Out on the opposite wing you find the late night,
early morning blue, blue wistful organ notes of Matthew Fisher. A poet
of the keys carrying both Bach and Goethe’s young Werther in his chest.
Fisher makes the music soar.
Procol Harum’s got two anchors that keep them firmly rooted to the
ground. The droning, fat blues guitar of Robin Trower is growling
ominously under rhe beautiful musical surface and rips everything apart
when it takes off on those characteristic solo runs, so brutal that you
would expect it to appear inappropriate in such surroundings, but it
doesn’t, on the contrary, that blistering drone is a crucial part of
Procol Harum’s unique expression.
And to keep it all together, B.J. Wilson, the ten armed, low seated
drummer. To see him hit the skins is an experience in itself (check
YouTube), to hear him is intoxicating. He owns the tunes, he is their
flickering soul.
Why so many words on the band and none on the album? Well, these words
are especially relevant when you focus on “A Salty Dog”, because it was
here on their third album (the last with the classic lineup) that all
ingredients mentioned came together in a higher unity.
You can pick any Procol Harum album as your personal favourite, that is
OK, but it will allways have to be measured against “A Salty Dog”, the
fulfillment of Brooker/Reid’s master plan, its magnitude can not be
surpassed. This is where it all came together, this is what they build
the band’s future on. Fisher quit, and later Trower did too. But the
overall sound did not change that much.
With few exceptions, any Procol Harum album is a blessing from start to
finish. But none more than “A Salty Dog”. 1969 was a great year for
albums and “A Salty Dog” is one of the greatest of them all. Why didn’t
it sell a gazillion copies? Now that is a mystery to me.
For a start just check out the title track on YouTube. It is one of the
most beautiful songs any band has given the world, so stunning it hurts.
Side One
1.”A Salty Dog” (Brooker/Reid) 4:41
2.”The Milk of Human Kindness” (Brooker/Reid) 3:47
3.”Too Much Between Us” (Brooker/Trower/Reid) 3:45
4.”The Devil Came from Kansas” (Brooker/Reid) 4:38
5.”Boredom” (Fisher/Brooker/Reid) 4:34
Side Two
1.”Juicy John Pink” (Trower/Reid) 2:08
2.”Wreck of the Hesperus” (Fisher/Reid) 3:49
3.”All This and More” (Brooker/Reid) 3:52
4.”Crucifiction Lane” (Trower/Reid) 5:03
5.”Pilgrim’s Progress” (Fisher/Reid) 4:32
Musicians and production:
Gary Brooker: vocals, piano, celeste, three stringed guitar, bells,
harmonica, recorder, wood
Robin Trower: lead guitar, vocals (track 4, side 2), acoustic guitar,
sleigh tambourine
Dave Knights - bass guitar
B.J. Wilson: drums, conga drums, tabla
Matthew Fisher: organ, vocals (track 5, side 1, and tracks 2 and 5, side
2), marimba, acoustic guitar, piano, recorder, rhythm guitar
Kellogs: bosun’s whistle, refreshments
Keith Reid: words
Orchestral arrangements: Gary Brooker (track 1, side 1 and track 3, side
2), Matthew Fisher (track 2, side 2)
Produced by Matthew Fisher
Engineered by Ken Scott (tracks 1–5, side 1 and 3–5, side 2), Ian Stuart
(track 1, side 2) and Henry Lewy (track 2, side 2)
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