Home (40th Anniversary Series) [Extra tracks, Original recording remastered]

I wasn't going to buy this LP when it was first released in 1970. I couldn't imagine how Procol could survive the loss of Matthew Fisher's organ sound and composing skill. In the end, I bought it anyway. It has taken me almost 40 years to admit that this is one of the strongest Procol albums, and this new remaster is the best-sounding version available.
Two things immediately catch your attention: one is the way the organ is now relegated mostly to the background, with few solo moments; the other is the morbid focus on death and death images--"Dead Man's Dream", "About To Die", "Barnyard Story", and "Nothing That I Didn't Know". This last seemed strange indeed for a band whose members were in their late 20s; upon consideration, though, Keith Reid had never been interested in the run-of-the-mill moon-june kind of lyrics, so the death-obsession seemed more literary than psychological.
The band, now a quartet, was definitely tighter and much more of a rock band than a prog-rock band--though that term was yet to find currency. Robin Trower began what would be a two-album about-face in terms of the power of his guitar playing to replace the characteristic Procol organ sound, and his song-writing supplies three terrific rockers--"Whisky Train", "Still There'll Be More" (with Gary Brooker mumbling 'Rock Out!' as the song commences), and "Your Own Choice", with the great Larry Adler's harmonica break.
The sound production is straight-forward and ungimmicky, the product of Chris Thomas's back-to-basics approach--another departure from the psychedelia of "Shine On Brightly", and a much punchier sound than that found on "A Salty Dog".
The two bonus cuts provide a bit of interest, but the album is strong enough to stand on its own. If you thought you knew Procol from "A Whiter Shade of Pale", "Homburg" or "A Salty Dog", welcome to Procol Mark II. The consistency of the sound and the strength of the songs and musicianship puts this among the best the band had to offer in any of its incarnations.

I bought and played this to death on vinyl back in 1970 while still in the `Sixth Form'. I owned all the first four Procul albums at the time. All these LPs long-since sold when times were lean and shops to trade-in LPs were great in number - and much appreciated by folks in need!
By the merest whim one day, I accidentally found Procul on You Tube.
Remembering this (`Home') as my favourite, I sent for it via Amazon. Good move!
What a nostalgia rush! Not just that, but my favourite tracks on the album seem as fresh and exciting as back then.
So what have we got on it here, then?
A great voice leading the charge; some finely interwoven piano and organ throughout; beautifully crafted song writing; strange, yet wonderful lyrical content; pulsating rhythm section; grand guitar work, restrained where necessary, cutting loose with aplomb at other times.
Lyricist Reid's words, with their preoccupation with death and all-that-festers marry magnificently with Brooker's aching melodies. There's a major sense of drama soaring out right across the album.
Trower's more riff based compositions offer a contrast and yet still give Brooker full reign with what is, undoubtedly, one of the greatest ever rock voices.
There must have been, at this point in their career, a growing divide in the `needs' of the two obvious factions - but thankfully, on this album, all efforts seem to have been geared to making the blend work - and work it does!
For example...
Later-to-be-guitar-hero,Trower, is totally missing on `Barnyard Story' (as are bass and drums - just listen to the piano and organ make the most of the space!) and he offers a simple, yet wonderfully effective, sparse acoustic guitar on the quite charming, almost folky, `Nothing that I didn't know' which rises to a magnificent crescendo and then has a calmer petit mort to follow.
(`Whaling Stories' does this same manoeuvre wonderfully, to a far more magnificent effect, later on)
And yet Robin `goes for it' in classic manner with some fine supportive crunch chords and solo figures dotted across the other material, `Whaling Stories' for example, where his lead playing does justice to the rising tension and drama of the piece.
High drama too in `Dead Man's Dream' - another choice piece for me!
Interspersed are some driving rock songs (`Whiskey', `Still More', `Piggy') that provide the necessary contrast needed, balancing the more sombre melodies of the seriously melodramatic compositions that Brooker/Reid conjure!
It's passionate stuff - with the magnificent Brooker tearing notes out of the air in anguish at times - love it!
BJ Wilson was a fine drummer (lowest slung drummer I ever saw sat on a stool, `live') and his efforts are mighty throughout - though I would want a re-mix in parts! To my ears, the cowbell on `Whisky' seems irritating at the volume it's at (nice part, just TOO prominent!) - and his fine fills in the quiet `Nothing I didn't...' are just TOO loud - their effect would still be there if they were toned down a shade or three (my wife says they `spoil the track' for her - I wouldn't go that far myself; I forgive the minor aberration as I just LOVE the song!).
I don't underestimate Mr Copping's contribution either! Always well-chosen notes on the bass, very well played - but it's on the organ where he excels - his counter-melody and general just-right, his accompaniment flowing easily around the rest of the instrumentation - beautifully interwoven with the voice and piano, particularly.
The two bonus tracks? Backing tracks with vocals left off - not really needed - Only mileage there is, that one can wail and yell along when there's no one else in the house!
What else? Oh yes - Nicely packaged, interesting booklet with background info (Larry Adler, eh? Who'd have thought!)
All in all - a fine album - once again - to be played to death (sic) in this `Home'.
Cheers Procul! Love it! - Duncan McFarlane www.duncanmcfarlane.co.uk

It's a good thing that the first four Procol albums weren't messed about with during the early years of remastering. Audio technology has moved on to the point where every ounce of sound data from the original recordings can be processed to perfection. Now 40 years later we can enjoy the crystal clarity of Gary Brooker's vocals, the sand-blasted scream of Robin Trower's guitar, and the colourful production of songs that, if handled by a standardised pop production line, would have turned out as just plain ordinary and unworthy of remastering. Procol were always trying to achieve something special but, victims of their own debut single success, tended to be shelved for later attention if nothing else was happening (and in the music industry that never was the case). Why the band failed on the album front is a debate that will never be closed - some cite the Radio One Playlist Policy, others that they were ahead of their time, and a small few (like myself) that art music would never appeal to anything but a small but ardent following. This particular album it noteworthy for being their last undaunted attempt at achieving success....future albums seemed monochromatic by comparison.