While one can share a former reviewer's frustration, one should agree not to take it out on the artist or material at hand. This is the second Procol Harum record I bought, after a high school friend turned me onto A Salty Dog, which stands, perhaps, as their masterpiece (well, along with Grand Hotel and Exotic Birds and Fruit), though they never did make a duff record (well, Something Magic...). The playing is majestic, it also rocks very very hard, being more guitar-oriented than other PH records, and Brooker's voice--what more can possibly said about it's bell-in-the-church-steeple clarity and resonance? Great pianist, too. If you are a rock and roll enthusiast, then here is where I'd recommend you begin to enter Procol Harum territory, particularly if all you know is "Whiter Shade of Pale" or "Conquistador." Then buy everything they ever recorded. The match of Brooker's music and Keith Reid's lyrics is one of the most serendipitous occasions in the quantum universe.
The power, clarity and insight of this album is unusual not only for its time, but for rock in general. While it seems that the lyrcist Reid was understandably impacted by the death of a six year old child "Nothing that I didn't Know", he still relentlessly examines death, alcholism,and greed and does it with rhyme that is clear and to the point. While he is painfully aware of the realities of life, he does offer comfort to "those alive and those at peace." Musically the potent words are more then matched by talents of Brooker, Trower, Wilson and Coppings. Brooker's vocals and Trower's guitar work are superb. For clarity and strength of purpose all the tracks work. This is not an ablum for the faint hearted nor the intellectually challenged May they always "Shine on Brightly."
I am one of those who likes both the pre-and-post "Home" work of Procol Harum. Whisky Train is OK but somewhat repetitive. The real gems on this album are songs of death and decay. Dead Man's Dream is the masterpiece. There is nothing quite so terrifying to a listener with a good buzz on than to hear the words "The corpses were rotten, yet each one was living. Their eyes were alive, with maggots crawling" overlaid on the background of the band's eerie, sepulchral organ. God, what a song! Still There'll Be More, a song of revenge, is not as well written but I remember the lyrics had many parents thinking that their offspring were listening to unspeakable degeneracy. Actually, it's pretty tame by today's standards. Nothing That I Didn't Already Know is a tragic and melancholy tune of early death. About to Die is a pseudo-religious anthem featuring some fine guitar work by Robin Trower and some fabulous piano-pounding by Gary Brooker. I like Barnyard Story, a short enigmatic song that adds to the album's air of tragedy and impending doom. Piggy Pig Pig heightens this feeling with the forceful piano of Gary Brooker and a background chorus evocative of that in the Beatles "I Am The Walrus". This is followed by the even more apocalyptic "Whaling Stories" and finishes in an atmosphere of peace and relaxation. The finale, Your Own Choice, is kind of a throwaway which adds nothing to an otherwise great album.
Trower gives us a hint in the opener "Whiskey Train" of what he was later to offer us as a soloist. I think leader Gary Brooker's vocals in this number influenced Trower as to what sort of voice he wanted singing his material--that husky blues voice also made famous by David Clayton Thomas and the late Terry Kath. As a result, the next voice we were to hear a Trower number in was that of James Dewar. Also notable here is "Whaling Stories", a lengthy (for its day) prequel to the classic "Salty Dog"--plus, the sardonic, driving Elton John-ish "Still There'll Be More". I think "Whiskey Train" is one reason this album is rather undrrated and--at the moment--unavailable in a US issue. It just doesn't sound like a Procol Harum song. What it sounds like is a prelude to the the brilliant Hendrix-esque/ Claptonesque blues-metal career Trower was to have.
People.... I am back after a long hiatus with sordid tales to tell. Seems your Metamorpho received a special invitation to speak at a Metaphysical conference in Chicago. I decided that my talk would be about Procol Harum's Home album. However, at the airport an interviewer misconstrued my statements and they came across as controversial political barbs. As if this wasn't upsetting enough, when I got to Chicago and checked into my hotel I could see hoards of people gathering outside the lobby. From my room on the 12th floor (there is no 13th floor) I could look from my window and see swarms of people with picket signs that read "Seer Go Home!", "Boycott Metamorpho" "Down with Reflection" and, well, you get the picture. I called on my guides for help, but to no avail. Marshy, my female guide, was the only one around and I caught her at a bad time. Her bags were packed and she was leaving for a vacation in the Bahamas. So again, your Metamorpho was left to fend for himself.
