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Procol Harum (/ˈproʊkəl ˈhɑːrəm/) were an English rock band formed in Southend-on-Sea, Essex, in 1967. Their best-known recording is the 1967 hit single "A Whiter Shade of Pale", one of the few singles to have sold more than 10 million copies.[5] Although noted for their baroque and classical influence, Procol Harum's music is described as psychedelic rock and proto-prog with hints of the blues, R&B, and soul.

Key Information

In 2018, the band was honoured by the Rock and Roll Hall of Fame when "A Whiter Shade of Pale" was inducted into the new Singles category.[6][7] They were previously nominated as performers in 2012.

History

[edit]

Formation

[edit]

In 1966, after Southend-on-Sea-based group The Paramounts were unable to generate any follow-up success with their UK top 40 single "Poison Ivy", the group disbanded.[8][9] Their frontman Gary Brooker decided to retire from performing and focus on songwriting, and his old friend Guy Stevens introduced him to lyricist Keith Reid.[10] In April 1967, after several months writing together while failing to find any artists interested in performing their songs, Brooker and Reid decided to form their own band which would use their songs as their sole material.[10] Brooker, in addition to vocals and the piano, was also proficient on the organ, trombone, cornet, piano accordion and Bengal flute.[11]

Paramounts' drummer Barrie "B. J." Wilson agreed to stay on and rehearse for the new group and auditions brought them bassist David Knights and two members of George Bean and the Runners, Richard Brown (guitar) and Alan Morris (organ). But the lack of gigs and money led to the dispersal of this grouping before they even got out of the rehearsal hall, with only Knights staying on.[12]

They next teamed with organist Matthew Fisher, who had left Screaming Lord Sutch's backing group The Savages and advertised for work. Reid said he was right for Procol Harum just from talking to him and decided before hearing him play.[13] Guitarist Ray Royer was chosen after the group placed an advertisement for players and were inundated, so the band "really grilled the applicants" to find "someone with the right state of mind."[13] Reid said bassist David Knights had also been chosen in a similar manner to Fisher, in that he was right for the group "as a person", and had an original playing style.[13] Drummer Bobby Harrison completed the line-up, after the group had tried out up to nine drummers by this point. Reid said Harrison was the first that the band "could really work with", and had a sense of humour that helped balance out the more serious personality that Reid and the rest of the band had.[13] The band chose Stevens as their manager.

The group named themselves after a male blue Burmese cat, which had been bred by Eleonore Vogt-Chapman and belonged to Liz Coombes, a friend.[14][15] Stevens suggested the group name themselves after the cat, which the group immediately accepted.[16] However, the cat's pedigree name was in fact Procul Harun, the Procul being the breeder's prefix,[17] but the name was taken down over the telephone, leading to a misspelling.[18] Although people informed the band that the name is Latin for "beyond these things",[11] this is incorrect as the correct term would be procul hīs.[19]

"A Whiter Shade of Pale" and debut album (1967–1968)

[edit]
The original lineup of Procol Harum at the Guards Crimean War Memorial. L to R: Bobby Harrison, Matthew Fisher, Gary Brooker, David Knights, Ray Royer.

In April 1967 the group entered Olympic Studios in London to record their debut single, "A Whiter Shade of Pale". They were joined by session drummer Bill Eyden in place of Harrison (though Harrison did play on the B-side "Lime Street Blues"), producer Denny Cordell and sound engineer Keith Grant. With a structure reminiscent of Baroque music, the song features a countermelody loosely based on J. S. Bach's Orchestral Suite No. 3 in D Major played by Fisher's Hammond organ. An enthusiastic response from listeners of the pirate radio station Radio London prompted Deram Records to rush-release the single for 12 May 1967.[20] It was an instant worldwide success, reaching No. 1 on the UK Singles Chart for six weeks and the same spot in eleven countries. In three weeks, it became the fastest selling record by a new group.[13] In the US, it peaked at No. 5 and the song has since sold over 10 million copies worldwide. Around the same time, Cordell suggested that Jonathan Weston be brought in to co‑manage the band with Stevens.[20]

Procol Harum played their first live gig at London's Speakeasy club on the day "A Whiter Shade of Pale" was released on 12 May 1967. They performed a set of mostly Brooker/Reid songs mixed with covers of Bob Dylan, The Rascals and Tim Rose tunes. Jimi Hendrix was an early vocal supporter of the band and attended their first show where, at the start of their performance of Rose's "Morning Dew", he went on stage, took Knights' bass and joined in.[21]

After 18 June, the group would not play live in the UK until the following year.[22][23]

On 15 July 1967, the group announced the June departure of Royer and Harrison and their split from Weston as manager. Fisher later said that the major issue for the split with Weston was when he organised an extensive UK tour for Procol Harum too soon after the release of "A Whiter Shade of Pale", resulting in the group performing "for £60 per night instead of £500."[20] Following the addition of guitarist Robin Trower and the return of B. J. Wilson, the band secured new management under Tony Secunda.[24] The departures brought about what Brooker described as "great lawsuits and expense" from Royer, Harrison, and Weston, and initial session drummer Eyden filed his own suit.[20] Roughly three months into their partnership with Secunda, the band hired two Americans, Bennett Glotzer and Ronnie Lyons, to manage them in the US.

Procol Harum c. early 1968
From left: Knights, Trower, Brooker, Wilson, Fisher

The group's follow-up single, "Homburg", was released in September 1967. The song reached No. 6 in the UK and No. 34 in the US. In the same month their debut album, Procol Harum, recorded between the two hit singles, was released in the US. Brooker said its release soon after the singles put the band in good stead in the US, but the problems created by the line-up changes, subsequent lawsuits and new management delayed its release in the UK until December. Brooker said it was at this point where the band "had lost the British audience."[25]

Follow-up albums and break-up (1968–1977)

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The band's follow-up album, Shine on Brightly was released the following year and saw a greater excursion into progressive rock stylings. It reached number 24 in the US but failed to chart in the UK. Finding themselves labelled as one-hit wonders in their home country, while in the US their reputation as a live act only continued to improve, for the next several years Procol Harum spent most of their time touring America.[26][27]

Their third album, A Salty Dog (1969), was popular among fans and their first album to sell well in the UK. The title track in particular gained a good deal of US FM radio airplay, and the album is now considered a rock classic, appealing to fans of The Beatles, The Moody Blues and Pink Floyd. Procol Harum were asked to perform at the Woodstock Festival in August 1969, but were unable after Trower's wife was expecting a baby and needed to return to England.[28]

Later in 1969, Fisher finally decided to leave the band. In addition to the friction caused by the songwriting credits on "A Whiter Shade of Pale", Fisher had wanted to play a bigger role in writing song lyrics for the band, feeling that Keith Reid's output was growing repetitive.[29] When his proposals were rebuffed, Fisher opted to leave instead. As Brooker would later comment: "I remember Matthew [Fisher] moaning and wanting to leave in about the fourth week [after forming the band], and he went on moaning and wanting to leave until eventually we only had to agree that it would be best".[30] When Fisher told Knights of his plan to leave, Knights resolved that it was the time for him to leave as well.[30] Fisher and Knights were replaced by Chris Copping, another former member of The Paramounts, who played both organ and bass.[28]The first album featuring this four-piece lineup was Home, released in June 1970. Shortly thereafter, the group appeared at the 1970 Isle of Wight Festival.[31]

By 1971, the disparities in style had become too great and, after the release of their fifth album Broken Barricades, Trower left to form his own power trio. He was replaced by Dave Ball,[9] while Alan Cartwright (a former bandmate of Wilson's in Freddie Mack's band) took over bass from Copping, who remained on organ.[32]

In mid-1971, Procol Harum severed ties with Glotzer and Lyons and legally fought an accounting dispute which was settled out of court.[25] The band went on to sign with Chrysalis Records and completed a successful UK tour opening for Jethro Tull.[27]

During the band's 1971 tour, Procol Harum recorded their show on 18 November in Edmonton, Alberta with the Edmonton Symphony Orchestra and a choir for a live album. Released in April 1972, Procol Harum Live: In Concert with the Edmonton Symphony Orchestra was met with commercial success when it peaked at No. 5 in the US, where it was certified gold for selling 500,000 copies. In the UK, it peaked at No. 48. The live rendition of "Conquistador" from their debut album reached No. 16 in the US and No. 22 in the UK.

