Hell, I quite literally owe what I laughingly refer to as my career to Procol, which is a story that will open my forthcoming book of literary greatest hits...
...and which you can read over at the link HERE in advance. You're welcome.
In any case, if you're a Procol fan too, you are probably aware that the credits to their debut album make the perhaps intriguing assertion that side two's "Salad Days (Are Here Again)"...
...is "From the film 'Separation.'"
Exsqueeze me? The film Separation? What in the wide, wide world of sports is the film Separation?
In point of fact, said film did not to our knowledge screen in the USA back in the day (it was released in the UK in '68), and most of us fledgling Procol fans probably assumed (after listening to "Salad Days," which is one of my favorite things on the record, and the one I can actually still play the piano part to) that it was one of those angsty, dark side of Swinging London existential art house flicks in the model of Antonioni's Blow-Up.
This impression was re-inforced in 1973, when Procol's Matthew Fisher included his all-intrumental "Theme From Separation"...
...on his splendid debut solo album; the song was as moody and dark as we all assumed the film to be, but as there was as yet no home video of it (or any film) to be had, we PH fans on this side of the pond simply figured it was a mystery that would never be solved.
Anyway, to make a long story etc., unbeknownst to me, a couple of DVD and Blu-ray versions of Separation were in fact finally released in the States early this century. Here's a clip from one of them, which features "Salad Days" and looks exactly like I had pictured the film in my head for lo these many years...
...down to the obligatory in-color-psychedelic nude scene.
And to my futher delight, it turns out my brother Drew had actually seen one of them recently.
The main character, Jane, has separated from her husband and is trying to figure out what to do with her life. She seems to be using a drug, judging by the way she expresses herself.
There may have been an outline of a script that the director used in shooting the movie. Many of the scenes look improvised.
Fisher's Separation theme is used many times throughout the movie. The song "Salad Days" is used sparingly, and it sounds like another version, i.e. not the one on the album.
The movie drags way too long. You're not missing anything by not watching this.
Thanks, Drew. In any case, there's an inexpensive Blu-ray of Separation at Amazon -- only one copy left, as of today -- and I may snag it just to satisfy a lingering curiosity. You should get the Fisher solo album over there in any case.
And in the meantime, if you're of a mind, you can watch, for free, an absolutely terrific widescreen print of Separation over at the invaluable Internet Archive HERE.
Have I mentioned I'm a huge Procol Harum fan?
7 comments:
Procol who?
[ducks & runs]
Was a big fan up through Grand Hotel, after that they lost me. About to Die, a favorite from Home. Can't say I've ever seen Separation and it doesn't sound like I'm missing much.
First let me note - 2:30 a.m . Another ase of insomnia now that we are older ;-)
Re; Procal...they caught my attention with Conquistador.
That song showed me they could rock.
rob
Hey Steve, did you ever catch the Procol Harum/Byrds billing at the Fillmore East in 1969? If so, did they do "Tulsa County?"
I'm most fond of the Matthew Fisher period of Procol Harum. They toured heavily in the USA during those years and I had the good fortune to see them a few times with the Fisher/Knights line-up. I liked them even better live than their albums. They had more edge and rawness. Trower’s guitar was up more in the mix than it was on the records.
The first time I saw them was at the Whisky in 1967. A lot of people were dancing to them, up tempo or slow. It was kinda weird. They opened with a brisk Conquistador. They played the entire first album except “Mabel.” They also did a handful from the second album which was nowhere near release. Plus, a blues number and some songs that nobody knew which finally came out as bonus tracks in the CD era. Me and my beau slow danced and made out to “A Whiter Shade of Pale,” which was one of their last numbers. They closed with a killer “Walpurgis.”
Saw them open for Love in 1968. What a reverse bill! It was the new Love and they didn't have their shit or sound together. Plus, they did all new material which hadn't been released yet. Harum were fantastic and were already playing stuff from the forthcoming "A Salty Dog." A record-less Chicago Transit Authority opened and they were really tight.
First time I saw Harum with Copping they were billed with Leon Russell and Blodwyn Pig in San Bernardino. All acts were superb.
VR
For what it's worth, "Separation", was screened in USA spring 1968 at art houses in NYC and L.A.
Vicki,I saw the Procol show at the Fillmore East in 69, but I had forgotten the Byrds were on the bill as well.
And thanks for the tip on Separation -- I shoulda known. :-)
That's probably because Procol did a couple of stands at the Fillmore East that year. The Byrds co-bill was in the late Spring. Procol also played with Pacific Gas & Electric earlier in the year.
Seems like you'd remember the Byrds if they were billed on your show. So maybe that's why.
Reason I asked in the first place was that I'd seen the Byrds that year at the Pilgrimage Theatre (which, last I heard, is now called the John Anson Ford Theatre). It's an outdoor venue around the corner from the Hollywood Bowl, but much smaller (approx. 1000 seats). Anyway, they did "Tulsa County" which hadn't been released yet and wouldn't be for another five months. But it was John York who sang it.
The show was a benefit for the Ash Grove. Also on the bill were Kaleidoscope (who did a number called "Say It Loud, I'm White and I'm Hippie"), PG&E. And last, but not least, the opening act was The Firesign Theatre. It was a two-day gig. I only went to one of them.
The Byrds did nothing from Sweetheart and barely anything from Dr. Byrds (Old Blue), their two most recent albums. From what I remember there was the Jimmy Reed cover, "Take a City Bride," "Oil In My Lamp," "Long Black Veil," and the big hits (MTM, TTT, 8MH, Spaceman). There might have been more. They played about 80 minutes.
BTW, it was John York who brought the Polland tune to the band's attention.
VR
Separation.... all of that to see Robert Redford and Mary Poppins shoot each other?
Must have missed something.
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