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Δ' ΜΕΡΟΣ
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Το Α' ΜΕΡΟΣ στην Ανάρτηση Νο 1827
Το Β' ΜΕΡΟΣ στην Ανάρτηση Νο 1828
Το Γ' ΜΕΡΟΣ στην Ανάρτηση Νο 1829
Το Ε' ΜΕΡΟΣ στην Ανάρτηση Νο 1831
Το ΣΤ' ΜΕΡΟΣ στην Ανάρτηση Νο 1832
Το Ζ' ΜΕΡΟΣ στην Ανάρτηση Νο 1833
Το Η' ΜΕΡΟΣ στην Ανάρτηση Νο 1834
Το Θ' ΜΕΡΟΣ στην Ανάρτηση Νο 1835
Το Ι' ΜΕΡΟΣ στην Ανάρτηση Νο 1836
Το ΙΑ' ΜΕΡΟΣ στην Ανάρτηση Νο 1837
Το ΙΒ' ΜΕΡΟΣ στην Ανάρτηση Νο 1838
Το ΙΓ' ΜΕΡΟΣ στην Ανάρτηση Νο 1839
Το ΙΔ' ΜΕΡΟΣ στην Ανάρτηση Νο 1840
Το ΙΕ' ΜΕΡΟΣ στην Ανάρτηση Νο 1841
Το ΙΣΤ' ΜΕΡΟΣ στην Ανάρτηση Νο 1842
Το ΙΖ' ΜΕΡΟΣ στην Ανάρτηση Νο 1843
Το ΙΗ' ΜΕΡΟΣ στην Ανάρτηση Νο 1844
Το ΙΘ' ΜΕΡΟΣ στην Ανάρτηση Νο 1845
Το Κ' ΜΕΡΟΣ στην Ανάρτηση Νο 1846
Το ΚΑ' ΜΕΡΟΣ στην Ανάρτηση Νο 1847
Το ΚΒ' ΜΕΡΟΣ στην Ανάρτηση Νο 1848
Το ΚΓ' ΜΕΡΟΣ στην Ανάρτηση Νο 1849
Το ΚΔ' ΜΕΡΟΣ στην Ανάρτηση Νο 1850
Το ΚΕ' ΜΕΡΟΣ στην Ανάρτηση Νο 1851
Το ΚΣΤ' ΜΕΡΟΣ στην Ανάρτηση Νο 1852
Το ΚZ' ΜΕΡΟΣ στην Ανάρτηση Νο 1853
Το ΚH' ΜΕΡΟΣ στην Ανάρτηση Νο 1854
Το ΚΘ' ΜΕΡΟΣ στην Ανάρτηση Νο 1855
Το Λ' ΜΕΡΟΣ στην Ανάρτηση Νο 1856
Το ΛΑ' ΜΕΡΟΣ στην Ανάρτηση Νο 1857
Το ΛΒ' ΜΕΡΟΣ στην Ανάρτηση Νο 1858
Το ΛΓ' ΜΕΡΟΣ στην Ανάρτηση Νο 1859
Το ΛΔ' ΜΕΡΟΣ στην Ανάρτηση Νο 1860
Το ΛΕ' ΜΕΡΟΣ στην Ανάρτηση Νο 1861
Το ΛΣΤ' ΜΕΡΟΣ στην Ανάρτηση Νο 1862
Το ΛΖ' ΜΕΡΟΣ στην Ανάρτηση Νο 1863
Το ΛΗ' ΜΕΡΟΣ στην Ανάρτηση Νο 1864
Το ΛΘ' ΜΕΡΟΣ στην Ανάρτηση Νο 1865
Το Μ' ΜΕΡΟΣ στην Ανάρτηση Νο 1866
Το ΜΑ' ΜΕΡΟΣ στην Ανάρτηση Νο 1867
Το ΜΒ' ΜΕΡΟΣ στην Ανάρτηση Νο 1868
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ΣΥΝΕΧΕΙΑ από την ανάρτηση Νο 1829
από https://www.youtube.com/watch?v=7uw1L78PbHU
από https://www.youtube.com/watch?v=VwFK0yBqZZc
από https://www.youtube.com/watch?v=Ma4dsoviNSQ
από https://www.youtube.com/watch?v=WkvDZPTrPFA
από https://www.youtube.com/watch?v=eRgeN_EnpVs
από https://www.youtube.com/watch?v=I4RvKERQHHA
από https://www.youtube.com/watch?v=bUcZZhL1T6M
από https://www.youtube.com/watch?v=-5vbBkuBURc
από https://www.youtube.com/watch?v=HYBWO-Yk3T0
από https://www.youtube.com/watch?v=K_mlEmc5ivo
από https://www.youtube.com/watch?v=xXqqzxMnq9A
από https://www.youtube.com/watch?v=Grkr7c4rPjk
από https://www.youtube.com/watch?v=_CQNf78yj8M
από https://www.youtube.com/watch?v=yEKQrr92bMw
από https://www.youtube.com/watch?v=8adNafc9T-A
από https://www.youtube.com/watch?v=9sqeLjquVXM
από https://www.youtube.com/watch?v=JECP1Fr6ICI
από https://www.youtube.com/watch?v=FhecPpRKyjw
από https://www.youtube.com/watch?v=e2xsiFKDLAM
από https://www.youtube.com/watch?v=Djwkzijd-dc
από https://www.youtube.com/watch?v=tmqG43h2Uek
από https://www.youtube.com/watch?v=d7Yf1NygmPM
από https://www.youtube.com/watch?v=AZWJ8tfqshI
από https://www.youtube.com/watch?v=QVTJjFZWZJA
από https://www.youtube.com/watch?v=N9Y-dWjtKTs
από https://www.youtube.com/watch?v=XBphjs1Nzxk
από https://www.youtube.com/watch?v=cTxvYuyEssU
από https://www.youtube.com/watch?v=KAMxepjZROM
από https://www.youtube.com/watch?v=60JgZIAKkNA
από https://www.youtube.com/watch?v=syIMQHL9FuE
από https://www.youtube.com/watch?v=nG0ic_0SSSs
από https://www.youtube.com/watch?v=w-yMfzVqQxU
από https://www.youtube.com/watch?v=zM4wHHhH5TQ
από https://www.youtube.com/watch?v=JtrijXuxKpE
από https://www.youtube.com/watch?v=iDJiTdn5pZA
από https://www.youtube.com/watch?v=18k9aYKYS58
από https://www.youtube.com/watch?v=Fx6Y6G8_13Y
από https://www.youtube.com/watch?v=Jlfob92uNxs
από https://www.youtube.com/watch?v=OQyFixb54JU
από https://www.youtube.com/watch?v=q5e-gltZfeM
από https://www.youtube.com/watch?v=YBzRjwCaKwU
από https://www.youtube.com/watch?v=tAfB1p37q10
από https://www.youtube.com/watch?v=BYlmz2oJXGI
από https://www.youtube.com/watch?v=UFUJDTcJtOo
από https://www.youtube.com/watch?v=2AohFeasHjk
από https://www.youtube.com/watch?v=qxsQwRS9Cjo
από https://www.youtube.com/watch?v=iWjr50Bmhqw
από https://www.youtube.com/watch?v=1rL2ko7-BTk
από https://www.youtube.com/watch?v=xyENeTDpgGU
από https://www.youtube.com/watch?v=PxGtAGxTH5k
Procol Harum
A Whiter Shade Of Pale
Μουσική - Στίχοι: Gary Brooker-Keith Reid-Matthew Fisher
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We skipped a light fandango,
Turned cartwheels 'cross the floor.
I was feeling kind of seasick,
But the crowd called out for more.
The room was humming harder,
As the ceiling flew away.
When we called out for another drink,
The waiter brought a tray.
And so it was that later,
As the miller told his tale,
That her face at first just ghostly,
Turned a whiter shade of pale.
She said there is no reason,
And the truth is plain to see
That I wandered through my playing cards,
And would not let her be
One of sixteen vestal virgins
Who were leaving for the coast.
And although my eyes were open,
They might just as well have been closed.
And so it was later,
As the miller told his tale,
That her face at first just ghostly,
Turned a whiter shade of pale.
--------------------------------------------
Procol Harum | Biography
Procol Harum are a British rock band, formed in the 1960s, who contributed to the development of progressive rock, and by extension, symphonic rock. Their best-known recording is their 1967 single "A Whiter Shade of Pale." Although noted for its classical influence, Procol Harum's music also embraces the blues and pop.
History
Origins
Based in Southend, Essex, The Paramounts, led by Gary Brooker and Robin Trower and including Chris Copping, scored a moderate British success in 1964 with Jerry Leiber and Mike Stoller's "Poison Ivy," which reached number 35 in the UK singles chart. Unable to generate any follow-up success, the group disbanded in 1966.
Early years
In April 1967, Brooker began working as a singer/songwriter and formed Procol Harum with non-Paramounts Keith Reid (poet), Hammond organist Matthew Fisher, guitarist Ray Royer and bassist David Knights. Guy Stevens, their original manager, named the band after a friend's Burmese cat. The name has been said to be Latin for "beyond these things", but the correct Latin translation of "beyond these things" is Procul His. Alternatively, the name has been translated as "of these far off things" (harum is in the feminine, genitive, plural). However, procul would not be followed by a genitive in Latin. The name of the band is frequently misspelled; often with Procul, Harem, both, or other variations.
At Olympic Studios, with session drummer (and non-Paramount) Bill Eyden, producer Denny Cordell, and sound engineer Keith Grant, the group recorded "A Whiter Shade of Pale" and officially released on . With the sudden success of this single and The Moody Blues' "Nights in White Satin", their label Deram Records became known as a premier progressive rock label .
With a structure reminiscent of Baroque music, a countermelody based on J.S. Bach's cantata no.140 assigned to Fisher's Hammond organ, Brooker's soulful vocals and Reid's mysterious lyrics, "A Whiter Shade of Pale" reached #1 on the British charts and did almost as well in the United States, reaching #5. In the years since, it has become an enduring classic, placing on several polls of the best songs ever.