After Dave Ball left, Mick Grabham was the group's guitarist from 1972 until 1977.

The band continued with their new symphonic rock sound on their follow-up, Grand Hotel. Released in March 1973, the album reached No. 21 in the US.[9] It did not chart in the UK, but it was certified silver for selling over 60,000 copies there.

Procol Harum in 1973. From left: Chris Copping, Mick Grabham, Alan Cartwright, Keith Reid, Gary Brooker, B. J. Wilson

The band returned to its hard rock roots with their seventh studio album Exotic Birds and Fruit, released in April 1974. Reid said the group made a conscious attempt to "dispel that symphonic image" that they had been attached to and has a similar sound to their debut. The album's sleeve was absent of lyrics in the liner notes.[33]

In 1975 Procol Harum played the final night at the Rainbow Theatre in London before its refurbishment.[34]

The personnel changes contributed to declining sales in the later part of the 1970s, with "Pandora's Box" being the final UK Top 20 hit in 1975.[9] Its parent album Procol's Ninth saw a re-connection with Jerry Leiber and Mike Stoller, who both produced and wrote with the band.

In 1976 the band regrouped to record their final album of the 1970s, Something Magic. This marked the departure of Cartwright, after Brooker thought Copping was a better bassist which led to the arrival of newcomer Pete Solley on keyboards. The album's producers were not impressed with the group's material, which took the form of "The Worm and the Tree", an extended track that originated from a theme of Brooker's that the band had attempted some years before, but the group "made it up as we went along" in the studio.[35]

Something Magic was released in March 1977 and peaked at No. 147 in the US.[34] During the subsequent tour, the band celebrated their tenth anniversary with a concert at the Palladium Theatre in New York City in May.[33]

In April 1977, during the promotional tour for Something Magic, Copping joined Frankie Miller's band and was replaced in Procol Harum by Elton John's former bassist Dee Murray.[36] The tour ended in May, and the following month Grabham announced that he had left the band, claiming that he had been "generally dissatisfied with my role ... for some months".[37] The band played one final show in October when "A Whiter Shade of Pale" co-won the Single of the Year award at the 1977 Brit Awards, with Brooker, Wilson and returning members Cartwright and Copping joined by guitarist Tim Renwick.[36]

Reformation and the 1990s

[edit]
Procol Harum in 2001
From left: Mark Brzezicki, Geoff Whitehorn, Gary Brooker, Matt Pegg, Matthew Fisher

After Reid and Brooker teamed up to write once again in late 1989, the band reformed in 1991, with Brooker, Fisher, Trower and Reid (Wilson had died in 1990 after three years in a persistent vegetative state following a drug overdose) and released The Prodigal Stranger, but sales were modest.[34] After the album's release, a new incarnation of the band, with Brooker and Fisher but not Trower, toured the US and the world for a few years in the first half of the 1990s. Tim Renwick took over on guitar, with Dave Bronze on bass and Mark Brzezicki on drums.[9] Renwick was replaced later in the year by Geoff Whitehorn.[38]

After a tour which spawned One More Time: Live in Utrecht 1992, Fisher briefly stepped away from the band to focus on studying for a degree, with Don Snow temporarily taking over for a summer tour.[39] Laurence Cottle substituted for Bronze, who was performing with the Hamsters, at a show in August.[40]

After nearly a year of inactivity, Procol Harum performed a handful of shows in May and June 1993, with former Diamond Head keyboardist Josh Phillips filling in for Fisher and former King Crimson drummer Ian Wallace in place of Brzezicki, who had rejoined Big Country.[41] Fisher returned for shows starting in July,[41] and Matt Pegg replaced Bronze the following month.[42] Touring continued sporadically throughout the rest of the decade – Graham Broad performed drums for a run of shows in July and August 1995,[43] and Henry Spinetti took over for shows in 1996.[44]

In August 1995 Procol Harum played at the Cropredy Music Festival, as guests of Fairport Convention. They also toured US and UK the same year, performing at several locations.[45]

In July 1997 fans arranged the celebration of the 30th anniversary of the success of "A Whiter Shade of Pale" and invited the then-inactive band to play a concert at Redhill, Surrey. The band played a one-off show in celebration of the 30th anniversary of "A Whiter Shade of Pale", with the regular lineup joined on several songs by former members Mick Grabham, Peter Solley, Alan Cartwright, Dave Bronze and Chris Copping.[46]

In late 1999, Brooker promised that "Procol will play in 2000", and in September the band played an open-air gig with the New London Sinfonia in Guildford.

2000s

[edit]

In 2000 Procol Harum received some attention after the song "In Held Twas in I" appeared on the band Transatlantic's debut album.

In the early 2000s, the band, comprising Brooker, Fisher, Geoff Whitehorn (guitar), Matt Pegg (bass) and Mark Brzezicki (drums), made several tours, mostly of Europe but also Japan and the US. A 2001 concert in Copenhagen, Denmark was released on DVD in 2002. In 2003 the band released a new studio album, The Well's on Fire and appeared at the Progman Cometh festival in Seattle. Their concert in London on Friday 12 December 2003, with much of the material from that album, was released on DVD in 2004: Live at the Union Chapel.

Long-time organist Matthew Fisher left the band in June 2004 due to "unresolved matters", with former stand-in Josh Phillips taking his place on Hammond again, leaving Brooker as the only original performing member.[47] These matters were later revealed to have been a lawsuit filed by Fisher against Brooker and the band for songwriting credits and a share of royalties on "A Whiter Shade of Pale", which he won in December 2006.[48]

The band resumed a limited touring schedule in 2005. In June 2006 they played at the Isle of Wight Festival. In August they played two outdoor concerts with the Danish Radio Orchestra at Ledreborg Castle in Denmark, which were tele-recorded. An hour-long edit of the show was broadcast on Christmas morning 2008 on Danish Channel DR2 and the full concert was issued on DVD on 11 May 2009 (with six extra tracks from a Danish television recording of the band from 1974).

Later in 2006, they played in Switzerland, Norway and Denmark, but with Geoff Dunn replacing Brzezicki on drums, because the latter's other band Casbah Club was touring with The Who.[49] Then Dunn ended up replacing Brzezicki permanently for the band's European tour in 2007. Recordings from the Italian concerts were later released as One Eye to the Future – Live in Italy 2007. Procol Harum also played an orchestral concert in Sweden on 30 June. They performed with the Gävle Symphony Orchestra at the outdoor opera venue Dalhalla, near Rättvik.

On 20 and 21 July 2007 fans arranged the celebration of the 40th anniversary of the success of "A Whiter Shade of Pale" and invited the band to play. This took the form of two concerts at St John's, Smith Square in London. 20 July saw Procol Harum play a mixture of songs from their early days through to the début of a couple of new songs, "Sister Mary" and "Missing Persons". The following night 'Gary Brooker and Guests' performed a mixture of obscure songs by Brooker–Reid that had either never been recorded, never been performed live before or were significantly different from the versions they recorded.

Although there was no Procol Harum activity in 2008, their manager Chris Cooke, on the web site Beyond the Pale, announced plans for a live DVD and a new album in 2009, as well as festival concerts in Norway on 17 July and Finland on 23 July.[50] Just before the latter concert, Brooker fell off a pile of road-side logs in Finland and broke several ribs. The show went ahead but he was unable to sing properly, and many of the songs were performed either as instrumentals or sung by others in the band.

