Procul H arum well disguised schizophrenia
Grand Hotel. Procol Harum. Warner Brothers (CHR
1037).
Somewhere deep in Procol Harum's psyche is a
well-disguised schizophrenia. On every album the
Harum comes up with another previously unknown
facet of its personality, unimagined until the
multi-talented group explodes into another album.
This is the case with Salty Dog and Live With the
Edmonton Symphony Orchestra which revealed
versatile and skilled technicians. In Grand Hotel,
the new turn is a firmly rooted social commentary on
history and the upper classes, a light-hearted pimp of
the Establishment's rich institutions and cares. And
successful it is examining the institutions and
making well-based value judgments along the way.
Harum's innate talent makes for excellent music as
well. Their usual well-blended use of orchestral and
electric music is flooring. And highly emotive voices
make even obvious slams acceptable.
Individually, some of the cuts are devastating.
"Bringing Home the Bacon" drips of sarcasm in an
electrifying instrumentalvocal mix with a haunting
organ line. (Milk fed baby dumplingslobbering, good
faced, mean. Wet nursed sour purse spot
faceblubbering in the cream.) "Fires (Which Burnt
Brightly)" with the Swingle Singers, takes another
side, expressing total surrender at the defeat of a
Movement by the institution.
"Souvenir of London," departs widely from usual
Procol Harum methods, however, using a hillbillyish
tone with technically excellent electric backup. Along
with "Robert's Box" it draws a sullen picture of the
rich's dependance on chemical relief for their
problems.
The best cut on the album is "T.V. Caesar" which
soundly thumps the nostalqia-heroic television
tradition in grand form. Curiously, the worst cut is
the title cut which drones on forever, making
progressively less sense as it goes along.
Overall, Grand Hotel is excellent rock. And it adds
another richly deserved feather to the Harum's
already-crowded bonnet.
Jim Gray
Sweet William. Andy Bown. Mercury. (SRM
1-656). '
Andy Bown is a British guy who, as a member of a
band called the Herd, had some mild success in the
earlymid-sixties. (Didn't every British guy?) Since
then he's sort of drifted around in anonymity (one
previous solo album) until recording Sweet William.
The major problem with this album is not that
Bown doesn't try to do things. It seems like the
problem is more that he's not overly talented. He
tries out all sorts of sounds and never settles down to
anything for more than one cut.
The more extensively instrumented tracks sound
better than those using Bown's voice as the major
element. Sweet William is still kind of overridden
with that "pleasant" sixties British sound. Next we'll
probably get "pleasant" solo albums from Gerry (of
the Pacemakers) or Freddie (of the Dreamers).
Bart Becker
The Captain and Me. The Doobie Brothers. Warner
Brothers (BS 2694).
For a promising young group with one hit album
to their credit the Doobie Brothers seem to be resting
on their laurels quite a bit. The Captain and Me is
sparse. Only a few cuts are even mildly interesting
and they aren't exactly corkers.
Gone is the wild exhuberance and dynamic sound
of Tolouse Street. Side one sounds remarkably
homogenized and boring. The only thing of any
interest is "Clear as the Driven Snow," which does
have an interesting arrangement and better than
average vocals.
Side two isn't much better. It starts out strong
with "Without You," a closely harmonized vocal and
well-paced instrumental piece. It promptly dies
thereafter and only revives momentarily in a
hauntingly screeming "Evil Woman", which is
lyrically weak. The rest is all depressinglv boring and
monochromatic.
One can only assume, however, that if the Doobie
Brothers don't get off their duffs soon, they may
become one of the many dead-and-forgotten groups
of the 70's. And that's a fate not to be envied. Jim Gray
Britain's Procul Harum. ..explodes on Grand Hotel.
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