Joe Cocker - "Marjorine" b/w "New Age of the Lily" 45 rpm Single, 1968 (A&M)

Joe Cocker, the Britsh rhythm n' blues singer, who is an iconic figure in the rock n' roll world of the late 1960s and early 1970s also made a classic pop record as well.   "Marjorine" was my favorite cut on Cocker's first album "With a Little Help From My Friends."  I bought the album because the cover photo of Cocker was cool, and as a teenager into the product, I also liked the fact that famous musicians played on this album.  The range of talent is amazing, and I remember listening to the album, to notice the difference between Jimmy Page and Albert Lee on "Marjorine."  Throughout the album, you had musicians such as Tony Visconti, Carol Kaye (grand studio bassist), B.J. Wilson & Matthew Fisher of Procol Harum,  Steve Winwood,  and my favorite rock n' roll drummer Clem Cattini.  How can this album fail?

"With A Little Help From My Friends" is one of the first 'superstar' players on one album, that marketed itself in a fashion, where one is aware of the backing musicians behind Cocker. Also, this first album has many great versions of incredible songs, and the choices that were made were wise and totally practical in Cocker's manner and voice.   Still, the one song that impressed me the most was "Marjorine" which is a song co-written by Cocker.  It stands out compared to the rest of the album, because for one it is an original song, in an album of mostly covers, and those songs I was already familiar with, especially "Bye Bye Blackbird" (classic American songbook material), and "Feeling Alright" by Dave Mason when he was in Traffic.  Still, "Marjorine" had its own power, in that it's a beautiful melody, but performed with vigor by Cocker's voice, and the duo guitars of Page and Lee. Beautifully produced by  Denny Cordell. It's shocking to me that this song was not a radio hit of the time of its released.  I'm thrilled that I found this 45 rpm single in Rockaway Records here in Silver Lake. 

Procol Harum - "Shine On Brightly" Vinyl, LP, Album, 1968 (A&M)

Procol Harum couldn't do no wrong in my brain and ears.  It's the odd mixture of Gary Brooker's rhythm n' blues vocals singing the baroque type of classical orientated pop.  It's obvious that the band is schooled in classic black American music, but their sound is a twisted version of a mod like psychedelia yet grounded in great musicianship.   One can argue that perhaps they have a prog leanings, but they are more rooted in the arrangement of Bach-like melodies or the way that composer adds layers of melody on top of one another.  On a later album, they worked with Christiane Legrand who was a member of the Swingle Singers.  Not an odd choice of an artist to work with, because like the Swingle Singers who had a jazz background approaching the classics is very similar to Procol Harum, who have a strong R n' B foundation being sucked into something that is very Bach-like in fashion and sound. 

"Shine On Brightly" is Procol Harum's second album, and it's different from their first masterpiece album.  For one, the arrangements are more playful, and there is a certain aspect of joy in these set of songs.  Side two is a very piece called "In Held Twas I" that is similar to the second side of The Beatles "Abbey Road" album, in that it's a suite of miniature pop songs.  Not that far off from The Who's "A Quick One..."  

I always felt the secret weapon in Procol Harum was their drummer B.J. Wilson.  He's perfect for the majestic sound of the band, and there is such a powerful percussion presence on their albums, for instance like this one.   It makes perfect sense that he worked with Lou Reed on "Berlin" which I feel was very much influenced by Procol Harum's approach to dramatic orchestration.  The dynamic tension between Brooker's piano and Morgan Fisher's organ is another aspect of this musical relationship.   Brooker plays power cord piano, and the organ answers his call, in some fashion, its a conversation between these two, with Robin Trower's guitar and Wilson's drumming as sort of being the guys in between the discussion.   Everyone from The Bad Seeds to The Band I think was influenced by this band, not only due to the piano/organ relationship, but also the dramatic quality of telling a tale.  Keif Reid is their lyricist and his surrealistic or impressionistic lyrics adds another element to the package.  Brooker sings his words not with intense passion, but almost in a detached manner, which makes its own intensity between voice and the word.  "Shine On Brightly" is a great collection of songs, and I think it's criminally overlooked in our contemporary times.   

Lewis Furey - "The Humours of :" CD, Album, Reissue, Japan, 1976/1990 (A&M)

This French Canadian (now living in Paris) is an amazing talent and songwriter.  I had the vinyl back in 1976 but lost it through the ages.  This is his second album and although the material is basically the same, the production by Roy Thomas Baker is huge.  Huge as in over-production, and treating the songs here as Broadway tunes.  The first album by Lewis Furey is quieter, yet theatrical, but in an off-Broadway manner or in a small theater.   

Furey reminds me a bit of John Cale's solo recordings with a mixture of early Lou Reed.  Furey's songs tend to have street life tattooed on his aesthetic, but with a Bertolt Brecht distance and one gets the feeling he's writing a narrative than saying something out of his personal life.  It's interesting that I found the first and second album in Tokyo in the 1990s  At the time it seems that A&M released all their 1970s titles into the CD format for the first time.  It was like going to Tower Records in the 70s.  