In October 2009 with Brooker fully recovered, the band performed four concerts  – in Hagen (Germany), Drammen (Norway), Moscow and St Petersburg. All This and More, a four-disc retrospective (three CDs and a DVD with historical notes) was released in the autumn of 2009, and Salvo also issued all of the band's previous albums as remastered CDs with extra tracks, some never previously heard.

2010s

[edit]

Procol played a string of US (and Toronto) concert dates in June 2010, mostly opening for Jethro Tull. On 22 July Procol again headlined at the Keitelejazz Festival in Äänekoski, Finland – the venue where the band performed with an injured Brooker in 2009. They described this loyal Finnish audience as "the best in the world" and played a unique three-verse version of "A Whiter Shade of Pale" with a guitar solo from Geoff Whitehorn. 48 hours later Procol were invited to give a free concert at the courtyard of the Palace of the Province of Bergamo in Italy.

In August 2010 they appeared in Bad Krozingen in Germany and a Rock Legends event at the Dolina Charlotty Amphitheater in Poland. After a Halloween gig in Leamington Spa (their first in the UK for three years) the band returned to North America in November, including a return orchestral event with the Edmonton Symphony Orchestra on 9 November. After playing in Tallinn, Estonia on 18 November, they returned to the US for an orchestral concert in Wilmington, Delaware on 4 December. Over 13,000 people saw eight New Year concerts with the Danish Radio Orchestra in Copenhagen and other Danish cities in January 2011.[51]

On 29 May 2012 Gary Brooker was hospitalised after suffering a fall in his hotel room in Cape Town. He was due to have performed with his band at GrandWest Arena on the 30th, with fellow Brits 10cc and The Moody Blues, in a tour billed as the 'British Invasion' and then again in Johannesburg on Friday 1 June 2012. Brooker (whose birthday it was) had been in his room at the five-star Table Bay Hotel. He was admitted to the ICU of the Christiaan Barnard Memorial Hospital with a serious skull fracture.

The band returned to Denmark for the Kløften Festival on 25 June before embarking on a 27-date U.S. tour supporting Yes.

In 2012 the Japanese artist Yumi Matsutoya came to London to record "A Whiter Shade of Pale" with Procol Harum, a band she considered an inspiration for her work. She sang a duet with Gary Brooker on this new version of the 1967 classic, which featured three verses and a guitar solo by Geoff Whitehorn. Yumi and Procol Harum then played a series of December concerts in major Japanese cities, one of which was recorded for a later television showing (on 31 March 2013).

Procol Harum performing at the Colston Hall, Bristol, 16 May 2017

Also in 2012, Henry Scott-Irvine published a biography of the band, Procol Harum – The Ghosts of A Whiter Shade of Pale. Scott-Irvine also hosted a rare Procol Harum film evening at the BFI on the South Bank, which was attended by members of the group.[52]

In September 2012 Procol Harum was among fifteen final nominees for the Rock and Roll Hall of Fame Class of 2013 (induction 18 April 2013). In the subsequent election that December, however, the band failed to gain enough votes for election.[53]

In March and April 2013 Procol Harum played a series of five orchestral concerts in Denmark and two such events in Wuppertal in Germany. Four band-only concerts in Sweden & Finland were held in early October.

In 2014 the band toured again in France, Switzerland, Germany, Canada (Ottawa with orchestra) and the Eastern U.S. The band also played a five-song set at Kenney Jones' Rock'n'Horsepower charity event at Ewhurst, Surrey in June, on a bill including Alvin Stardust, John Lodge, Nik Kershaw, Mike Rutherford, Judie Tzuke and The Who. A twin CD, Inside & Outside, was issued with studio tracks from the Chrysalis years and a live CD including new material and performances of tracks from their first four Zonophone albums.

On Monday 24 November Procol Harum appeared at the Dominion Theatre in London with the BBC Concert Orchestra and Crouch End Festival Chorus in an event recorded for broadcast on BBC Radio 2's Friday Night is Music Night on 28 November. Guitarist Geoff Whitehorn was hospitalised during rehearsals and at short notice Rick Wakeman's guitarist Dave Colquhoun deputised (on crutches, after a broken ankle). He played a guitar solo in the first extended, orchestrated version of Keith Reid's 9/11 tribute song "Blink of an Eye", dedicated by Gary Brooker to the brave firefighters of the 8th Avenue station who the band often talked with after gigs in New York.

The band's 13th album, Novum, was released on 21 April 2017 and the band played 36 dates in the UK and Europe to promote it. However, the most significant concert of the year came in March when the band played with an orchestra at the Royal Festival Hall in London. Whilst leaving the stage at the end of the first half, Gary Brooker fell and was seriously hurt. He reappeared for the second half with his head bandaged and nursing "a broken hand".

In 2018 the band again toured in Europe, including an orchestral show at the London Palladium on 9 October. They commenced 2019 with a Caribbean cruise hosted by Justin Hayward, with many well-known rock acts. A US tour was due to follow.

Brooker's death

[edit]

Brooker, the only constant member of the band and the main songwriter, died on 19 February 2022.[54] The band's website described him as "a brightly shining, irreplaceable light in the music industry".[55] "A Whiter Shade of Pale" entered the UK Official Singles Sales Chart Top 100 at number 38 on 25 February 2022.[56] After his death, Procol Harum disbanded for good.

Authorship lawsuit

[edit]
Main article: A Whiter Shade of Pale § Authorship lawsuit

In July 2009, Matthew Fisher won a British court judgment awarding him 40% of the music royalties from 2005 onwards for 1967's "A Whiter Shade of Pale", which had previously gone 50% to Brooker for the music and 50% to Reid for the lyrics.[57]

Members

[edit]
Main article: List of Procol Harum members

Discography

[edit]
Main article: Procol Harum discography
Studio albums

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Procol Harum

View on Grokipedia
from Grokipedia
Procol Harum was an English rock band formed in , , in 1967 by pianist-vocalist , lyricist , and former members of the R&B group the Paramounts, including guitarist and drummer . Best known for their debut single "," which topped charts in the UK, , and several other countries in 1967 and sold over 10 million copies worldwide, the band pioneered a fusion of rock, blues, and classical music elements, often incorporating Bach-inspired organ melodies and gothic lyrical themes. The band's core sound was shaped by Brooker's piano-driven arrangements and Reid's abstract, poetic lyrics, with organist Matthew Fisher joining early to add symphonic depth; their self-titled debut , released later in 1967, featured the hit alongside tracks like "Homburg." Over the late 1960s and early , Procol Harum evolved into a cornerstone of , releasing acclaimed albums such as Shine on Brightly (1968), which included the 18-minute epic "In Held 'Twas in I," (1969), and the orchestral live recording Procol Harum Live: In Concert with the Edmonton Symphony Orchestra (1972), the latter reviving their career with the Top 20 hit "." Their style encompassed , , and symphonic prog, influencing bands like Genesis and Yes while maintaining a distinctive blend of energy and classical grandeur. Following lineup changes—including Trower's departure in 1971 and Fisher's intermittent involvement—the band continued with albums like Grand Hotel (1973) and Exotic Birds and Fruit (1974), but faced declining commercial success, leading to an informal disbandment around 1977 after Something Magic. They reformed in 1991 with The Prodigal Stranger, marking a return to their symphonic roots, and released further works including The Well's on Fire (2003) and Novum (2017), Reid's final lyrical contribution before his death in 2023. Tragedies marked their later years, including drummer B.J. Wilson's death in 1990 and Brooker's passing in 2022 at age 76, after which the band ceased activity following over five decades of performances and twelve studio albums. Despite never achieving consistent chart dominance post-1967, Procol Harum's innovative approach to rock left a lasting legacy in progressive music.