After "A Whiter Shade of Pale" became a hit, the band set out to consolidate their studio success by touring; their live debut was opening for Jimi Hendrix in 1967.
The group's follow-up single, "Homburg", with a lineup change of former Paramounts B.J. Wilson on drums and Robin Trower on guitar, was almost as successful in the UK as it reached #6, but the LP Procol Harum, was less successful (it was recorded soon between the two hit singles, but was held back until early 1968 and in mono and phony stereo, which was unusual by that time). A series of singles charted lowly in the US and UK, though rarely both at the same time. A Salty Dog (1969; see 1969 in music) was popular among fans, and was their first album to sell well in the UK; it is still regarded as one of their finest albums. The title track in particular gained a good deal of US FM radio airplay, with Reid's ominous lyrics in the forefront. However, Fisher, who produced this album, departed the band soon after its release.
The group would have many personnel changes , but their lineup for their first three albums was Gary Brooker (piano and lead vocals), Robin Trower (guitar and lead vocals), Matthew Fisher (organ and lead vocals), David Knights (bass), B.J. Wilson (drums), and Keith Reid (lyricist). Former Paramount Chris Copping joined on organ and bass in 1970, and from late 1972 till 1977, the group's guitarist was Mick Grabham.
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καραόκε
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We skipped the light fandango
Turned cartwheels 'cross the floor
I was feeling kinda seasick
But the crowd called out for more
The room was humming harder
As the ceiling flew away
When we called out for another drink
And the waiter brought a tray
And so it was that later
As the miller told his tale
That her face, at first just ghostly,
Turned a whiter shade of pale
She said, "There is no reason
And the truth is plain to see."
But I wandered through my playing cards
And they would not let her be
One of sixteen vestal virgins
Who were leaving for the coast
And although my eyes were open wide
They might have just as well been closed
And so it was that later
As the miller told his tale
That her face, at first just ghostly,
Turned a whiter shade of pale
She said, "I'm here on a shore leave,"
Though we were miles at sea.
I pointed out this detail
And forced her to agree,
Saying, "You must be the mermaid
Who took King Neptune for a ride."
And she smiled at me so sweetly
That my anger straightway died.
And so it was that later
As the miller told his tale
That her face, at first just ghostly,
Turned a whiter shade of pale
If music be the food of love
Then laughter is it's queen
And likewise if behind is in front
Then dirt in truth is clean
My mouth by then like cardboard
Seemed to slip straight through my head
So we crash-dived straightway quickly
And attacked the ocean bed
And so it was that later
As the miller told his tale
That her face, at first just ghostly,
Turned a whiter shade of pale
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1967
This is a stereo sync-up mix made by Tom Moulton using the backing track and a clean mono master.
Originally Deram 7507
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France Télévision Les années bonheurs Procol Harum - A Whiter Shade of Pale 17/05/2014
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from "Oblivion"
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Gary Brooker Josh Phillips Geoff Dunn Matt Pegg Geoff Whitehorn Ray Royer David Knights Bobby Harrison Matthew Fisher Keith Reid
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B. J. Wilson† (1967--1976)
Schlagzeug
Mark Brzezicki (1991)
Schlagzeug
Henry Spinetti (1991)
Bass, Orgel
Chris Copping (1969--77)
Bass
Alan Cartwright (1972--76)
Bass
Dave Bronze (1991)
Orgel
Pete Solley (1976--77)
Gitarre
Robin Trower (1967--71,1991)
Gitarre
Dave Ball (1971--72)
Gitarre
Mick Grabham (1972--77)
Gitarre
Jerry Stevenson (1991)
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We skipped the light fandango
Turned cartwheels 'cross the floor
I was feeling kinda seasick
But the crowd called out for more
The room was humming harder
As the ceiling flew away
When we called out for another drink
And the waiter brought a tray
And so it was that later
As the miller told his tale
That her face, at first just ghostly,
Turned a whiter shade of pale
She said, "There is no reason
And the truth is plain to see."
But I wandered through my playing cards
And they would not let her be
One of sixteen vestal virgins
Who were leaving for the coast
And although my eyes were open wide
They might have just as well been closed
And so it was that later
As the miller told his tale
That her face, at first just ghostly,
Turned a whiter shade of pale
She said, "I'm here on a shore leave,"
Though we were miles at sea.
I pointed out this detail
And forced her to agree,
Saying, "You must be the mermaid
Who took King Neptune for a ride."
And she smiled at me so sweetly
That my anger straightway died.
And so it was that later
As the miller told his tale
That her face, at first just ghostly,
Turned a whiter shade of pale
If music be the food of love
Then laughter is it's queen
And likewise if behind is in front
Then dirt in truth is clean
My mouth by then like cardboard
Seemed to slip straight through my head
So we crash-dived straightway quickly
And attacked the ocean bed
And so it was that later
As the miller told his tale
That her face, at first just ghostly,
Turned a whiter shade of pale
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Γαλλική Μετάφραση....
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We skipped the light Fandango
Nous avons dansé le fandango tout en sautillant d'un pas léger
Turned cartwheels 'cross the floor
Fait plusieurs fois la roue à travers la piste
I was feeling kind of seasick
Je ressentais une sorte de mal au coeur
But the crowd called out for more
Mais la foule en redemanda
The room was humming harder
La salle bourdonnait encore plus
As the ceiling flew away
Alors que le plafond s'envolait
When we called out for another drink
Quand nous commandâmes une autre boisson
The waiter brought a tray
Le serveur apporta un plateau
And so it was that later
Et c'est ainsi que plus tard
As the Miller told his tale
Alors que le meunier racontait son histoire
That her face, at first just ghostly
Que son visage, d'abord seulement spectral
Turned a whiter shade of pale
Prit une nuance plus blanche de pâleur
[Music]
[Musique]
She said there is no reason
Elle a dit qu'il n'y a aucune raison
And the truth is plain to see
Et la vérité saute aux yeux
But I wandered through my playing cards
Mais j'errais à travers mes cartes à jouer
And would not let her be
Et ne la laisserais jamais être
One of sixteen vestal virgins
Une des seize vierges vestales
Who were leaving for the coast
Qui allaient partir pour la côte
And although my eyes were open
Et bien que mes yeux étaient ouverts
They might just as well've been closed
Cela aurait été tout pareil s'ils étaient fermés
And so it was that later
Et c'est ainsi que plus tard
As the Miller told his tale
Pendant que le meunier racontait son histoire
That her face, at first just ghostly
Que son visage, au début simplement spectral
Turned a whiter shade of pale
Prit une nuance plus blanche de pâleur
And so it was... .
Et c'est ainsi... ... .
EXTRA-PART PLAYED ONLY IN CONCERT
PASSAGE SUPPLEMENTAIRE CHANTE UNIQUEMENT EN CONCERT
She said, 'I'm home on shore leave, '
Elle à dit "je suis en permission à terre"
Though in truth we were at sea
Bien qu'en vérité nous étions en mer
So I took her by the looking glass
Alors je la pris près du miroir
And forced her to agree
Et la forçai de reconnaître ceci
Saying, 'You must be the mermaid
Lui disant " tu dois être une sirène
Who took Neptune for a ride. '
Qui fit un tour(1) avec Neptune "
But she smiled at me so sadly
Mais elle eût un sourire si triste
That my anger straightway died
Que ma colère s'apaisa immédiatement
If music be the food of love
Si la musique était l'aliment de l'amour
Then laughter is its queen
Alors le rire en serait le roi
And likewise if behind is in front
Et de la même façon que derrière est devant
Then dirt in truth is clean
Alors la saleté est propre en vérité
My mouth by then like cardboard
Ma bouche à cet instant pâteuse
Seemed to slip straight through my head
Semblait partir en glissade à travers ma tête
So we crash-dived straightway quickly
Alors nous plongeâmes (2) brutalement en vitesse
And attacked the ocean bed
Et attaquâmes le lit de l'océan
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ΜΟΝΟ ΗΧΟΣ....
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Palace of Fine Arts, San Francisco, October 3, 1991.
2012 brings an early "new testament" show with a brilliantly-playing Matthew Fisher, a seldom heard guitarist (Tim Renwick) and a new Procol Harum band, ready for the decades that would follow, here on my channel!
Sixteenth number, we're approaching the end. This song was, of course, mandatory, but it's always great to hear (or perform it).
Here in one of its extended forms, with the "Mermaid" verse and an improvisative Hammond solo.
Brooker seems still in great voice, even after one hour and half of singing...His piano style on this song surely changed a lot over the years: gone are the baroque ornamentations of the '70s and late '60s, a more R'n'B style now can be heard in his comping. And, speaking of comping, his rhythmic backing in the '90s is always excellent.
The odd custom of doubling the organ tune near the end often puzzles me...It has sense when Brooker performs this song with different organists but I it find a bit odd when Fisher his involved, especially because he's used to change that line from time to time.
Odd start for Fisher...Wrong preset, perhaps? It's the second time I hear this happening (the firs being Atlantic City, 1969). The rest is...well, just great! Listen to the elegant lines he's playing during the third verse: I've heard now over 50 different recordings of Fisher playing this song, still the man manages to find something great and unique each time. Notice the modified organ theme between verse 1 and 2: while he seldom changed that in the '60s it is now customary for him to ornate differently at every performance.
Notice also how the ornamentation of the E note that usually starts each verse has reverted to its original chromatism (in the late '60 Fisher consistently performed a baroque ornamentation there, never to be heard again after the '80s as long I remember). Speaking of different ornamentation, the first organ answer is still more or less phrased as it was on the record, down the year MaF would often postpone the third note to give it a "groovier" feeling.
The organ turnover that leads to the last chorus needs special mention: while the baroque ornamentation added (there and in the line traditionally played under "called out for more") there on the late '60s remains some lines are phrased on this version in an unique way and, even more unusual, there is an added note short before the glissando, I have never heard him changing that particular line in other occasions (although it's note impossible it happened: it's easy to miss). It's absolutely not a mistake: what where originally four notes are now phrased differently to make room for a fifth.
