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In samenwerking met o.a.
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Muziek - Procol's Ninth
Procol's Ninth
Nu slechts
€ 10,99
Clearly, Gary Brooker, the singer/pianist/composer of Procol Harum, was looking for something new and different in approaching his band's eighth studio album, called Procol's Ninth in a self-deprecating reference to the group's classical pretensions, because they counted a live album in their discography. Fans might have been left scratching their heads as to why Brooker chose the veteran writer/producer team of Jerry Leiber and Mike Stoller, known for their '50s and early-?60s R&B hits, to produce an LP by his progressive rock group in the ?70s. If so, they were forgetting that Brooker had scored his first British chart entry with a cover of the team's ''Poison Ivy'' as a member of the Paramounts in 1964; turning to Leiber and Stoller was a way of going back to the future. This is not to say that Procol's Ninth sounds like ?50s R&B, at least not all the time. Leiber & Stoller do introduce some of their signature sounds. ''Taking the Time,'' for example, has a bit of a Coasters feel to it, that is, before the reeds come in and the arrangement switches to '20s jazz. And ''The Final Thrust'' has some of the Latin tone of ''Stand by Me.'' But it would be more accurate to say that Leiber & Stoller were looking for various ways to break Procol Harum out of its grand piano/Hammond organ, semi-classical mode by introducing a variety of contemporary pop sounds. ''Pandora's Box,'' which became a Top 20 U.K. hit, begins with a vibraphone and employs a flute solo. ''Without a Doubt'' has short reggae passages and a massed horn chart very suggestive of Chicago. In fact, Chicago seems like a key influence, especially in terms of that band's eclecticism. ''The Unquiet Zone'' boasts a funky organ part that strongly recalls the Spencer Davis Group's ''I'm a Man,'' or rather, Chicago's cover of the Spencer Davis Group's ''I'm a Man.'' At this point, Procol Harum fans might be wondering what happened to the group they loved, and that's even before considering the cover of the old Leiber & Stoller hit ''I Keep Forgetting'' (bringing them songwriting royalties on top of their producers' fees) and that of the Beatles' ''Eight Days a Week.'' The unprecedented inclusion of cover material seems to suggest a band running out of steam creatively, a suggestion furthered by Keith Reid's lyrics to the original songs, which in several cases find him reflecting on being a writer rather than actually writing something. But maybe Procol's Ninth was just a botched experiment. This reissue adds three bonus tracks in presentations of ''raw'' versions of songs on the disc, which is to say, early versions that later had overdubs added to them and, in the case of ''Fool's Gold,'' the guide vocal replaced by a more deliberate one. ~ William Ruhlmann
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