History

Formation (1967)

Procol Harum's origins trace back to the group The Paramounts, which co-founded in 1961 alongside guitarist while still in school in , . The band, featuring Brooker on piano and vocals, Trower on guitar, and other members including bassist and drummer Mick Brownlee (later replaced by Barrie "B.J." Wilson), gained early recognition in the British R&B scene with singles like a 1964 cover of "" that reached the UK Top 40. Active through the mid-1960s, The Paramounts toured with acts such as but disbanded in early 1966 amid shifting musical trends, leaving Brooker to pursue songwriting. Following the breakup, Brooker, then 21, was introduced to lyricist in late 1966 by and DJ , a mutual acquaintance from the R&B circuit. The pair quickly formed a creative partnership, with Brooker composing music to Reid's poetic lyrics; their first collaboration was the song later known as "," written without an established band in mind. This marked a departure from Brooker's R&B roots toward a more ambitious, classically influenced sound, setting the stage for a new ensemble. In April 1967, Brooker recruited the initial lineup to bring their material to life: organist Matthew Fisher, bassist Dave Knights, guitarist Ray Royer, and drummer , assembled through music connections. The group held their first rehearsals shortly thereafter, focusing on Brooker's piano-driven arrangements enhanced by Fisher's . , acting as manager, secured a publishing deal with Essex Music and facilitated recording sessions at , leading to a contract with , a Decca known for progressive acts. The band's unusual name originated from a misheard pedigree certificate for a friend's , "Procul Harun" (intended as Latin for "beyond these things"), suggested by Stevens during a casual discussion; it was adapted to "Procol Harum" for its exotic ring. This moniker encapsulated the group's esoteric ambitions from the outset, as they prepared for their debut amid the vibrant 1967 scene.

Breakthrough with "A Whiter Shade of Pale" (1967–1968)

In May 1967, Procol Harum recorded their debut single "A Whiter Shade of Pale" at Olympic Sound Studios in , under the production of . The track featured on piano and lead vocals, delivering a soulful , while Matthew Fisher contributed a memorable solo inspired by Johann Sebastian Bach's "Ich steh mit einem Fuß im Grabe" from BWV 156, blending classical elements with rock instrumentation. The session involved the initial lineup, including guitarist Ray Royer, bassist David Knights, and session drummer Bill Eyden, and was completed in just two or three takes without overdubs. The single was released in June 1967 on , quickly gaining traction through airplay and media buzz surrounding the band's recent name change from the temporary moniker The Pinewoods—derived from a miscommunication involving a friend's named "Procol Harum," a garbled Latin phrase meaning "beyond these things"—to their now-iconic title. It soared to No. 1 on the UK Singles Chart, holding the position for six weeks, and topped charts in several other countries, including , , and , while reaching No. 5 in the United States. The song's global sales exceeded 10 million copies, establishing Procol Harum as a major act in the burgeoning scene and generating intense early live performance demand, with their first gig occurring at London's club on the day of release. Building on the single's momentum, Procol Harum released their self-titled debut album in September 1967, showcasing a sound infused with classical and influences, highlighted by tracks such as the orchestral-flavored ""—later re-recorded as a hit in 1971—and the dreamy "She Wandered Through the Garden Fence." The album captured the band's experimental fusion of Brooker's piano-driven melodies, Fisher's organ work, and Reid's surreal lyrics, positioning them as pioneers in proto-progressive rock. However, lineup instability emerged shortly after the single's recording; in July 1967, guitarist Ray Royer and drummer were replaced by on guitar and on drums, stabilizing the group for the album sessions and subsequent tours.

Early albums and lineup changes (1969–1972)

Following the success of their debut, Procol Harum released in September 1968 in the and December in the , an album that marked a shift toward more ambitious, progressive structures despite its late-1968 timing influencing their 1969 trajectory. The record featured the 17-minute suite "In Held 'Twas in I," a multi-part composition blending rock, classical elements, and Keith Reid's poetic lyrics into a pioneering extended prog rock piece that showcased the band's evolving sound. Produced by with arrangements by and Matthew Fisher, the album highlighted the core lineup of Brooker on and vocals, Fisher on organ, on guitar, Dave Knights on bass, and on drums, solidifying their reputation for intricate, thematic songwriting. In 1969, A Salty Dog further expanded the band's artistic scope with its cohesive nautical themes, drawing from Brooker's affinity for sea shanties and maritime folklore, as evident in tracks like the title song and "The Devil Came from Kansas." Produced by Fisher, the album retained the same lineup and emphasized orchestral flourishes in its arrangements, reflecting Reid's evocative lyrics on loss and wanderlust. However, internal tensions led to significant lineup changes shortly after its release: organist Matthew Fisher and bassist Dave Knights departed in late 1969, preferring to focus on production and other pursuits, prompting the recruitment of Chris Copping—who had previously worked with Wilson—to handle both bass and organ duties. Guitarist Robin Trower remained but grew increasingly frustrated with the band's direction, setting the stage for his exit. The 1970 album captured this transitional phase, featuring a bluesier edge from Trower's guitar work alongside Copping's dual role, with tracks like "Whaling Stories" continuing Reid's lyrical depth and Brooker's melodic piano lines. Produced by Chris Thomas, it explored themes of introspection and mortality without Fisher’s organ prominence, marking the band's adaptation to personnel shifts. By early 1971, Trower's desire for a more guitar-driven sound led to his departure after the recording of , which experimented with psychedelic and improvisational elements, including the enigmatic "Luskus Delph" with its masked erotic undertones via string and horn arrangements. To fill the guitar slot, Dave Ball joined, while Alan Cartwright took over bass from Copping, who shifted to organ; this new configuration stabilized the rhythm section for the band's orchestral ambitions. That stability proved pivotal for the live recording Procol Harum Live: In Concert with the Symphony Orchestra, captured on November 18, 1971, in , , and released in 1972. Brooker orchestrated the arrangements to integrate the Symphony and Da Camera Singers with the band, amplifying Reid's lyrics in reinterpreted classics like "" and the full "In Held 'Twas in I," achieving a symphonic grandeur that fulfilled long-held creative goals. The performance, produced by Thomas, peaked at No. 5 on the chart and earned a Disc, with "" becoming their second major hit at No. 16. Ball's tenure was brief, however, as he left in 1972 amid creative differences, leading to a more consistent Trower-less lineup centered on Brooker, Copping, Cartwright, and Wilson for subsequent efforts.

Mid-1970s and breakup (1973–1977)

In 1973, Procol Harum released Grand Hotel, their sixth studio album, which embraced a style characterized by elaborate string arrangements and orchestral flourishes that enhanced the band's signature blend of classical influences and rock structures. The album, recorded at AIR Studios in , featured the lineup of on vocals and piano, Mick Grabham on guitar, on organ, Alan Cartwright on bass, and on drums, marking a period of relative stability following earlier departures. It achieved moderate commercial success, peaking at number 21 on the chart and number 4 in , though critical reception was mixed, with some praising its ambitious production while others noted its uneven transitions. The band's creative momentum continued with in April 1974, their seventh studio album, which maintained the orchestral textures of its predecessor while incorporating more concise song structures amid the shifting musical landscape post-glam rock. Recorded during Britain's economic constraints, including a three-day workweek, the album highlighted Chris Copping's prominent keyboard work, contributing to tracks like "As Strong as " with its layered organ and interplay. The same core lineup persisted, but subtle tensions from previous Robin Trower's 1971 exit lingered, influencing the band's evolving sound as they navigated declining sales and industry pressures. Procol's Ninth, released in August 1975 and produced by , further explored the band's rock roots with a mix of original compositions and covers, such as "," emphasizing Brooker's vocal delivery and Copping's keyboard contributions. By this point, internal conflicts had intensified, including lyricist Keith Reid's increasingly absentee role from his U.S. base, which complicated songwriting collaborations, alongside commercial frustrations as the band struggled against the era's dominance and frequent lineup instability—five guitarists had cycled through since formation. These pressures, compounded by creative exhaustion, eroded group cohesion. In July 1976, bassist Alan Cartwright departed, prompting Copping to switch to bass while Pete Solley joined on keyboards, adding fresh textures including and elements. This revised lineup recorded Something Magic, the band's ninth and final studio album, released in March 1977, which adopted a more streamlined production amid the rising movement, though it received lukewarm reviews for its polished yet predictable sound. The album's release preceded a grueling final tour, culminating in the band's official disbandment announcement in June 1977, as members, led by Brooker, pursued solo endeavors amid irreconcilable differences and the punk era's rejection of progressive styles.