The solo is, as usual, the sum of different licks Fisher performed while soloing on this tune over the years with new ones added in the mix. Probably not the best solo he would perform on AWSoP in the '90s but still quite likable (and personally I find the baroque lick near the end a great idea).
This song is probably a guitarist's nightmare: a great set of chords, a great melody, a very difficult song on which perform a meaningful solo and, more importantly, a song that has to be played with a lot of restrain while still do something that has some meaning. Many guitar players stripped down their playing to the minimum (the original Ray Royer, Robin Trower, Mick Graham at Redhill), others chose to be improvisative, perhaps occasionally risking too much and "stomping" over organ lines (Mick Graham in the 70s, the early Geoff Whitehorn), after some time Geoff Whitehorn even developed his own very interesting way of comping on this song (now performed basically by any guitar player who is serious in performing it staying close to original feel), but the approach of Tim Renwick is both improvisative and very tasty: he plays very interesting lick in the chorus, while the organ is not doing much and doesn't interfere with the rest of the song, playing things like single notes at the appropriate times. He doesn't seem to be aware of the only audible guitar licks lied down by Ray Royer on the original record (like Whitehorn is) but nevertheless plays something different but still appropriate more or less at the same points.
Bass playing is appropriate and solid at usual...Can't say much on this particular version (basically because i can't quite make out the bass with the speakers I'm using at this time, I'll try with the bigger ones...), but I remember Bronze being very elegant on this song down the years.
Mark Brzezicki doesn't manage to replicate the crescendo originally performed by Bill Eyden (not being obvious, many are not even aware of it being there) but at least keeps the feel consistent for most of the song, turning it down a bit only during the third verse (different drummers, most notably Ian Wallace but, on occasions, also B.J. Wilson, used to be very quiet during all the verses to rise their volume for the choruses and the solos).
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--------------------------------------------
ΜΟΝΟΝ ΗΧΟΣ.....
--------------------------------------------
in Tokyo, Japan, on May 4, 1972.
Chris copping on organ, of course, at the time he had been playing the song for a couple of years (even if they didn't perform it too much in 1970 and 1971), tis time he remains a lot closer to the original spirit of the song (if compared to the 1976 "british biscuit" performance.
Great solo, as usual, but still sketchy compared to what would come in the following years.
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at the TARRYTOWN MUSIC HALL, New York, June 10 2010
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live at concert on 7/13/2012 in Atlantic City.
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Jack Sparrow remembers "A Whiter Shade of Pale" (the long version)
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on 15 August at the Gibson Amphitheatre in Los Angeles.
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Live bank of america pavilon boston 7 21 2012
--------------------------------------------
We skipped the light fandango
Turned cartwheels across the floor
I was feeling kind of seasick
But the crowd called out for more
The room was humming harder
As the ceiling flew away
When we called out for another drink
The waiter brought a tray
And so it was that later
As the miller told his tale
That her face, at first just ghostly,
Turned a whiter shade of pale
She said, there is no reason
And the truth is plain to see.
But I wandered through my playing cards
And would not let her be
One of sixteen vestal virgins
Who were leaving for the coast
And although my eyes were open
They might have just as well 've been closed
And so it was that later
As the miller told his tale
That her face, at first just ghostly,
Turned a whiter shade of pale
She said, I'm home on shore leave,
Though in truth we were at sea
So I took her by the looking glass
And forced her to agree
Saying, you must be the mermaid
Who took Neptune for a ride.
But she smiled at me so sadly
That my anger straightway died
And so it was that later
As the miller told his tale
That her face, at first just ghostly,
Turned a whiter shade of pale
If music be the food of love
Then laughter is its queen
And likewise if behind is in front
Then dirt in truth is clean
My mouth by then like cardboard
Seemed to slip straight through my head
So we crash-dived straightway quickly
And attacked the ocean bed
And so it was that later
As the miller told his tale
That her face, at first just ghostly,
Turned a whiter shade of pale
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--------------------------------------------
Live 2012 at Gibson Amphitheater
in Universal City, CA during (Yes and Procol Harum) tour stop in Los Angeles California August 15, 2012.
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@ ArtPark in Lewiston, NY on 7/17/2012
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(13.10.2009, Luzhniki, Moscow, Russia)
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Procol Harum
August 3, 2012 8/03/12
nTelos Wireless Pavilion, Portsmouth, Virginia
Gary Brooker - Piano, Vocal
Geoff Whitehorn - Guitar
Geoff Dunn - Drums
Matt Pegg - Bass
Josh Phillips - Hammond Organ
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Live @ DTE Clarkston, MI August 6, 2012
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at The MIZNER PARK AMPHITHEATRE in Boca Raton, Florida, July 27, 2012.
PROCOL HARUM are: founding member GARY BROOKER (keyboards, vocals), joined by GEOFF WHITEHORN (lead guitar), MATT PEGG (bass), GEOFF DUNN (drums), JOSH PHILLIPS (organ, keyboards)
--------------------------------------------
We skipped the light fandango
Turned cartwheels across the floor
I was feeling kind of seasick
But the crowd called out for more
The room was humming harder
As the ceiling flew away
When we called out for another drink
The waiter brought a tray
And so it was that later
As the miller told his tale
That her face, at first just ghostly,
Turned a whiter shade of pale
She said, there is no reason
And the truth is plain to see.
But I wandered through my playing cards
And would not let her be
One of sixteen vestal virgins
Who were leaving for the coast
And although my eyes were open
They might have just as well 've been closed
And so it was that later
As the miller told his tale
That her face, at first just ghostly,
Turned a whiter shade of pale
She said, I'm home on shore leave,
Though in truth we were at sea
So I took her by the looking glass
And forced her to agree
Saying, you must be the mermaid
Who took Neptune for a ride.
But she smiled at me so sadly
That my anger straightway died
And so it was that later
As the miller told his tale
That her face, at first just ghostly,
Turned a whiter shade of pale
If music be the food of love
Then laughter is its queen
And likewise if behind is in front
Then dirt in truth is clean
My mouth by then like cardboard
Seemed to slip straight through my head
So we crash-dived straightway quickly
And attacked the ocean bed
And so it was that later
As the miller told his tale
That her face, at first just ghostly,
Turned a whiter shade of pale
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Live @ Artpark Lewiston NY July 17, 2012
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from "Oblivion"
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Oblivion 2013 Music Video HD - Procol Harum - A Whiter Shade Of Pale
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Πορταγαλλικοί Υπότιτλοι....
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"A Whiter Shade of Pale"es el primer single de la banda de rock Inglés Procol Harum , publicada el 12 de mayo de 1967. El disco alcanzó el número uno en la lista de singles del Reino Unido el 8 de junio de 1967 , y permaneció allí durante seis semanas. Sin mucha promoción, que alcanzó el número 5 en las listas de Estados Unidos, también. Uno de los himnos de 1967 Summer of Love , es uno de los menos de 30 sencillos que han vendido más de 10 millones de copias en todo el mundo.
Con su inquietante Bach derivados melodía instrumental, voces soul y letras inusuales-por los co-autores de la canción Gary Brooker , Keith Reid , y organista Mateo Fisher - "A Whiter Shade of Pale" alcanzó el número 1 en varios países cuando se lanzó en 1967. En los años posteriores, se ha convertido en un clásico perdurable. Fue la canción más tocada en los últimos 75 años en lugares públicos en el Reino Unido (en 2009), y el Reino Unido la realización de un grupo de derechos Fonográfica Performance Limited en 2004 reconocido como el disco más tocado de la radiodifusión británica de los últimos 70 años. También en 2004, la revista Rolling Stone colocan "A Whiter Shade of Pale" N º 57 en su lista de las 500 mejores canciones de todos los tiempos .
En 1977, la canción fue nombrada ganadora conjunta (junto con Queen 's " Bohemian Rhapsody ") del Best Pop Single Británico 1952-1977 en los Brit Awards . En 1998, la canción fue exaltado al Salón de la Fama del Grammy . Se conocen más de 1.000 versiones grabadas por otros artistas. La canción ha sido incluida en numerosas compilaciones de música en las últimas décadas y también se ha utilizado en las bandas sonoras de varias películas, incluyendo The Big Chill , Purple Haze , Rompiendo las olas , Radio Encubierta (en una escena de barco que se hunde) y sobre todo en Martin Scorsese segmento 's de Historias de Nueva York . Versiones de la cubierta de la canción también se han ofrecido en muchas películas, por ejemplo, King Curtis en Withnail y yo y por Annie Lennox en la red .
Los créditos originales de escritura eran para Brooker y Reid. El 30 de julio de 2009, Mateo Fisher ganó el crédito co-escrito por la música en un fallo unánime de los jueces lores .
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Live
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We skipped the light fandango
Turned cartwheels across the floor
I was feeling kind of seasick
But the crowd called out for more
The room was humming harder
As the ceiling flew away
When we called out for another drink
The waiter brought a tray
And so it was that later
As the miller told his tale
That her face, at first just ghostly,
Turned a whiter shade of pale
She said, there is no reason
And the truth is plain to see.
But I wandered through my playing cards
And would not let her be
One of sixteen vestal virgins
Who were leaving for the coast
And although my eyes were open
They might have just as well 've been closed
And so it was that later
As the miller told his tale
That her face, at first just ghostly,
Turned a whiter shade of pale
She said, I'm home on shore leave,
Though in truth we were at sea
So I took her by the looking glass
And forced her to agree
Saying, you must be the mermaid
Who took Neptune for a ride.