I decided to cancel the talk and leave the hotel through the kitchen exit. Since I had notes on this excellent album already, I might as well relate it to my faithful audience.
To my mind, Procol Harum is a band that resides in the upper echelon of popular music from the late 60's through the 70's. They always had a symphonic classical air that permeated through their music although they were equally capable of gentle folk embellishments as well of rock. Incredibly unique and amazingly talented, each album offered more and more incredible lyrics married to scenic moods of composition. We owe this mainly to Gary Brooker (the primary vocalist, piano player, composer) and Keith Reid (lyricist extraordinaire). Secure within their own genre, they are just as formidable as any other famous pop-rock team from this era.
With "Home" they courageously take on the topics of death and depression. Ironically, these topics, as unpleasant as they are, are still necessary because, after all, they are a part of life.
Keith Reids lyrics are haunting and sometimes nightmarish and although he touched on these themes in previous albums("Something Following Me" from the first album; "In Held 'Twas I" from Shine On Brightly) he decides to totally devote a whole album to distressing themes.
We begin with "Whiskey Train" a Trower composition and despite his jaunty guitar pyro-techics, Keith's topic is about a confirmed alcoholic swearing he'll give up the addiction. We move on to "The Dead Man's Dream" which relates a somber dream before the man's demise. The one thing it does remind one of is Scrooge meeting the Ghost of Christmas Future in "A Christmas Carol". Brooker's slow, dissonant piano chords perfectly match the mood. Keith's lyrics on this (and many other songs) has the ability to convey so much by juxtaposing words and images in opposites (i'e, "The houses were open,and the streets empty", "I cried out in fear, but my voice had left me). You know what he means even if it is illogical.
"Still There'll Be More" is about the devil taking his due. He isn't content being an annoyance, he must torture you as well. Besides, only something dire can "blacken your Christmas". "Nothing That I didn't Know" is about the death of a young lady, Jenny Droe. The singer morns and wishes that he was in her place in order to be set free. "About to Die" reminds me of someone on top of a tall building ready to jump with the cheer of the crowd below. Keith's words are puzzling here, but he throws in biblical references such as Kingdome Come, being resurrected from death and the savior's son. An all around interesting tune.
On "Barnyard Story" Brooker again matches Keith's lyrics with slow, moaning piano. Keith again relates human preparation for death and recalls former glorys with mythology. A depressing view of the mortal condition. "Piggy Pig Pig" has more sprightly music to recommend it, but the cry to clense one's self is not enough, least we forget that "God's aloft, the winds are cold". To Keith Reid, salvation is a treacherous road.
"Whaling Stories", I believe, is the classic track on the album.
It is about the apocalypse, the destruction of the world and the calm aftermath. Also it is about judgement day and the fate of all. Brooker's tonal changes in this piece make it particularly effective. And I like Keith's lyric "God's alive inside a movie! Watch the silver screen!". Which leads one to ask if movies reflect reality or vice-versa? In any event, these songs will not let you rest and ignore it's themes. They make you recognize your own limitations in this life.
Finally the wrap up "Your Own Choice" is a fitting conclusion or "end" to the album. In this song Keith conveys that there is so much potential with so little result. He loses faith in the human race and lets them die in his mind. In this way he can have his own resurrection and rest in peace.
In closing, Metamorpho believes that this album was home grown to fit into considerable reflection. Please, if you have a rowdy party it will certainly be out of place. It is an album to be listened to with courage and fortitude. But in it, I guarantee you will be awed by it's tonal moods and expert musicianship. Also lyrics that are way beyond the norm.
Metamorpho thanks you for reading and wishes you many good dreams and very few nightmares within your lives. Now - if only this controversy will subside. I asked the newspapers for a retraction and all they did was laugh. I suppose selling newspapers takes precedence over my considerable reflections. Ah so - such is life. Be well people. Don't believe all that you read. Your own- Metamorpho (Morphy)
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