Nov 14 2006
A paler shade of Bach
Southern Discomfort enjoyed more than moderate success, staging impromptu performances in classrooms, quadrangles and dining halls - in fact, now I think of it, did we invent flash-mobbing, a decade or so before its time? We played the odd more organised gig, too, and culminated, one balmy Wednesday afternoon in June of 1992, with a ninety-minute live session recorded by Tim Clark.
Our material ranged from popular blues covers - The Champs’ Tequila, bits of Rolling Stones and so on - to some straightforward, three-chord original material. We even jazzed up (some might say bastardised) La Marseillaise for “French Week”.
One of Guy’s and my early triumphs was a mournful, perhaps even mesmerising, two-Hohner rendition of A Whiter Shade of Pale. The crowds loved it. Which is perhaps why I’m more than a little saddened by this week’s court battle between Gary Brooker and Matthew Fisher over the latter’s desire to be included in the song’s credits - and its royalties.
Legends abound as to how AWSoP’s Bach-esque organ solo came into being. Some accounts tell of Fisher writing it, others of a chance turning upside down of some Well Tempered Clavier sheet music. Which wouldn’t surprise me. The TV news last night dismissed Procol Harum as a one-hit wonder, but those of us more familiar with the delights of Conquistador and She Wandered Through the Garden Fence will be well aware of the inclusion (at Gary’s suggestion) of more Bach: Specifically, bits of Prelude No 1 in C
major, not to mention a smattering of Tchaikovsky, in the middle of Fisher’s Repent Walpurgis.
Be that as it may, I think it’s a tremendous shame that, four decades on, Matt and Gary have resorted to such a public fight. Because if anyone genuinely knows the truth of how that organ solo came about, it’s those two.
This wrangling will never happen to me and Guy, of course.
Our album sleeve contained the crucial words: “All original material written and performed by Southern Discomfort“.
Jim, good god, I dont know how i ended up here reading this, but fantastic to see Southern Dis remembered. Where are you? What are you doing? I am still playing plenty of harp, albeit in Madrid, where I am working as a journalist. Guess what - I went to an Ed Harcourt gig the other week here and spoke to him afterwards about al, who I havent seen for a couple of years.
Also, last week I was in Scotland with GI Gordon. I regaled him with a solo version of Farmer John, not to mention Chicken Train.
My internet’s on the blink, so im writing this from a cafe, but keep in touch. (hedgedog101@yahoo.com)
Fantastic to read your stuff, old harpdog. A shake of the tail, Guy