But she smiled at me so sadly
That my anger straightway died
And so it was that later
As the miller told his tale
That her face, at first just ghostly,
Turned a whiter shade of pale
If music be the food of love
Then laughter is its queen
And likewise if behind is in front
Then dirt in truth is clean
My mouth by then like cardboard
Seemed to slip straight through my head
So we crash-dived straightway quickly
And attacked the ocean bed
And so it was that later
As the miller told his tale
That her face, at first just ghostly,
Turned a whiter shade of pale
--------------------------------------------
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long version 1967
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（1967年）
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We skipped the light fandango
Turned cartwheels across the floor
I was feeling kind of seasick
But the crowd called out for more
The room was humming harder
As the ceiling flew away
When we called out for another drink
The waiter brought a tray
And so it was that later
As the miller told his tale
That her face, at first just ghostly,
Turned a whiter shade of pale
She said, there is no reason
And the truth is plain to see.
But I wandered through my playing cards
And would not let her be
One of sixteen vestal virgins
Who were leaving for the coast
And although my eyes were open
They might have just as well 've been closed
And so it was that later
As the miller told his tale
That her face, at first just ghostly,
Turned a whiter shade of pale
She said, I'm home on shore leave,
Though in truth we were at sea
So I took her by the looking glass
And forced her to agree
Saying, you must be the mermaid
Who took Neptune for a ride.
But she smiled at me so sadly
That my anger straightway died
And so it was that later
As the miller told his tale
That her face, at first just ghostly,
Turned a whiter shade of pale
If music be the food of love
Then laughter is its queen
And likewise if behind is in front
Then dirt in truth is clean
My mouth by then like cardboard
Seemed to slip straight through my head
So we crash-dived straightway quickly
And attacked the ocean bed
And so it was that later
As the miller told his tale
That her face, at first just ghostly,
Turned a whiter shade of pale
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UNA PÁLIDA SOMBRA - Una Pálida Sombra
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Presentamos:
Un clásico de la música para todos ustedes
La agrupación de:
PROCUL HARUM
Interpretando su tema:
UNA PÁLIDA SOMBRA
En nuestra serie "Gigantes de la música universal"
De la DVD-TECA de ARTBRECO
Una joya de la música universal
Un gigante musical de la música contemporánea
Breco FM...
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HERMOSISIMA CANCION EN VIVO DESDE DINAMARCA EN EL 2006,
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We skipped the light fandango
Turned cartwheels across the floor
I was feeling kind of seasick
But the crowd called out for more
The room was humming harder
As the ceiling flew away
When we called out for another drink
The waiter brought a tray
And so it was that later
As the miller told his tale
That her face, at first just ghostly,
Turned a whiter shade of pale
She said, there is no reason
And the truth is plain to see.
But I wandered through my playing cards
And would not let her be
One of sixteen vestal virgins
Who were leaving for the coast
And although my eyes were open
They might have just as well 've been closed
And so it was that later
As the miller told his tale
That her face, at first just ghostly,
Turned a whiter shade of pale
She said, I'm home on shore leave,
Though in truth we were at sea
So I took her by the looking glass
And forced her to agree
Saying, you must be the mermaid
Who took Neptune for a ride.
But she smiled at me so sadly
That my anger straightway died
And so it was that later
As the miller told his tale
That her face, at first just ghostly,
Turned a whiter shade of pale
If music be the food of love
Then laughter is its queen
And likewise if behind is in front
Then dirt in truth is clean
My mouth by then like cardboard
Seemed to slip straight through my head
So we crash-dived straightway quickly
And attacked the ocean bed
And so it was that later
As the miller told his tale
That her face, at first just ghostly,
Turned a whiter shade of pale
--------------------------------------------
--------------------------------------------
(Promo Video)
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--------------------------------------------
1967
--------------------------------------------
--------------------------------------------
--------------------------------------------
We skipped the light fandango
Turned cartwheels across the floor
I was feeling kind of seasick
But the crowd called out for more
The room was humming harder
As the ceiling flew away
When we called out for another drink
The waiter brought a tray
And so it was that later
As the miller told his tale
That her face, at first just ghostly,
Turned a whiter shade of pale
She said, there is no reason
And the truth is plain to see.
But I wandered through my playing cards
And would not let her be
One of sixteen vestal virgins
Who were leaving for the coast
And although my eyes were open
They might have just as well 've been closed
And so it was that later
As the miller told his tale
That her face, at first just ghostly,
Turned a whiter shade of pale
She said, I'm home on shore leave,
Though in truth we were at sea
So I took her by the looking glass
And forced her to agree
Saying, you must be the mermaid
Who took Neptune for a ride.
But she smiled at me so sadly
That my anger straightway died
And so it was that later
As the miller told his tale
That her face, at first just ghostly,
Turned a whiter shade of pale
If music be the food of love
Then laughter is its queen
And likewise if behind is in front
Then dirt in truth is clean
My mouth by then like cardboard
Seemed to slip straight through my head
So we crash-dived straightway quickly
And attacked the ocean bed
And so it was that later
As the miller told his tale
That her face, at first just ghostly,
Turned a whiter shade of pale
--------------------------------------------
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@ Ramblin' Man Fair 24.07.2016
--------------------------------------------
--------------------------------------------
Giants of Rock Butlins 2016
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live @ Cultuurpodium Boerderij Zoetermeer 26-5-2016
--------------------------------------------
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Boerderij Zoetermeer
--------------------------------------------
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26-5-2016 Zoetermeer
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--------------------------------------------
[Gossau CH 5-7-2014]
--------------------------------------------
--------------------------------------------
We skipped the light fandango
Turned cartwheels across the floor
I was feeling kind of seasick
But the crowd called out for more
The room was humming harder
As the ceiling flew away
When we called out for another drink
The waiter brought a tray
And so it was that later
As the miller told his tale
That her face, at first just ghostly,
Turned a whiter shade of pale
She said, there is no reason
And the truth is plain to see.
But I wandered through my playing cards
And would not let her be
One of sixteen vestal virgins
Who were leaving for the coast
And although my eyes were open
They might have just as well 've been closed
And so it was that later
As the miller told his tale
That her face, at first just ghostly,
Turned a whiter shade of pale
She said, I'm home on shore leave,
Though in truth we were at sea
So I took her by the looking glass
And forced her to agree
Saying, you must be the mermaid
Who took Neptune for a ride.
But she smiled at me so sadly
That my anger straightway died
And so it was that later
As the miller told his tale
That her face, at first just ghostly,
Turned a whiter shade of pale
If music be the food of love
Then laughter is its queen
And likewise if behind is in front
Then dirt in truth is clean
My mouth by then like cardboard
Seemed to slip straight through my head
So we crash-dived straightway quickly
And attacked the ocean bed
And so it was that later
As the miller told his tale
That her face, at first just ghostly,
Turned a whiter shade of pale
--------------------------------------------
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Bielszy Odcień Bieli
--------------------------------------------
--------------------------------------------
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Bielszy Odcień Bieli.......
Powiedziała: "Nie ma żadnego powodu,
A prawda jest widoczna jak na dłoni"
Lecz ja nadal grałem w swoją grę
I nie chciałem, aby stała się jedną z dziewic z szesnastu westalek,
Wyruszających na wybrzeże.
I choć oczy miałem otwarte,
Równie dobrze mogły być zamknięte.
A później:
Gdy młynarz opowiadał swoją historię,
Jej twarz, początkowo jak widmo,
Nabrała bielszego odcienia bieli...
Powiedziała: "tutaj wyrzuciło mnie na ląd"
Zauważyłem ten szczegół, że byliśmy daleko na morzu...
I zmusiłem Ją do uzgodnienia,
Mówiąc: "Musisz być syreną, którą wziął Król Neptun na przejażdżkę..."
I uśmiechnęła się do mnie tak słodko,
Że momentalnie umarł mój gniew.
A później:
Gdy młynarz opowiadał swoją historię,
Jej twarz, początkowo jak widmo,
Nabrała bielszego odcienia bieli...
Jeśli muzyka jest pokarmem miłości,
Wówczas śmiech jest jej królewną,
I podobnie, jeśli to co było jest przed nami
Wówczas brudy w prawdzie są czyste.
Moje usta w tym momencie jak karton
Jakby ślizgały się przechodząc przez moją głowę
Więc szybko zanurkowaliśmy
Kłębiąc się w oceanicznych falach...
--------------------------------------------
--------------------------------------------
We skipped the light fandango
Turned cartwheels across the floor
I was feeling kind of seasick
But the crowd called out for more
The room was humming harder
As the ceiling flew away
When we called out for another drink
The waiter brought a tray
And so it was that later
As the miller told his tale
That her face, at first just ghostly,
Turned a whiter shade of pale
She said, there is no reason
And the truth is plain to see.
But I wandered through my playing cards
And would not let her be
One of sixteen vestal virgins
Who were leaving for the coast
And although my eyes were open
They might have just as well 've been closed
And so it was that later
As the miller told his tale
That her face, at first just ghostly,
Turned a whiter shade of pale
She said, I'm home on shore leave,
Though in truth we were at sea
So I took her by the looking glass
And forced her to agree
Saying, you must be the mermaid
Who took Neptune for a ride.