Reformation (1991–1999)

In 1991, initiated the reformation of Procol Harum after a 14-year hiatus, driven by his belief that contemporary lacked melody and substance, creating an opportunity for the band's distinctive style. The reunion was also influenced by the recent death of former drummer in 1990, to whom the project was dedicated, and a desire to revive the group's collaborative spirit with lyricist . Brooker reassembled key original members, including organist Matthew Fisher, who returned after leaving in 1969, alongside guitarist for recording purposes. The reformed band released in August 1991 on Zoo Entertainment, their first studio album since 1977 and a return to Reid's poetic lyrics paired with Brooker's compositions. The album featured Brooker on and vocals, Fisher on organ, Trower on guitar, on drums, and Dave Bronze on bass, with additional contributions from Jerry Stevenson on and guitar, on drums for one track, and backing vocalists Steve Lange, Maggie Ryder, and . Produced by Matt Noble alongside Brooker, Fisher, and , it blended the band's classical influences with rock elements but achieved modest commercial success, peaking outside the top 100 in the UK. Following the album's release, Procol Harum embarked on extensive touring across and , starting in September 1991, with an initial live lineup of Brooker, Fisher, Brzezicki, Bronze, and guitarist . Geoff Whitehorn replaced Renwick on guitar in December 1991, becoming a mainstay for subsequent tours. The band incorporated orchestral elements into performances, culminating in a 1995 collaboration with the London Symphony Orchestra at the Royal Albert Hall, captured on the live album The Long Goodbye: Symphonic Music of Procol Harum, which reinterpreted classics like "" and "" in symphonic arrangements. Matthew Fisher's involvement fluctuated during the decade; he departed in September 1993 amid band inactivity, but rejoined in July 1995 for the orchestral project and related tours. Fisher left again in 1997 due to touring fatigue, temporarily replaced by substitutes, before returning later that year, helping solidify the post-reformation core lineup of Brooker, Fisher, Whitehorn, Bronze (later succeeded by Matt Pegg on bass), and Brzezicki by the late 1990s. This stability supported ongoing live performances and laid the groundwork for future recordings.

2000s activities

Throughout the 2000s, Procol Harum maintained a rigorous touring schedule, performing across and the to sustain their post-reformation momentum. In 2002, marking the band's 35th anniversary since its formation, they undertook a series of European dates, including shows in the , , and the , alongside select U.S. appearances that highlighted their enduring appeal. These tours featured consistent performances of classics like "" and "," often with on vocals and piano leading the group. The decade saw limited new studio output, with the 2003 album The Well's on Fire serving as their primary release, though no additional full-length studio efforts followed until later years; instead, the band focused on archival material, such as the expanded reissue of their 1971 live recording Procol Harum Live: In Concert with the Edmonton Symphony Orchestra in 2003, which included bonus tracks from the original Edmonton performance. This collaboration underscored their symphonic rock roots, blending rock arrangements with orchestral elements recorded at the Northern Alberta Jubilee Auditorium. Similarly, 2004 brought reissues like the remastered debut album featuring tracks such as "Something Following Me," preserving early material for new audiences. Lineup stability contributed to their productive period, with drummer Mark Brzeżicki, guitarist Geoff Whitehorn, bassist Matt Pegg (often credited alongside session player Dave Bronze on some dates), and keyboardist Josh Phillips joining full-time in 2004 to solidify the core ensemble alongside Brooker. Phillips' Hammond organ work, in particular, echoed the band's classical influences during live sets. This configuration supported ongoing world tours, including European legs in 2004 and 2005. In 2007, Procol Harum celebrated their 40th anniversary with special concerts in at on July 20 and 21, featuring guest appearances and a focus on their catalog; the events were documented through fan-recorded audio and photos, though no official DVD emerged from these specific shows. Earlier, a 2003 live DVD Live at the Union Chapel, recorded in , captured the band's energy with orchestral touches and was released in 2004 to commemorate their live prowess. Amid these activities, the band navigated legal challenges, with the authorship dispute over "" finally resolved in 2009, when the awarded former organist Matthew Fisher 40% of the musical composition royalties starting from 2005.

2010s and final album

In the early , Procol Harum maintained an active touring schedule, including a series of U.S. and Canadian dates in June 2010 where they opened for Jethro Tull. The band continued performing across Europe and , with notable appearances such as supporting Yes on a 27-date U.S. tour in summer 2012. That year, Procol Harum received a for induction into the Rock and Roll Hall of Fame as part of the 2013 class, though they were not selected. To mark their 45th anniversary in , the band undertook an extensive schedule of 39 concerts and festival performances worldwide, including dates in , , and the , often featuring their signature blend of rock and classical influences without dedicated orchestral accompaniment that year. This period reflected the stability of their lineup, centered around on vocals and piano, Geoff Whitehorn on guitar, Matt Pegg on bass, Josh Phillips on keyboards, and Geoff Dunn on drums. The band's creative output culminated in their final studio album, , released on April 21, 2017, by to commemorate their 50th anniversary. Produced by Dennis Weinreich, who had previously worked on their live recordings, the album featured nine new original songs written collectively by the band members, marking the first Procol Harum release without lyrics from longtime collaborator . Tracks like "I Told on You" and "Image of the Beast" showcased their enduring style, blending Brooker's piano-driven compositions with Whitehorn's guitar work and the rhythm section's bluesy undertones. The core handled all instrumentation, with no additional guest musicians credited on the recording. Following 's release, Procol Harum toured in support, including a sold-out orchestral concert at London's in November 2017 with the and Festival Chorus. Activity gradually tapered off in the late due to Brooker's advancing age—he turned 74 in —with performances limited to select European dates in 2018 and . Their final show took place on August 24, 2019, at the Seaside Festival in , .

Brooker's death and disbandment (2022)

, the founder, lead singer, pianist, and sole constant member of Procol Harum, died on 19 February 2022 at the age of 76. He had been receiving treatment for cancer and passed away peacefully at his home in . Brooker's death elicited widespread tributes from bandmates, fans, and prominent musicians, who highlighted his soulful voice, inventive piano style, charisma, and generosity, including his efforts to raise over £1 million for Marsden through charity concerts. Notable figures such as and expressed admiration for his talent and influence, with McCartney recalling their early encounters and John dedicating performances in his memory. With Brooker as the band's enduring creative force and only original member still active, his passing led to the effective disbandment of Procol Harum, as no plans for continuation without him were announced. The group had remained a touring entity into the late , but his irreplaceable role ensured the end of live performances. In the wake of Brooker's death, the band's signature hit "" saw a notable resurgence in popularity, re-entering the Official Singles Sales Chart at number 38 on 25 February 2022, driven by increased streams and downloads. The loss also halted ongoing projects, including a planned 2022 tour of 25 concerts celebrating the 55th anniversary of the band's formation and the release of "," which were ultimately cancelled due to Brooker's declining health. As the band's central figure, Brooker had balanced his Procol Harum commitments with a solo career, releasing albums like No More Fear of Flying in and collaborating on tours with in the early 1980s, further showcasing his versatility as a and .

