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Fisher claimed he based the melody on Bach’s “Sleepers, Awake” cantata, which he mashed up with The Teddy Bears’ hit “To Know Him is to Love Him”. Yes, the song did sound like a piece of his music. Intriguingly, Fisher too admitted a debt to Bach. It was he who was at least partly responsible for the song’s melody, he argued. Fisher went to court to claim a share in the song’s royalties. This time it was the group’s organist Matthew Fisher who brought it up.
Procol harum a whiter shade of pale lyrics meaning movie#
It settled into the national treasure category of favourite hit singles, became covered in more than 700 versions (none memorable), and was heard in just about every meaningful movie about the 1960s.īut nearly 40 years after its release, the issue of that musical dialogue between Bach and Brooker was raised again. It was an undeniably classy piece of work, and by the time the summer of love had ended, its downbeat flavour was recognised as prescient. 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 wellve been closed.
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“A Whiter Shade of Pale” reached the top of the charts all over the world. She said, There is no reason and the truth is plain to see. C, Am, F, G, G7, Em, Em7, Dm7 are the ukulele chords for playing A Whiter Shade Of Pale with the original key ( C) on ukulele. D - DU - DU - DU is the suggested strumming pattern for this Procol Harum song. The original key of A Whiter Shade Of Pale is C. He had listened to “Air on a G String”, he said, and it set off a “spark” within him, contributing to the lugubrious chord progression of his hit song. A Whiter Shade Of Pale is considered under Psychedelic Rock, Rock genre. The more sophisticated commentators of the time could not help but point out similarities between the song and the sublime baroque music of Bach. As for the melody, it seemed to belong to a different time altogether. The song’s three short verses were similarly joyless and alienating: “I was feeling kinda seasick/ But the crowd called out for more”. Reid had been watching those desperate masterpieces of European art house cinema, Pierrot le Fou and Last Year at Marienbad. But its eroticism was imbued with sadness. The lyric, said Reid many years later, told the story of a seduction. “A Whiter Shade of Pale”, attributed at the time to Gary Brooker and Keith Reid, tried to scupper the summer of love before it even got properly started. But the melancholy tenor of the song’s melody was, as the parlance of the time would have it, a downer.