But she smiled at me so sadly
That my anger straightway died
And so it was that later
As the miller told his tale
That her face, at first just ghostly,
Turned a whiter shade of pale
If music be the food of love
Then laughter is its queen
And likewise if behind is in front
Then dirt in truth is clean
My mouth by then like cardboard
Seemed to slip straight through my head
So we crash-dived straightway quickly
And attacked the ocean bed
And so it was that later
As the miller told his tale
That her face, at first just ghostly,
Turned a whiter shade of pale
--------------------------------------------
--------------------------------------------
--------------------------------------------
--------------------------------------------
--------------------------------------------
--------------------------------------------
--------------------------------------------
--------------------------------------------
--------------------------------------------
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--------------------------------------------
--------------------------------------------
...καί άλλες εκτελέσεις
Procol Harum - Gary Brooker
A Whiter Shade Of Pale
Μουσική - Στίχοι: Gary Brooker-Keith Reid-Matthew Fisher
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ΣΥΝΕΧΕΙΑ στην ανάρτηση Νο 1831
--------------------------------------------
Δ' ΜΕΡΟΣ
--------------------------------------------
Το Α' ΜΕΡΟΣ στην Ανάρτηση Νο 1827
Το Β' ΜΕΡΟΣ στην Ανάρτηση Νο 1828
Το Γ' ΜΕΡΟΣ στην Ανάρτηση Νο 1829
Το Ε' ΜΕΡΟΣ στην Ανάρτηση Νο 1831
Το ΣΤ' ΜΕΡΟΣ στην Ανάρτηση Νο 1832
Το Ζ' ΜΕΡΟΣ στην Ανάρτηση Νο 1833
Το Η' ΜΕΡΟΣ στην Ανάρτηση Νο 1834
Το Θ' ΜΕΡΟΣ στην Ανάρτηση Νο 1835
Το Ι' ΜΕΡΟΣ στην Ανάρτηση Νο 1836
Το ΙΑ' ΜΕΡΟΣ στην Ανάρτηση Νο 1837
Το ΙΒ' ΜΕΡΟΣ στην Ανάρτηση Νο 1838
Το ΙΓ' ΜΕΡΟΣ στην Ανάρτηση Νο 1839
Το ΙΔ' ΜΕΡΟΣ στην Ανάρτηση Νο 1840
Το ΙΕ' ΜΕΡΟΣ στην Ανάρτηση Νο 1841
Το ΙΣΤ' ΜΕΡΟΣ στην Ανάρτηση Νο 1842
Το ΙΖ' ΜΕΡΟΣ στην Ανάρτηση Νο 1843
Το ΙΗ' ΜΕΡΟΣ στην Ανάρτηση Νο 1844
Το ΙΘ' ΜΕΡΟΣ στην Ανάρτηση Νο 1845
Το Κ' ΜΕΡΟΣ στην Ανάρτηση Νο 1846
Το ΚΑ' ΜΕΡΟΣ στην Ανάρτηση Νο 1847
Το ΚΒ' ΜΕΡΟΣ στην Ανάρτηση Νο 1848
Το ΚΓ' ΜΕΡΟΣ στην Ανάρτηση Νο 1849
Το ΚΔ' ΜΕΡΟΣ στην Ανάρτηση Νο 1850
Το ΚΕ' ΜΕΡΟΣ στην Ανάρτηση Νο 1851
Το ΚΣΤ' ΜΕΡΟΣ στην Ανάρτηση Νο 1852
Το ΚZ' ΜΕΡΟΣ στην Ανάρτηση Νο 1853
Το ΚH' ΜΕΡΟΣ στην Ανάρτηση Νο 1854
Το ΚΘ' ΜΕΡΟΣ στην Ανάρτηση Νο 1855
Το Λ' ΜΕΡΟΣ στην Ανάρτηση Νο 1856
Το ΛΑ' ΜΕΡΟΣ στην Ανάρτηση Νο 1857
Το ΛΒ' ΜΕΡΟΣ στην Ανάρτηση Νο 1858
Το ΛΓ' ΜΕΡΟΣ στην Ανάρτηση Νο 1859
Το ΛΔ' ΜΕΡΟΣ στην Ανάρτηση Νο 1860
Το ΛΕ' ΜΕΡΟΣ στην Ανάρτηση Νο 1861
Το ΛΣΤ' ΜΕΡΟΣ στην Ανάρτηση Νο 1862
Το ΛΖ' ΜΕΡΟΣ στην Ανάρτηση Νο 1863
Το ΛΗ' ΜΕΡΟΣ στην Ανάρτηση Νο 1864
Το ΛΘ' ΜΕΡΟΣ στην Ανάρτηση Νο 1865
Το Μ' ΜΕΡΟΣ στην Ανάρτηση Νο 1866
Το ΜΑ' ΜΕΡΟΣ στην Ανάρτηση Νο 1867
Το ΜΒ' ΜΕΡΟΣ στην Ανάρτηση Νο 1868
--------------------------------------------
ΣΥΝΕΧΕΙΑ από την ανάρτηση Νο 1829
από https://www.youtube.com/watch?v=7uw1L78PbHU
από https://www.youtube.com/watch?v=VwFK0yBqZZc
από https://www.youtube.com/watch?v=Ma4dsoviNSQ
από https://www.youtube.com/watch?v=WkvDZPTrPFA
από https://www.youtube.com/watch?v=eRgeN_EnpVs
από https://www.youtube.com/watch?v=I4RvKERQHHA
από https://www.youtube.com/watch?v=bUcZZhL1T6M
από https://www.youtube.com/watch?v=-5vbBkuBURc
από https://www.youtube.com/watch?v=HYBWO-Yk3T0
από https://www.youtube.com/watch?v=K_mlEmc5ivo
από https://www.youtube.com/watch?v=xXqqzxMnq9A
από https://www.youtube.com/watch?v=Grkr7c4rPjk
από https://www.youtube.com/watch?v=_CQNf78yj8M
από https://www.youtube.com/watch?v=yEKQrr92bMw
από https://www.youtube.com/watch?v=8adNafc9T-A
από https://www.youtube.com/watch?v=9sqeLjquVXM
από https://www.youtube.com/watch?v=JECP1Fr6ICI
από https://www.youtube.com/watch?v=FhecPpRKyjw
από https://www.youtube.com/watch?v=e2xsiFKDLAM
από https://www.youtube.com/watch?v=Djwkzijd-dc
από https://www.youtube.com/watch?v=tmqG43h2Uek
από https://www.youtube.com/watch?v=d7Yf1NygmPM
από https://www.youtube.com/watch?v=AZWJ8tfqshI
από https://www.youtube.com/watch?v=QVTJjFZWZJA
από https://www.youtube.com/watch?v=N9Y-dWjtKTs
από https://www.youtube.com/watch?v=XBphjs1Nzxk
από https://www.youtube.com/watch?v=cTxvYuyEssU
από https://www.youtube.com/watch?v=KAMxepjZROM
από https://www.youtube.com/watch?v=60JgZIAKkNA
από https://www.youtube.com/watch?v=syIMQHL9FuE
από https://www.youtube.com/watch?v=nG0ic_0SSSs
από https://www.youtube.com/watch?v=w-yMfzVqQxU
από https://www.youtube.com/watch?v=zM4wHHhH5TQ
από https://www.youtube.com/watch?v=JtrijXuxKpE
από https://www.youtube.com/watch?v=iDJiTdn5pZA
από https://www.youtube.com/watch?v=18k9aYKYS58
από https://www.youtube.com/watch?v=Fx6Y6G8_13Y
από https://www.youtube.com/watch?v=Jlfob92uNxs
από https://www.youtube.com/watch?v=OQyFixb54JU
από https://www.youtube.com/watch?v=q5e-gltZfeM
από https://www.youtube.com/watch?v=YBzRjwCaKwU
από https://www.youtube.com/watch?v=tAfB1p37q10
από https://www.youtube.com/watch?v=BYlmz2oJXGI
από https://www.youtube.com/watch?v=UFUJDTcJtOo
από https://www.youtube.com/watch?v=2AohFeasHjk
από https://www.youtube.com/watch?v=qxsQwRS9Cjo
από https://www.youtube.com/watch?v=iWjr50Bmhqw
από https://www.youtube.com/watch?v=1rL2ko7-BTk
από https://www.youtube.com/watch?v=xyENeTDpgGU
από https://www.youtube.com/watch?v=PxGtAGxTH5k
Procol Harum
A Whiter Shade Of Pale
Μουσική - Στίχοι: Gary Brooker-Keith Reid-Matthew Fisher
--------------------------------------------
We skipped a light fandango,
Turned cartwheels 'cross the floor.
I was feeling kind of seasick,
But the crowd called out for more.
The room was humming harder,
As the ceiling flew away.
When we called out for another drink,
The waiter brought a tray.
And so it was that later,
As the miller told his tale,
That her face at first just ghostly,
Turned a whiter shade of pale.
She said there is no reason,
And the truth is plain to see
That I wandered through my playing cards,
And would not let her be
One of sixteen vestal virgins
Who were leaving for the coast.
And although my eyes were open,
They might just as well have been closed.
And so it was later,
As the miller told his tale,
That her face at first just ghostly,
Turned a whiter shade of pale.
--------------------------------------------
Procol Harum | Biography
Procol Harum are a British rock band, formed in the 1960s, who contributed to the development of progressive rock, and by extension, symphonic rock. Their best-known recording is their 1967 single "A Whiter Shade of Pale." Although noted for its classical influence, Procol Harum's music also embraces the blues and pop.
History
Origins
Based in Southend, Essex, The Paramounts, led by Gary Brooker and Robin Trower and including Chris Copping, scored a moderate British success in 1964 with Jerry Leiber and Mike Stoller's "Poison Ivy," which reached number 35 in the UK singles chart. Unable to generate any follow-up success, the group disbanded in 1966.
Early years
In April 1967, Brooker began working as a singer/songwriter and formed Procol Harum with non-Paramounts Keith Reid (poet), Hammond organist Matthew Fisher, guitarist Ray Royer and bassist David Knights. Guy Stevens, their original manager, named the band after a friend's Burmese cat. The name has been said to be Latin for "beyond these things", but the correct Latin translation of "beyond these things" is Procul His. Alternatively, the name has been translated as "of these far off things" (harum is in the feminine, genitive, plural). However, procul would not be followed by a genitive in Latin. The name of the band is frequently misspelled; often with Procul, Harem, both, or other variations.
At Olympic Studios, with session drummer (and non-Paramount) Bill Eyden, producer Denny Cordell, and sound engineer Keith Grant, the group recorded "A Whiter Shade of Pale" and officially released on . With the sudden success of this single and The Moody Blues' "Nights in White Satin", their label Deram Records became known as a premier progressive rock label .
With a structure reminiscent of Baroque music, a countermelody based on J.S. Bach's cantata no.140 assigned to Fisher's Hammond organ, Brooker's soulful vocals and Reid's mysterious lyrics, "A Whiter Shade of Pale" reached #1 on the British charts and did almost as well in the United States, reaching #5. In the years since, it has become an enduring classic, placing on several polls of the best songs ever.