Legacy and tributes (2023–present)

Following the deaths of key members in 2022 and lyricist on March 23, 2023, at age 76 from cancer, Procol Harum's legacy has been marked by tributes emphasizing Reid's poetic contributions to the band's surreal, literary songwriting. Reid's lyrics, often drawing from literary and nautical imagery, defined hits like "" and shaped the band's enduring influence on . A major commemoration was the "Remembering Gary Brooker" tribute concert held on December 4, 2023, at G Live in , , featuring performances by , Roger Taylor of Queen, of Genesis, , and , among others. The event raised funds for Brooker's preferred charities and included a setlist blending Procol Harum classics such as "," "," "," "Homburg," and "" with selections from Brooker's solo work and collaborations. The concert was released in August 2025 as a deluxe boxed set titled Remembering Gary Brooker – The Concert, comprising 2 CDs, Blu-ray, and DVD formats capturing the full performance. In 2024, archival efforts continued with the publication of and Procol Harum: Day by Day 1960–2022 by Frans Steensma, a comprehensive chronological drawing from extensive research into the band's timeline, sessions, and personal anecdotes. Reissues of albums like also appeared in deluxe editions, incorporating remastered audio and bonus tracks including three previously unreleased recordings to highlight rare material from the band's catalog. Additionally, virtuoso and drummer released an instrumental cover of "" on their collaborative blues album Blues Experience in October 2024, reinterpreting the track with and percussion for a fresh, improvisational take. Fan engagement persists through the official "Beyond the Pale" website (procolharum.com), which maintains an active archive of memorabilia, interviews, and updates; in , it hosted a promotional offering copies of Steensma's as prizes to encourage exploration of the band's . These initiatives underscore Procol Harum's continued cultural resonance among enthusiasts and musicians.

Musical style

Influences from classical and

Procol Harum's roots in and trace back to the band's precursor, The Paramounts, formed in 1962 by and others in , . The group primarily covered R&B standards, drawing heavily from artists like and , with performances of songs such as Charles's "Sticks and Stones" and Domino's boogie-woogie style influencing their early sound. This foundation in American and provided the rhythmic backbone for Procol Harum's debut, evident in tracks that retained a raw, organ-driven energy reminiscent of their Paramounts era. The band's integration of classical elements marked a departure toward and , most notably in their 1967 breakthrough single "," where the melody directly echoes Johann Sebastian Bach's "" from Orchestral Suite No. 3 in , BWV 1068. Brooker has acknowledged Bach's influence, including possible nods to cantata "Wachet auf, ruft uns die Stimme" (Sleepers Awake), blending these motifs with rock instrumentation to create a psychedelic, hymn-like atmosphere. Further classical allusions appear in extended compositions like the suite "In Held 'Twas in I" from their 1967 debut , which incorporates choral and symphonic structures evoking grandeur. Procol Harum's orchestral experiments culminated in their 1971 collaboration with the Symphony Orchestra, recorded live at the Northern Alberta Jubilee Auditorium on November 18, 1971, and released as Live: In Concert with the Symphony Orchestra in 1972. This performance amplified their classical leanings, arranging rock songs like "Conquistador" and "A Salty Dog" with full symphonic backing, including strings and brass, to fuse with hall formality and highlight the band's evolution toward sophisticated, suite-like compositions. Lyricist Keith Reid's contributions enhanced this classical sensibility through impressionistic, poetic texts drawn from literary traditions, evoking surreal imagery and narrative depth. His words, often abstract and allusive, complemented the music's flourishes, as in "," where phrases like "the ceiling flew away" mirror hallucinatory poetry while aligning with the song's Bach-derived melody to create a cohesive, elevated aesthetic. Over time, Procol Harum shifted from the blues-infused, R&B-tinged of their 1967 self-titled debut to a more ornate baroque-prog style by the 1969 A Salty Dog, which featured maritime-themed suites with prominent orchestral arrangements and diminished elements in favor of symphonic complexity. This progression solidified their reputation for bridging popular rock with classical forms, influencing the progressive rock genre's emphasis on conceptual depth and .

Songwriting collaboration between Brooker and Reid

The songwriting partnership between and formed the creative core of Procol Harum, beginning in 1966 when a mutual friend introduced them with the aim of producing material for other artists. , serving as the band's non-performing , crafted words remotely—often in hotel rooms during tours or from his home—without ever joining rehearsals or recordings, allowing him to maintain an outsider's perspective that infused the band's output with fresh ideas. This absentee role enabled to write lyrics as standalone poems, drawing from influences like films, television plays, and maritime imagery, before sending them to Brooker for musical adaptation. In nearly all cases, completed the words first, a process Brooker described as akin to the Elton John-Bernie dynamic, where the music followed to complement the poetic structure. Brooker, as pianist, vocalist, and primary composer, tailored melodies to Reid's lyrics, typically starting with piano foundations and incorporating Hammond organ embellishments to evoke a classical grandeur that amplified the words' emotional depth. This adaptation occasionally involved fitting Reid's verses to pre-existing musical ideas, as in the case of "Conquistador," but the duo's synergy consistently produced a distinctive sound marked by orchestral swells and introspective layering. Their collaboration spanned every Procol Harum studio album from the debut in 1967 through to Novum in 2017, with Reid providing lyrics for over 99% of the band's original songs, ensuring a unified artistic vision across more than five decades. Reid's lyrics emphasized themes of melancholy, mythology, and existential introspection, often rendered in surreal, poetic forms—such as the nautical and seafaring motifs in A Salty Dog (1969)—that set Procol Harum apart from contemporaries like The Moody Blues by prioritizing literary ambiguity over straightforward narrative. This approach created a body of work rich in vivid, filmic imagery, fostering the band's reputation for intellectual depth in progressive rock. Following Reid's death from cancer in March 2023 at age 76, the partnership concluded without new lyrics, leaving a void that has hindered prospects for band revivals even after Brooker's passing in 2022.

Authorship dispute over "A Whiter Shade of Pale"

The authorship of Procol Harum's 1967 hit "" was initially credited solely to pianist for the music and lyricist for the words, with organist Matthew Fisher acknowledged only as a performer on the recording. Fisher contributed the song's distinctive organ melody during recording sessions at in in April 1967, improvising the baroque-inspired over Brooker's and Reid's , but he received no songwriting credit on the original single release or subsequent publications. This omission stemmed from the era's common practice where session musicians were often excluded from composition credits, despite their creative input. In 2005, Fisher initiated legal proceedings against Brooker and publisher Onward Music Ltd., asserting joint authorship of the music and seeking a 50% share of the copyright based on his organ contribution, which he argued was original and substantial enough to qualify under UK copyright law as a collaborative work. The High Court ruled in Fisher's favor in December 2006, with Judge William Blackburne declaring him a joint author entitled to 40% of the musical copyright (Brooker retaining 60%), as the organ part was deemed independently created and integral to the song's success, though not equal in scope to Brooker's foundational elements. However, the court denied retroactive royalties, citing Fisher's 38-year delay in claiming rights, which barred recovery of past earnings estimated by some at £1 million; royalties were awarded prospectively from the 2005 filing date, with Brooker ordered to pay 90% of Fisher's legal costs, totaling around £750,000. Brooker appealed the decision, leading to a 2008 Court of Appeal ruling that upheld Fisher's joint authorship but barred any royalty entitlement due to laches and from the prolonged delay, effectively revoking the High Court's award of future payments. Fisher successfully appealed to the , which in July 2009 unanimously overturned the Court of Appeal's restriction on royalties ( UKHL 41), restoring the 40% share and confirming that the implied license for exploitation ended in 2005, entitling Fisher to royalties on musical from that point onward without retroactive effect. The Lords emphasized that while equitable defenses like laches could limit remedies, they could not extinguish legal ownership, a principle that affirmed performers' potential authorship claims in collaborative compositions. The dispute's resolution had significant financial implications for Fisher, with future royalties from the song—estimated to generate £100,000–£200,000 annually at the time—potentially totaling £1–2 million over subsequent years, though exact figures remain private following the acceptance of the Lords' ruling without further appeal. It also influenced the music industry by highlighting vulnerabilities in historical crediting practices, encouraging retrospective claims for unacknowledged contributions and prompting publishers to review old agreements; legal experts noted it could "open the " for similar disputes over session musicians' roles in hits from the and . Post-, the song's credits stabilized to include Fisher as co-author on reissues, , and licensing deals, ensuring his 40% share of musical royalties persists in all new exploitations.

