enowning
Thursday, November 16, 2006
 
Entertaining criticism of prog pop and copyright from Rod Liddle.
Procol Harum — and yep, the cod Latin name is a giveaway — made a career from purloining classical music riffs and appending to them words which sounded meaningful but were, rather, pretentious drivel of the most risible kind. Harum was one of the first bands to be allowed to indulge their craving for high seriousness by performing in concert with a classical orchestra, which they did for A Salty Dog, their concept album about boats and stuff. They had a couple of minor hits with the similarly Bach-inspired ‘Homburg’, ‘Pandora’s Box’ and the rather likeable and catchy ‘Conquistador’, the latter a piece of cute rhythm and blues reminiscent of the Zombies which showed how good Harum might have been had they stuck to the basics. A later single, ‘Souvenir of London’, had no Bach influences at all and took as its subject matter venereal disease; after that there was pretty much nothing, just blissful decades of utter silence. Think of them as their John Cage years.
 
Comments:
>decades of utter silence?

Do yer homework, Rod – Procol Harum have toured and recorded a lot since 1991.

And maybe listen to Pandora again, 'cos there is no Bach there.
 
Looks like I've opened a Pandora's box amongest my blog readers partial to prog. But you'll be more effective sending your listening suggestions directly to Rod at the Spectator. I'll be shantying along to Rogue's Gallery, and the PJ Harvey Peel Sessions that arrived today.
 
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