After "A Whiter Shade of Pale" became a hit, the band set out to consolidate their studio success by touring; their live debut was opening for Jimi Hendrix in 1967.
The group's follow-up single, "Homburg", with a lineup change of former Paramounts B.J. Wilson on drums and Robin Trower on guitar, was almost as successful in the UK as it reached #6, but the LP Procol Harum, was less successful (it was recorded soon between the two hit singles, but was held back until early 1968 and in mono and phony stereo, which was unusual by that time). A series of singles charted lowly in the US and UK, though rarely both at the same time. A Salty Dog (1969; see 1969 in music) was popular among fans, and was their first album to sell well in the UK; it is still regarded as one of their finest albums. The title track in particular gained a good deal of US FM radio airplay, with Reid's ominous lyrics in the forefront. However, Fisher, who produced this album, departed the band soon after its release.
The group would have many personnel changes , but their lineup for their first three albums was Gary Brooker (piano and lead vocals), Robin Trower (guitar and lead vocals), Matthew Fisher (organ and lead vocals), David Knights (bass), B.J. Wilson (drums), and Keith Reid (lyricist). Former Paramount Chris Copping joined on organ and bass in 1970, and from late 1972 till 1977, the group's guitarist was Mick Grabham.
--------------------------------------------
καραόκε
--------------------------------------------
We skipped the light fandango
Turned cartwheels 'cross the floor
I was feeling kinda seasick
But the crowd called out for more
The room was humming harder
As the ceiling flew away
When we called out for another drink
And the waiter brought a tray
And so it was that later
As the miller told his tale
That her face, at first just ghostly,
Turned a whiter shade of pale
She said, "There is no reason
And the truth is plain to see."
But I wandered through my playing cards
And they would not let her be
One of sixteen vestal virgins
Who were leaving for the coast
And although my eyes were open wide
They might have just as well been closed
And so it was that later
As the miller told his tale
That her face, at first just ghostly,
Turned a whiter shade of pale
She said, "I'm here on a shore leave,"
Though we were miles at sea.
I pointed out this detail
And forced her to agree,
Saying, "You must be the mermaid
Who took King Neptune for a ride."
And she smiled at me so sweetly
That my anger straightway died.
And so it was that later
As the miller told his tale
That her face, at first just ghostly,
Turned a whiter shade of pale
If music be the food of love
Then laughter is it's queen
And likewise if behind is in front
Then dirt in truth is clean
My mouth by then like cardboard
Seemed to slip straight through my head
So we crash-dived straightway quickly
And attacked the ocean bed
And so it was that later
As the miller told his tale
That her face, at first just ghostly,
Turned a whiter shade of pale
--------------------------------------------
1967
This is a stereo sync-up mix made by Tom Moulton using the backing track and a clean mono master.
Originally Deram 7507
--------------------------------------------
France Télévision Les années bonheurs Procol Harum - A Whiter Shade of Pale 17/05/2014
--------------------------------------------
from "Oblivion"
--------------------------------------------
Gary Brooker Josh Phillips Geoff Dunn Matt Pegg Geoff Whitehorn Ray Royer David Knights Bobby Harrison Matthew Fisher Keith Reid
--------------------------------------------
B. J. Wilson† (1967--1976)
Schlagzeug
Mark Brzezicki (1991)
Schlagzeug
Henry Spinetti (1991)
Bass, Orgel
Chris Copping (1969--77)
Bass
Alan Cartwright (1972--76)
Bass
Dave Bronze (1991)
Orgel
Pete Solley (1976--77)
Gitarre
Robin Trower (1967--71,1991)
Gitarre
Dave Ball (1971--72)
Gitarre
Mick Grabham (1972--77)
Gitarre
Jerry Stevenson (1991)
--------------------------------------------
We skipped the light fandango
Turned cartwheels 'cross the floor
I was feeling kinda seasick
But the crowd called out for more
The room was humming harder
As the ceiling flew away
When we called out for another drink
And the waiter brought a tray
And so it was that later
As the miller told his tale
That her face, at first just ghostly,
Turned a whiter shade of pale
She said, "There is no reason
And the truth is plain to see."
But I wandered through my playing cards
And they would not let her be
One of sixteen vestal virgins
Who were leaving for the coast
And although my eyes were open wide
They might have just as well been closed
And so it was that later
As the miller told his tale
That her face, at first just ghostly,
Turned a whiter shade of pale
She said, "I'm here on a shore leave,"
Though we were miles at sea.
I pointed out this detail
And forced her to agree,
Saying, "You must be the mermaid
Who took King Neptune for a ride."
And she smiled at me so sweetly
That my anger straightway died.
And so it was that later
As the miller told his tale
That her face, at first just ghostly,
Turned a whiter shade of pale
If music be the food of love
Then laughter is it's queen
And likewise if behind is in front
Then dirt in truth is clean
My mouth by then like cardboard
Seemed to slip straight through my head
So we crash-dived straightway quickly
And attacked the ocean bed
And so it was that later
As the miller told his tale
That her face, at first just ghostly,
Turned a whiter shade of pale
--------------------------------------------
Γαλλική Μετάφραση....
--------------------------------------------
We skipped the light Fandango
Nous avons dansé le fandango tout en sautillant d'un pas léger
Turned cartwheels 'cross the floor
Fait plusieurs fois la roue à travers la piste
I was feeling kind of seasick
Je ressentais une sorte de mal au coeur
But the crowd called out for more
Mais la foule en redemanda
The room was humming harder
La salle bourdonnait encore plus
As the ceiling flew away
Alors que le plafond s'envolait
When we called out for another drink
Quand nous commandâmes une autre boisson
The waiter brought a tray
Le serveur apporta un plateau
And so it was that later
Et c'est ainsi que plus tard
As the Miller told his tale
Alors que le meunier racontait son histoire
That her face, at first just ghostly
Que son visage, d'abord seulement spectral
Turned a whiter shade of pale
Prit une nuance plus blanche de pâleur
[Music]
[Musique]
She said there is no reason
Elle a dit qu'il n'y a aucune raison
And the truth is plain to see
Et la vérité saute aux yeux
But I wandered through my playing cards
Mais j'errais à travers mes cartes à jouer
And would not let her be
Et ne la laisserais jamais être
One of sixteen vestal virgins
Une des seize vierges vestales
Who were leaving for the coast
Qui allaient partir pour la côte
And although my eyes were open
Et bien que mes yeux étaient ouverts
They might just as well've been closed
Cela aurait été tout pareil s'ils étaient fermés
And so it was that later
Et c'est ainsi que plus tard
As the Miller told his tale
Pendant que le meunier racontait son histoire
That her face, at first just ghostly
Que son visage, au début simplement spectral
Turned a whiter shade of pale
Prit une nuance plus blanche de pâleur
And so it was... .
Et c'est ainsi... ... .
EXTRA-PART PLAYED ONLY IN CONCERT
PASSAGE SUPPLEMENTAIRE CHANTE UNIQUEMENT EN CONCERT
She said, 'I'm home on shore leave, '
Elle à dit "je suis en permission à terre"
Though in truth we were at sea
Bien qu'en vérité nous étions en mer
So I took her by the looking glass
Alors je la pris près du miroir
And forced her to agree
Et la forçai de reconnaître ceci
Saying, 'You must be the mermaid
Lui disant " tu dois être une sirène
Who took Neptune for a ride. '
Qui fit un tour(1) avec Neptune "
But she smiled at me so sadly
Mais elle eût un sourire si triste
That my anger straightway died
Que ma colère s'apaisa immédiatement
If music be the food of love
Si la musique était l'aliment de l'amour
Then laughter is its queen
Alors le rire en serait le roi
And likewise if behind is in front
Et de la même façon que derrière est devant
Then dirt in truth is clean
Alors la saleté est propre en vérité
My mouth by then like cardboard
Ma bouche à cet instant pâteuse
Seemed to slip straight through my head
Semblait partir en glissade à travers ma tête
So we crash-dived straightway quickly
Alors nous plongeâmes (2) brutalement en vitesse
And attacked the ocean bed
Et attaquâmes le lit de l'océan
--------------------------------------------
ΜΟΝΟ ΗΧΟΣ....
--------------------------------------------
Palace of Fine Arts, San Francisco, October 3, 1991.
2012 brings an early "new testament" show with a brilliantly-playing Matthew Fisher, a seldom heard guitarist (Tim Renwick) and a new Procol Harum band, ready for the decades that would follow, here on my channel!
Sixteenth number, we're approaching the end. This song was, of course, mandatory, but it's always great to hear (or perform it).
Here in one of its extended forms, with the "Mermaid" verse and an improvisative Hammond solo.
Brooker seems still in great voice, even after one hour and half of singing...His piano style on this song surely changed a lot over the years: gone are the baroque ornamentations of the '70s and late '60s, a more R'n'B style now can be heard in his comping. And, speaking of comping, his rhythmic backing in the '90s is always excellent.
The odd custom of doubling the organ tune near the end often puzzles me...It has sense when Brooker performs this song with different organists but I it find a bit odd when Fisher his involved, especially because he's used to change that line from time to time.
Odd start for Fisher...Wrong preset, perhaps? It's the second time I hear this happening (the firs being Atlantic City, 1969). The rest is...well, just great! Listen to the elegant lines he's playing during the third verse: I've heard now over 50 different recordings of Fisher playing this song, still the man manages to find something great and unique each time. Notice the modified organ theme between verse 1 and 2: while he seldom changed that in the '60s it is now customary for him to ornate differently at every performance.
Notice also how the ornamentation of the E note that usually starts each verse has reverted to its original chromatism (in the late '60 Fisher consistently performed a baroque ornamentation there, never to be heard again after the '80s as long I remember). Speaking of different ornamentation, the first organ answer is still more or less phrased as it was on the record, down the year MaF would often postpone the third note to give it a "groovier" feeling.