Other lawsuits and resolutions

No other major lawsuits involving Procol Harum are documented beyond the authorship dispute over "." The 2009 House of Lords decision in Fisher v Brooker UKHL 41 marked a pivotal resolution to that case, granting Fisher a 40% share of future royalties while denying back payments due to a six-year limitation period under law. This outcome reinforced Brooker and Reid's control over past earnings but established joint authorship based on Fisher's original organ contribution. These rulings set important precedents in copyright law, particularly for session musicians' rights, by clarifying that significant, original contributions to a musical work—beyond mere performance—can qualify for co-authorship and royalty shares, even decades later, provided claims are not unreasonably delayed. The decisions prompted greater emphasis on explicit contractual language in the music industry to delineate ownership and avoid protracted disputes over arrangements.

Band members

Core and long-term members

served as the founder, lead vocalist, and pianist of Procol Harum from the band's inception in 1967 until his death in 2022, making him the sole constant member throughout its history. His distinctive voice and playing defined the band's sound, particularly on classics like "," where he composed the music. Brooker also pursued a solo career, releasing albums such as No More Fear of Flying in 1979 and engaging in R&B revival projects, including a reunion with his pre-Procol Harum group The Paramounts. Keith Reid was Procol Harum's primary lyricist from 1967 to 2017, contributing non-performing poetic words that infused the band's music with literary depth and impressionistic imagery. His collaboration with Brooker produced evocative lyrics for nearly all original songs, drawing from influences like T.S. Eliot to create a unique blend of psychedelia and narrative sophistication. Reid passed away in 2023 at age 76. Matthew Fisher played for Procol Harum during three periods: 1967–1969, 1991–2004, and 2007–2022, delivering signature Bach-inspired solos that added classical grandeur to the band's arrangements. His organ work on the debut single "" earned legal recognition for co-authorship in 2009, highlighting its integral role in the track's haunting melody. After leaving the band multiple times, Fisher pursued production and solo endeavors. B.J. Wilson was the band's drummer from 1967 to 1977, bringing a jazz-rock style characterized by intricate rhythms, dynamic fills, and unpredictable phrasing that elevated Procol Harum's sophisticated compositions. His versatile approach, blending rock drive with jazz conception, shone on albums like Grand Hotel, where his playing provided both propulsion and subtle texture. Robin Trower served as guitarist from 1967 to 1969, contributing blues-infused leads that added raw emotional intensity to the band's early sound. Tracks like "Conquistador" featured his piercing tone and improvisational flair, rooted in British blues traditions. Following his departure, Trower achieved significant solo success in the 1970s with albums such as Bridge of Sighs. Chris Copping played bass and organ from 1969 to 1977, providing multi-instrumental support that helped stabilize the band's sound during a period of frequent changes; he also made occasional guest appearances in later years. Mick Grabham served as from 1972 to 1977, contributing to the band's most stable classic-era lineup on albums like Grand Hotel and . Geoff Whitehorn joined as in 1991 and remained until 2019, providing a stable presence during the band's and revival era. His economical yet expressive playing supported live performances and recordings like , maintaining the group's touring consistency. Josh Phillips handled keyboards from 2004 to 2019, offering multi-instrumental support on Hammond organ and synthesizers that enriched the band's layered sound. He contributed to the final album Novum (2017), co-writing tracks and ensuring instrumental depth during the later years.

Chronological lineup changes

Procol Harum's lineup evolved significantly from its formation, with frequent changes in the late 1960s and early 1970s driven by creative differences and artistic directions, leading to a stable configuration by the mid-1970s before the band's initial disbandment. The group reformed in 1991 with a core of returning members augmented by new personnel, maintaining relative stability into the 2010s, though with occasional guest appearances. The following table outlines the key chronological lineup changes, focusing on major personnel shifts and associated reasons where documented.
YearsMembers Added/LeftReasons/Notes
1967 (formation)Added: Gary Brooker (vocals, piano), Keith Reid (lyrics), Matthew Fisher (organ), David Knights (bass), Ray Royer (guitar), Bobby Harrison (drums)Initial lineup assembled around Brooker and Reid's songwriting partnership following the success of "A Whiter Shade of Pale."
Mid-1967Left: Ray Royer (guitar), Bobby Harrison (drums); Added: Robin Trower (guitar), B.J. Wilson (drums)Royer and Harrison replaced shortly after the debut single due to the integration of former Paramounts members Trower and Wilson for a more cohesive rhythm section.
1969Left: Matthew Fisher (organ), David Knights (bass); Added: Chris Copping (bass, organ)Fisher departed after the A Salty Dog album citing limited creative input; Knights left simultaneously, with Copping joining to handle both bass and organ duties.
1971Left: Robin Trower (guitar); Added: Dave Ball (guitar), Alan Cartwright (bass)Trower exited due to creative differences over the band's classical-leaning sound, preferring blues-rock; Ball replaced him, and Cartwright was added on bass, shifting Copping primarily to organ.
1972Left: Dave Ball (guitar); Added: Mick Grabham (guitar)Ball departed after one album (Broken Barricades); Grabham joined, forming the band's most stable lineup of the era.
1975Added: Pete Solley (keyboards)Solley joined on synthesizer during the Something Magic tour to update the band's sound.
1977Disbandment: No active lineupThe group dissolved after the Something Magic album amid internal tensions and shifting musical priorities.
1991 (reformation)Added: Dave Bronze (bass), Mark Brzezicki (drums); Guest: Robin Trower (guitar on album); Returning: Gary Brooker, Matthew Fisher; Geoff Whitehorn added for touring (late 1991)Reformed for The Prodigal Stranger album; B.J. Wilson's death in 1990 necessitated Brzezicki's addition; Whitehorn joined subsequently for live performances.
2004Added: Josh Phillips (keyboards)Phillips joined to expand the keyboard section in the touring lineup following Fisher's departure.
2010sStable core: Brooker, Whitehorn, Phillips, with bassists like Matt Pegg (from 1993) and drummers rotating (e.g., Brzezicki, Graham Broad); occasional guests; Fisher rejoined in 2007The lineup remained consistent for tours and the 2017 album Novum, with minor rotations for live dates but no major overhauls.