I love Furey's music.  Although I do have a problem with the production, it still is a fantastic album.   The way "Cop's Ballet" emerges into   "Rubber Gun Show" is a great opening for an album/CD.  The songs are all catchy, and again, I suspect Furey is writing a musical, although I don't feel there is a running narration, it still feels like a Broadway or big budget show.   CD is very difficult to find, but the vinyl comes up once in every little while.  Get it. 

Procol Harum - "A Whiter Shade of Pale" Vinyl LP, Album, 1967, reissue 1973 (A&M Records)

"A Whiter Shade of Pale" is one of my favorite albums.  I bought the original album in 1967 but lost it through moving between locations.  It was about four years ago I found the American reissued edition at Rockaway Records.  Which in turn, makes me want to own the mono version that was first released in the U.K.   I have a faint memory of hearing the mono and loving it because the music seemed more forceful coming from one speaker or one direction.   At the end of the day, that is just otaku chat, because nothing changes the magnificence of the music made by Procol Harum. 

For one, they had a unique sound where you hear the soulful voice, but it juxtaposes with the classical orientation of the organ.  An odd and very magnificent arrangement, especially in their hit song "A Whiter Shade of Pale."   Keith Reid's lyrics are a throwback to Charles Baudelaire and the poetry of the 19th century.   Very reflective but with visuals and language that borders more on poetry than the great American songbook literature.  Gary Brooker, the singer and who wrote most of the music for the band, has a very standard 'good voice' for soul music.  So when he sings Reid's lyrics, it is almost he is distancing himself from the literature, which in turns make the listener to listen to the words.  The classic Bob Dylan had that technique as well.  The more abstract the words are, the more you listen, and in theory, the music /words hold up for repeated visits because each listen becomes something new.  Yet, the emotional punch stays the same.  Every time I hear "A Whiter Shade of Pale (the song) I feel a great emotional tug toward sadness that I don't fully understand.    Procol Harum's performance of the song is the best, but on the other hand, there is no bad version or cover of "A Whiter Shade of Pale."  The Willie Nelson version is superb as well. 

This is not an album with one hit song, and the others are just fillers.  It's a brilliant and beautiful record from track one to eleven.  The Bob Dylan piano/organ sound from "Blonde on Blonde" and "Highway 61 Revisited" is impressive, but Procol Harum's sound is more dense and textured, due to Matthew Fisher's classical/Bach overtures.   I loved this album when I was 13, and now at 62, it's still an important piece of work for me.  I still hear new things on this LP.  

Henry Badowski - "Life Is a Grand..." Vinyl LP, 1981 (A&M)

Henry Badowski's "Life Is a Grand..." is a perfect gem of an album.  I can't remember why I bought this album back in 1981.  I suspect that I liked the cover, and one of the songs is called "My Face," which at the time, I thought to myself 'what a great title for a song!'   There are albums one listens to, and it's a series of perfect moments.  "Life Is a Grand..." is a blissful listening experience.  It reminds of solo Syd Barrett, a touch of Kevin Ayers, and basically beautiful melodies.  Very much an album made by one man.  Henry Badowski is a mystery to me.  I know he's associated with The Damned and played with Wreckless Eric, but beyond that, why only this one solo album?

Always a great record to play in the background, because as you're sitting there or standing by the wall, you are drawn into the music, like a seductive pull of an alluring woman.  Or man.  For me, it's a masterpiece.  

LEWIS FUREY - "Lewis Furey" (A&M Records) Vinyl, 1975

I picked up on this album when shopping at Moby Disc on Ventura Blvd, and it stood out in the cut-out bin.  I was kind of surprised to see something worthwhile in that section of the store - although, now we have sort of the romantic memory of finding gems for 99 cents to $3 in this section, mostly it was a horrible drudge.  Nevertheless, Lewis Furey's eyes spoke to me.  When I flipped over to see the back cover, I was impressed that there was a song on it called "Hustler's Tango."

I sense a glam Velvet Underground vibe, so what the hell, worth the $1.99 or so.  When I got home and played the album, that very instant, it became one of my all-time favorite albums.  The cover and the song title didn't lie.   Here was a guy who has the John Cale genius for arrangements, and seemed to have one foot in the music of the theater world, and the other is .... kind of gay-oriented pop, but with dark overtures to the night world.  There's accordion, piano, banjo - which gives it Brecht/Weil orientation, yet very American sounding.  Which is strange from a musician/songwriter from Quebec Canada, and now lives in France.

The album is co-produced and arranged by John Lissauer who also served the same duties on Leonard Cohen's "New Skin for the Old Ceremony" and "Various Positions" as well as the classic Cohen song "Hallelujah."   There is a strong connection between Furey and Cohen -not only sound wise, but both write songs that are very poetic, yet direct.   For those who love albums or artists who are beautifully orchestrated and arranged, will love this album.  Why, Lewis Furey fell between the cracks here in the U.S. (he's known in France, but also in Japan) is beyond me.  This album needs to be re-released.  Beautiful melodies, stark lyrics, street wise, and witty.

Many years later, after losing most of my vinyl collection due to past economic situations, I was deeply surprised to see his first two albums on CD, displayed in a music store in Tokyo.  Truly one of my happiest moments when I discovered the album again, and just waiting for my hands.   You must Locate, and buy it!