The organ turnover that leads to the last chorus needs special mention: while the baroque ornamentation added (there and in the line traditionally played under "called out for more") there on the late '60s remains some lines are phrased on this version in an unique way and, even more unusual, there is an added note short before the glissando, I have never heard him changing that particular line in other occasions (although it's note impossible it happened: it's easy to miss). It's absolutely not a mistake: what where originally four notes are now phrased differently to make room for a fifth.
The solo is, as usual, the sum of different licks Fisher performed while soloing on this tune over the years with new ones added in the mix. Probably not the best solo he would perform on AWSoP in the '90s but still quite likable (and personally I find the baroque lick near the end a great idea).
This song is probably a guitarist's nightmare: a great set of chords, a great melody, a very difficult song on which perform a meaningful solo and, more importantly, a song that has to be played with a lot of restrain while still do something that has some meaning. Many guitar players stripped down their playing to the minimum (the original Ray Royer, Robin Trower, Mick Graham at Redhill), others chose to be improvisative, perhaps occasionally risking too much and "stomping" over organ lines (Mick Graham in the 70s, the early Geoff Whitehorn), after some time Geoff Whitehorn even developed his own very interesting way of comping on this song (now performed basically by any guitar player who is serious in performing it staying close to original feel), but the approach of Tim Renwick is both improvisative and very tasty: he plays very interesting lick in the chorus, while the organ is not doing much and doesn't interfere with the rest of the song, playing things like single notes at the appropriate times. He doesn't seem to be aware of the only audible guitar licks lied down by Ray Royer on the original record (like Whitehorn is) but nevertheless plays something different but still appropriate more or less at the same points.
Bass playing is appropriate and solid at usual...Can't say much on this particular version (basically because i can't quite make out the bass with the speakers I'm using at this time, I'll try with the bigger ones...), but I remember Bronze being very elegant on this song down the years.
Mark Brzezicki doesn't manage to replicate the crescendo originally performed by Bill Eyden (not being obvious, many are not even aware of it being there) but at least keeps the feel consistent for most of the song, turning it down a bit only during the third verse (different drummers, most notably Ian Wallace but, on occasions, also B.J. Wilson, used to be very quiet during all the verses to rise their volume for the choruses and the solos).
--------------------------------------------
ΜΟΝΟΝ ΗΧΟΣ.....
--------------------------------------------
in Tokyo, Japan, on May 4, 1972.
Chris copping on organ, of course, at the time he had been playing the song for a couple of years (even if they didn't perform it too much in 1970 and 1971), tis time he remains a lot closer to the original spirit of the song (if compared to the 1976 "british biscuit" performance.
Great solo, as usual, but still sketchy compared to what would come in the following years.
--------------------------------------------
at the TARRYTOWN MUSIC HALL, New York, June 10 2010
--------------------------------------------
live at concert on 7/13/2012 in Atlantic City.
--------------------------------------------
Jack Sparrow remembers "A Whiter Shade of Pale" (the long version)
--------------------------------------------
on 15 August at the Gibson Amphitheatre in Los Angeles.
--------------------------------------------
Live bank of america pavilon boston 7 21 2012
--------------------------------------------
We skipped the light fandango
Turned cartwheels across the floor
I was feeling kind of seasick
But the crowd called out for more
The room was humming harder
As the ceiling flew away
When we called out for another drink
The waiter brought a tray
And so it was that later
As the miller told his tale
That her face, at first just ghostly,
Turned a whiter shade of pale
She said, there is no reason
And the truth is plain to see.
But I wandered through my playing cards
And would not let her be
One of sixteen vestal virgins
Who were leaving for the coast
And although my eyes were open
They might have just as well 've been closed
And so it was that later
As the miller told his tale
That her face, at first just ghostly,
Turned a whiter shade of pale
She said, I'm home on shore leave,
Though in truth we were at sea
So I took her by the looking glass
And forced her to agree
Saying, you must be the mermaid
Who took Neptune for a ride.
But she smiled at me so sadly
That my anger straightway died
And so it was that later
As the miller told his tale
That her face, at first just ghostly,
Turned a whiter shade of pale
If music be the food of love
Then laughter is its queen
And likewise if behind is in front
Then dirt in truth is clean
My mouth by then like cardboard
Seemed to slip straight through my head
So we crash-dived straightway quickly
And attacked the ocean bed
And so it was that later
As the miller told his tale
That her face, at first just ghostly,
Turned a whiter shade of pale
--------------------------------------------
Live 2012 at Gibson Amphitheater
in Universal City, CA during (Yes and Procol Harum) tour stop in Los Angeles California August 15, 2012.
--------------------------------------------
@ ArtPark in Lewiston, NY on 7/17/2012
--------------------------------------------
(13.10.2009, Luzhniki, Moscow, Russia)
--------------------------------------------
Procol Harum
August 3, 2012 8/03/12
nTelos Wireless Pavilion, Portsmouth, Virginia
Gary Brooker - Piano, Vocal
Geoff Whitehorn - Guitar
Geoff Dunn - Drums
Matt Pegg - Bass
Josh Phillips - Hammond Organ
--------------------------------------------
Live @ DTE Clarkston, MI August 6, 2012
--------------------------------------------
at The MIZNER PARK AMPHITHEATRE in Boca Raton, Florida, July 27, 2012.
PROCOL HARUM are: founding member GARY BROOKER (keyboards, vocals), joined by GEOFF WHITEHORN (lead guitar), MATT PEGG (bass), GEOFF DUNN (drums), JOSH PHILLIPS (organ, keyboards)
--------------------------------------------
We skipped the light fandango
Turned cartwheels across the floor
I was feeling kind of seasick
But the crowd called out for more
The room was humming harder
As the ceiling flew away
When we called out for another drink
The waiter brought a tray
And so it was that later
As the miller told his tale
That her face, at first just ghostly,
Turned a whiter shade of pale
She said, there is no reason
And the truth is plain to see.
But I wandered through my playing cards
And would not let her be
One of sixteen vestal virgins
Who were leaving for the coast
And although my eyes were open
They might have just as well 've been closed
And so it was that later
As the miller told his tale
That her face, at first just ghostly,
Turned a whiter shade of pale
She said, I'm home on shore leave,
Though in truth we were at sea
So I took her by the looking glass
And forced her to agree
Saying, you must be the mermaid
Who took Neptune for a ride.
But she smiled at me so sadly
That my anger straightway died
And so it was that later
As the miller told his tale
That her face, at first just ghostly,
Turned a whiter shade of pale
If music be the food of love
Then laughter is its queen
And likewise if behind is in front
Then dirt in truth is clean
My mouth by then like cardboard
Seemed to slip straight through my head
So we crash-dived straightway quickly
And attacked the ocean bed
And so it was that later
As the miller told his tale
That her face, at first just ghostly,
Turned a whiter shade of pale
--------------------------------------------
Live @ Artpark Lewiston NY July 17, 2012
--------------------------------------------
from "Oblivion"
--------------------------------------------
Oblivion 2013 Music Video HD - Procol Harum - A Whiter Shade Of Pale
--------------------------------------------
Πορταγαλλικοί Υπότιτλοι....
--------------------------------------------
"A Whiter Shade of Pale"es el primer single de la banda de rock Inglés Procol Harum , publicada el 12 de mayo de 1967. El disco alcanzó el número uno en la lista de singles del Reino Unido el 8 de junio de 1967 , y permaneció allí durante seis semanas. Sin mucha promoción, que alcanzó el número 5 en las listas de Estados Unidos, también. Uno de los himnos de 1967 Summer of Love , es uno de los menos de 30 sencillos que han vendido más de 10 millones de copias en todo el mundo.
Con su inquietante Bach derivados melodía instrumental, voces soul y letras inusuales-por los co-autores de la canción Gary Brooker , Keith Reid , y organista Mateo Fisher - "A Whiter Shade of Pale" alcanzó el número 1 en varios países cuando se lanzó en 1967. En los años posteriores, se ha convertido en un clásico perdurable. Fue la canción más tocada en los últimos 75 años en lugares públicos en el Reino Unido (en 2009), y el Reino Unido la realización de un grupo de derechos Fonográfica Performance Limited en 2004 reconocido como el disco más tocado de la radiodifusión británica de los últimos 70 años. También en 2004, la revista Rolling Stone colocan "A Whiter Shade of Pale" N º 57 en su lista de las 500 mejores canciones de todos los tiempos .
En 1977, la canción fue nombrada ganadora conjunta (junto con Queen 's " Bohemian Rhapsody ") del Best Pop Single Británico 1952-1977 en los Brit Awards . En 1998, la canción fue exaltado al Salón de la Fama del Grammy . Se conocen más de 1.000 versiones grabadas por otros artistas. La canción ha sido incluida en numerosas compilaciones de música en las últimas décadas y también se ha utilizado en las bandas sonoras de varias películas, incluyendo The Big Chill , Purple Haze , Rompiendo las olas , Radio Encubierta (en una escena de barco que se hunde) y sobre todo en Martin Scorsese segmento 's de Historias de Nueva York . Versiones de la cubierta de la canción también se han ofrecido en muchas películas, por ejemplo, King Curtis en Withnail y yo y por Annie Lennox en la red .
Los créditos originales de escritura eran para Brooker y Reid. El 30 de julio de 2009, Mateo Fisher ganó el crédito co-escrito por la música en un fallo unánime de los jueces lores .
--------------------------------------------
Live
--------------------------------------------
We skipped the light fandango
Turned cartwheels across the floor
I was feeling kind of seasick
But the crowd called out for more
The room was humming harder
As the ceiling flew away
When we called out for another drink
The waiter brought a tray
And so it was that later
As the miller told his tale
That her face, at first just ghostly,
Turned a whiter shade of pale
She said, there is no reason
And the truth is plain to see.