Discography

Studio albums

Procol Harum released twelve studio albums over five decades, beginning with a foundation influenced by classical elements and evolving through progressive, orchestral, and jazz-infused phases, often reflecting the songwriting partnership of and . Their discography emphasizes conceptual depth, with production choices highlighting orchestral arrangements, experimental structures, and personal introspection, though commercial success waned after the late hits. The debut album, Procol Harum (1967), produced by at , captured the band's psychedelic emergence amid the , blending Bach-inspired organ riffs with R&B grooves and surreal lyrics evoking romantic disillusionment. Key tracks include the iconic "," which defined their sound, and "," later re-recorded for greater impact. It peaked at No. 47 on the US Billboard 200, but did not chart in the UK, establishing them internationally despite mixed UK reception as a one-hit wonder band. Shine On Brightly (1968), also produced by Cordell, marked a shift toward progressive rock with its ambitious 17-minute suite "In Held 'Twas in I," exploring themes of spiritual searching, madness, and redemption through gospel-tinged crescendos and metaphysical poetry. Standout tracks like the title song and "Quite Rightly So" showcased Brooker's piano virtuosity and the band's growing orchestral ambitions. The album peaked at No. 24 on the US Billboard 200, but did not chart in the UK, gaining stronger acclaim in the US and Germany for transcending their debut's novelty status. A Salty Dog (1969), self-produced by organist Matthew Fisher, embraced seafaring motifs and orchestral grandeur, drawing from soul, gospel, and classical sources to depict life's voyages and human frailties in tracks such as the title song—a barroom ballad with nautical imagery—and "The Devil Came from Kansas," a narrative of existential wanderlust. Its lush arrangements and atmospheric depth earned critical praise for maturity, charting at No. 27 in the UK and No. 32 on the US Billboard 200 after US touring boosted visibility. Home (1970), produced by Chris Thomas in his debut major role at , delved into personal and domestic themes amid lineup changes, with Reid's lyrics probing isolation and fleeting connections over Brooker's emotive piano and the new rhythm section's grounded sound. Key tracks like "Whisky Train"—a gritty rocker—and "The Dead Man's Dream," a reflective closer, balanced accessibility with introspection. It peaked at No. 49 on the and No. 34 on the US Billboard 200, reflecting the band's transitional phase post-Fisher's departure. Broken Barricades (1971), again produced by at AIR Studios, experimented with rawer, rock-oriented edges while retaining progressive flair, addressing societal upheaval and personal barriers through Reid's cryptic verses and Trower's bluesy guitar. Highlights include "Simple Sister," a tense opener, and "Power Failure," blending urgency with orchestral swells. The album peaked at No. 42 on the and No. 32 on the , praised for its energy but signaling internal tensions before Trower's exit. Grand Hotel (1973), produced by Thomas with guest orchestrations, evoked opulence and satirical vignettes of , featuring Reid's witty observations on excess and transience set to elaborate arrangements with choir and strings. Standouts like the majestic title track and "A Souvenir of London," a poignant , highlighted the stable lineup's cohesion. It peaked at No. 21 on the US Billboard 200 and was certified silver in the UK, one of their strongest showings, lauded for theatricality. Exotic Birds and Fruit (1974), produced by , returned to harder rock roots with atmospheric textures and exotic imagery, exploring power dynamics and in tracks such as "Nothing But the Truth," a driving single, and "As Strong as Samson," fusing elements with Reid's allegorical prose. Its moody production and Grabham's guitar work earned appreciation for revitalization, peaking at No. 86 on the Billboard 200 but did not chart in the UK amid shifting rock landscapes. Procol's Ninth (1975), produced by Leiber and Stoller at AIR Studios, incorporated jazzy swing and R&B grooves, lightening the progressive weight with Reid's humorous, narrative-driven songs about folly and fleeting glory. Key tracks include "Pandora's Box," an upbeat opener, and "Fool's Gold," a soulful critique. It peaked at No. 41 on the UK Albums Chart, noted for its accessible polish but critiqued for diluting the band's core intensity. Something Magic (1977), produced by the Albert brothers at Criteria Studios in Miami, served as the original lineup's swan song, blending fantasy-laden epics with concise rockers amid Reid's mystical themes of enchantment and decay. The 25-minute closer "The Worm & the Tree" exemplified their suite-building prowess, while "Something Magic" offered melodic hooks. It reached No. 58 in the UK, receiving mixed reviews for overproduction before the band's initial disbandment. After a 14-year hiatus, (1991), co-produced by Brooker, Fisher, and with Matt Noble, reunited core members for introspective tales of return and resilience, featuring Brooker's soaring vocals over Fisher's restored organ layers. Tracks like "The Truth Won't Fade Away" and "Holding On" evoked classic Procol warmth with modern polish. The 1991 release did not chart in the UK, though a 2018 peaked at No. 28, welcomed as a faithful revival despite modest sales. The Well's on Fire (2003), produced by the band with Rafe McKenna, explored fiery metaphors of passion and apocalypse through Reid's vivid poetry and layered instrumentation, blending acoustic intimacy with orchestral swells. Key tracks include "An Old English Dream," a opener, and "A Robe of Silk," a tender . It was hailed for recapturing the band's spirit in a contemporary context. Novum (2017), self-produced by the band in their final configuration without (who passed in 2023), delivered urgent, image-rich songs grappling with judgment and legacy, marked by Brooker's weathered baritone and robust ensemble playing. Standouts like "Image of the Beast" and "I Told on You" fused prog complexity with rock drive. It peaked at No. 99 on the and No. 82 in , praised as a dignified capstone before Brooker's death in 2022.

Live recordings and compilations

Procol Harum's pioneering foray into live orchestral performance came with the 1972 release of Procol Harum Live: In Concert with the Symphony Orchestra, recorded during a concert on November 18, 1971, at the Northern Alberta Jubilee Auditorium in , . This double album featured the band collaborating with the Symphony Orchestra and the Da Camera Singers under conductor Lawrence Leonard, reinterpreting key tracks such as "," "Whaling Stories," and "" in a symphonic arrangement that highlighted the band's classical influences. The recording peaked at No. 5 on the US Billboard 200 chart, marking one of the band's highest commercial achievements and establishing a landmark in progressive rock's integration of orchestral elements. Following the band's 1991 reformation, The Long Goodbye: Symphonic Music of Procol Harum was released in 1995 as a Japanese-exclusive orchestral tribute , produced by and featuring arrangements of the band's catalog performed by members of the London Symphony Orchestra, , and Sinfonia of London. This project captured the post-reformation spirit through lush, instrumental reinterpretations of songs like "" and "Homburg," serving as a symphonic farewell to the band's early era while bridging their rock roots with classical orchestration. Although primarily studio-based, it preserved the collaborative essence of the reformation lineup and was later reissued internationally. In 2008, a DVD of Live at the Hall documented the band's 40th , showcasing of with the then-current lineup, emphasizing their enduring presence and Brooker-Reid songbook. The accompanying CD followed in 2009, allowing fans to experience the celebratory event in audio form and reinforcing Procol Harum's legacy through live renditions of staples like "." This release highlighted the band's ability to evolve while honoring their origins. Another symphonic highlight arrived with In Concert with the Danish National Orchestra in 2009, capturing a 2006 performance at Ledreborg Castle in where the band joined the Danish National Orchestra and for an expansive set blending rock energy with orchestral grandeur. Directed by Brooker, the album included elaborate arrangements of tracks such as "An Old English Dream" and "Grand Hotel," demonstrating the band's continued affinity for classical fusion in a live setting. The CD and DVD formats preserved the visual and sonic spectacle, underscoring Procol Harum's innovative approach to live presentations. Compilations have played a crucial role in archiving and reintroducing Procol Harum's catalog to new audiences. The 1987 Greatest Hits assembled key singles and album tracks from the band's classic period, focusing on hits like "" and "" to encapsulate their commercial peak. Building on this, the 1997 The Best of Procol Harum expanded the selection to include deeper cuts from the and 1991 reformation, offering a that balanced radio favorites with album-oriented material. More recent compilations reflect the band's post-Brooker era and tribute activities. Similarly, Remembering Gary Brooker, a 2024 2CD/Blu-ray set from the December 2023 tribute concert at G-Live in Guildford, featured performances by former bandmates, guests like Roger Taylor and , and covers of Procol Harum classics, serving as a poignant archival live document of the event. Archival efforts culminated in Procol Harum: The Collection (2009), a comprehensive compiling remastered tracks, rarities, and unreleased material from the band's first four decades, including sessions and alternate mixes that provided fans with deeper insights into their evolution. This release, akin to the earlier All This and More anthology, emphasized preservation by gathering obscurities alongside essentials, ensuring the band's innovative sound remained accessible.

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