But I wandered through my playing cards
And would not let her be
One of sixteen vestal virgins
Who were leaving for the coast
And although my eyes were open
They might have just as well 've been closed
And so it was that later
As the miller told his tale
That her face, at first just ghostly,
Turned a whiter shade of pale
She said, I'm home on shore leave,
Though in truth we were at sea
So I took her by the looking glass
And forced her to agree
Saying, you must be the mermaid
Who took Neptune for a ride.
But she smiled at me so sadly
That my anger straightway died
And so it was that later
As the miller told his tale
That her face, at first just ghostly,
Turned a whiter shade of pale
If music be the food of love
Then laughter is its queen
And likewise if behind is in front
Then dirt in truth is clean
My mouth by then like cardboard
Seemed to slip straight through my head
So we crash-dived straightway quickly
And attacked the ocean bed
And so it was that later
As the miller told his tale
That her face, at first just ghostly,
Turned a whiter shade of pale
--------------------------------------------
long version 1967
--------------------------------------------
（1967年）
--------------------------------------------
We skipped the light fandango
Turned cartwheels across the floor
I was feeling kind of seasick
But the crowd called out for more
The room was humming harder
As the ceiling flew away
When we called out for another drink
The waiter brought a tray
And so it was that later
As the miller told his tale
That her face, at first just ghostly,
Turned a whiter shade of pale
She said, there is no reason
And the truth is plain to see.
But I wandered through my playing cards
And would not let her be
One of sixteen vestal virgins
Who were leaving for the coast
And although my eyes were open
They might have just as well 've been closed
And so it was that later
As the miller told his tale
That her face, at first just ghostly,
Turned a whiter shade of pale
She said, I'm home on shore leave,
Though in truth we were at sea
So I took her by the looking glass
And forced her to agree
Saying, you must be the mermaid
Who took Neptune for a ride.
But she smiled at me so sadly
That my anger straightway died
And so it was that later
As the miller told his tale
That her face, at first just ghostly,
Turned a whiter shade of pale
If music be the food of love
Then laughter is its queen
And likewise if behind is in front
Then dirt in truth is clean
My mouth by then like cardboard
Seemed to slip straight through my head
So we crash-dived straightway quickly
And attacked the ocean bed
And so it was that later
As the miller told his tale
That her face, at first just ghostly,
Turned a whiter shade of pale
--------------------------------------------
UNA PÁLIDA SOMBRA - Una Pálida Sombra
--------------------------------------------
Presentamos:
Un clásico de la música para todos ustedes
La agrupación de:
PROCUL HARUM
Interpretando su tema:
UNA PÁLIDA SOMBRA
En nuestra serie "Gigantes de la música universal"
De la DVD-TECA de ARTBRECO
Una joya de la música universal
Un gigante musical de la música contemporánea
Breco FM...
--------------------------------------------
HERMOSISIMA CANCION EN VIVO DESDE DINAMARCA EN EL 2006,
--------------------------------------------
We skipped the light fandango
Turned cartwheels across the floor
I was feeling kind of seasick
But the crowd called out for more
The room was humming harder
As the ceiling flew away
When we called out for another drink
The waiter brought a tray
And so it was that later
As the miller told his tale
That her face, at first just ghostly,
Turned a whiter shade of pale
She said, there is no reason
And the truth is plain to see.
But I wandered through my playing cards
And would not let her be
One of sixteen vestal virgins
Who were leaving for the coast
And although my eyes were open
They might have just as well 've been closed
And so it was that later
As the miller told his tale
That her face, at first just ghostly,
Turned a whiter shade of pale
She said, I'm home on shore leave,
Though in truth we were at sea
So I took her by the looking glass
And forced her to agree
Saying, you must be the mermaid
Who took Neptune for a ride.
But she smiled at me so sadly
That my anger straightway died
And so it was that later
As the miller told his tale
That her face, at first just ghostly,
Turned a whiter shade of pale
If music be the food of love
Then laughter is its queen
And likewise if behind is in front
Then dirt in truth is clean
My mouth by then like cardboard
Seemed to slip straight through my head
So we crash-dived straightway quickly
And attacked the ocean bed
And so it was that later
As the miller told his tale
That her face, at first just ghostly,
Turned a whiter shade of pale
--------------------------------------------
(Promo Video)
--------------------------------------------
1967
--------------------------------------------
We skipped the light fandango
Turned cartwheels across the floor
I was feeling kind of seasick
But the crowd called out for more
The room was humming harder
As the ceiling flew away
When we called out for another drink
The waiter brought a tray
And so it was that later
As the miller told his tale
That her face, at first just ghostly,
Turned a whiter shade of pale
She said, there is no reason
And the truth is plain to see.
But I wandered through my playing cards
And would not let her be
One of sixteen vestal virgins
Who were leaving for the coast
And although my eyes were open
They might have just as well 've been closed
And so it was that later
As the miller told his tale
That her face, at first just ghostly,
Turned a whiter shade of pale
She said, I'm home on shore leave,
Though in truth we were at sea
So I took her by the looking glass
And forced her to agree
Saying, you must be the mermaid
Who took Neptune for a ride.
But she smiled at me so sadly
That my anger straightway died
And so it was that later
As the miller told his tale
That her face, at first just ghostly,
Turned a whiter shade of pale
If music be the food of love
Then laughter is its queen
And likewise if behind is in front
Then dirt in truth is clean
My mouth by then like cardboard
Seemed to slip straight through my head
So we crash-dived straightway quickly
And attacked the ocean bed
And so it was that later
As the miller told his tale
That her face, at first just ghostly,
Turned a whiter shade of pale
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@ Ramblin' Man Fair 24.07.2016
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Giants of Rock Butlins 2016
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live @ Cultuurpodium Boerderij Zoetermeer 26-5-2016
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Boerderij Zoetermeer
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26-5-2016 Zoetermeer
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[Gossau CH 5-7-2014]
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We skipped the light fandango
Turned cartwheels across the floor
I was feeling kind of seasick
But the crowd called out for more
The room was humming harder
As the ceiling flew away
When we called out for another drink
The waiter brought a tray
And so it was that later
As the miller told his tale
That her face, at first just ghostly,
Turned a whiter shade of pale
She said, there is no reason
And the truth is plain to see.
But I wandered through my playing cards
And would not let her be
One of sixteen vestal virgins
Who were leaving for the coast
And although my eyes were open
They might have just as well 've been closed
And so it was that later
As the miller told his tale
That her face, at first just ghostly,
Turned a whiter shade of pale
She said, I'm home on shore leave,
Though in truth we were at sea
So I took her by the looking glass
And forced her to agree
Saying, you must be the mermaid
Who took Neptune for a ride.
But she smiled at me so sadly
That my anger straightway died
And so it was that later
As the miller told his tale
That her face, at first just ghostly,
Turned a whiter shade of pale
If music be the food of love
Then laughter is its queen
And likewise if behind is in front
Then dirt in truth is clean
My mouth by then like cardboard
Seemed to slip straight through my head
So we crash-dived straightway quickly
And attacked the ocean bed
And so it was that later
As the miller told his tale
That her face, at first just ghostly,
Turned a whiter shade of pale
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Bielszy Odcień Bieli
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Bielszy Odcień Bieli.......
Powiedziała: "Nie ma żadnego powodu,
A prawda jest widoczna jak na dłoni"
Lecz ja nadal grałem w swoją grę
I nie chciałem, aby stała się jedną z dziewic z szesnastu westalek,
Wyruszających na wybrzeże.
I choć oczy miałem otwarte,
Równie dobrze mogły być zamknięte.
A później:
Gdy młynarz opowiadał swoją historię,
Jej twarz, początkowo jak widmo,
Nabrała bielszego odcienia bieli...
Powiedziała: "tutaj wyrzuciło mnie na ląd"
Zauważyłem ten szczegół, że byliśmy daleko na morzu...
I zmusiłem Ją do uzgodnienia,
Mówiąc: "Musisz być syreną, którą wziął Król Neptun na przejażdżkę..."
I uśmiechnęła się do mnie tak słodko,
Że momentalnie umarł mój gniew.
A później:
Gdy młynarz opowiadał swoją historię,
Jej twarz, początkowo jak widmo,
Nabrała bielszego odcienia bieli...
Jeśli muzyka jest pokarmem miłości,
Wówczas śmiech jest jej królewną,
I podobnie, jeśli to co było jest przed nami
Wówczas brudy w prawdzie są czyste.
Moje usta w tym momencie jak karton
Jakby ślizgały się przechodząc przez moją głowę
Więc szybko zanurkowaliśmy
Kłębiąc się w oceanicznych falach...
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We skipped the light fandango
Turned cartwheels across the floor
I was feeling kind of seasick
But the crowd called out for more
The room was humming harder
As the ceiling flew away
When we called out for another drink
The waiter brought a tray
And so it was that later
As the miller told his tale
That her face, at first just ghostly,
Turned a whiter shade of pale
She said, there is no reason
And the truth is plain to see.
But I wandered through my playing cards
And would not let her be
One of sixteen vestal virgins
Who were leaving for the coast
And although my eyes were open
They might have just as well 've been closed
And so it was that later
As the miller told his tale
That her face, at first just ghostly,
Turned a whiter shade of pale
She said, I'm home on shore leave,
Though in truth we were at sea
So I took her by the looking glass
And forced her to agree
Saying, you must be the mermaid
Who took Neptune for a ride.
But she smiled at me so sadly
That my anger straightway died
And so it was that later
As the miller told his tale
That her face, at first just ghostly,
Turned a whiter shade of pale
If music be the food of love
Then laughter is its queen
And likewise if behind is in front
Then dirt in truth is clean
My mouth by then like cardboard
Seemed to slip straight through my head
So we crash-dived straightway quickly
And attacked the ocean bed
And so it was that later
As the miller told his tale
That her face, at first just ghostly,
Turned a whiter shade of pale
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...καί άλλες εκτελέσεις
Procol Harum - Gary Brooker
A Whiter Shade Of Pale
Μουσική - Στίχοι: Gary Brooker-Keith Reid-Matthew Fisher
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ΣΥΝΕΧΕΙΑ στην ανάρτηση Νο 1831
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