#procolharum — Public Fediverse posts

MONDAY MATINEE MUSIC VIDEO: “Reflections on Charles Brown” by Rupert’s People, a “made in the studio” band. https://www.youtube.com/watch?v=-HXdQ-N0-lM

#chrisandrews #rupertspeople #charlesbrown #ethelandernest #paulmccartney #psychedelicrock #britishrock #classicrock #britpop #procolharum #fleurdelys #rodlynton #johnlennon #theshadows #carldavis

Being a non-native Bostonian in Beantown allows me to exercise a dispassionate objectivity towards the city’s musical culture. I vicariously experience the pride of housing The Pixies but don’t feel the shame of inhabiting Aerosmith Land.1 And yet, I’m always curious about local artists who can obliterate this objectivity, making me feel proud of Boston. Bygone, a heavy metal/hard rock sextet, may be able to liberate my revolutionary heart from its Tory shackles. Despite being Boston-based, Bygone have just dropped their debut album on Svart Records, an independent label based in Finland. Svart’s solid track record, coupled with that pulpy sci-fi cover, gives me more than a feeling that Bygone will deliver.

As per their name, Bygone is not really interested in revolution. These Bostonians serve a heavier-than-usual hard rock that had its heyday in the 1970s. But as the band itself so enticingly puts it, Bygone ’feels not so much of the historical past as it does the never-quite-was.’2 To this end, guitarists Noah Stormbringer and Chris Corry lay down driving riffs that feel like a chuggier Deep Purple (“Lightspeed Nights,” “City Living”). The powerful mid-range of vocalist James Kirn fronts a Uriah Heep with more heft than David Byron or John Lawton (“Shadow Rising,” “Take Me Home”). All the while, bassist Cecelia Hale and drummer Connor Donegan hover like a steadier UFO (“Fire in You Fire in Me”). With production wetter than the Charles River, Bygone sounds like the 70s proto-metal record that never was, but now is.

Bygone by Bygone

Bygone packs a tasty psychedelic flavor, largely stemming from its synths. Keyboardist Renato is a key fixture of Bygone, sonically fulfilling the spacey atmosphere suggested by the album cover. His tones span the cosmos, sounding like the stars, the interstellar spaceships traveling to them, and everything in between. “Lightspeed Nights” perfectly exemplifies Renato’s dual role in Bygone. Sometimes, he provides atmospheric background for the sparkling guitars; other times, he’s front and center, swirling like Saturnian rings around the band. But Bygone’s highlights, far and away, come from Renato’s interplays with guitarists Stormbringer and Corry. The bridge of “Shadow Rising,” for example, amplifies its time signature change with some nifty call-and-response triplets. Similarly, but more expansively, “Take Me Home” builds a progressive guitar/keyboard conversation into its DNA. On account of its psychedelic synths, Bygone becomes an album that pairs well with some Green Monster.

Bygone doesn’t go by without flaws. As mentioned, Kirn is a powerful vocalist, harboring a flexible mid-range that can satisfyingly hit higher notes. His verses and choruses, however, often need stronger hooks to differentiate themselves from the infectious guitar and keyboard melodies (“Lightspeed Nights”). Bygone also has some pacing issues. Despite being a fairly consistent 43 minutes, it lacks show-stopping highs (though “Take Me Home” comes close). Some midpoint lag (“Into the Gleam,” “The Last Horses of Avalon”) makes the album feel longer than it is. “City Living,” however, picks things back up before the closer. “Fire in You Fire in Me” stands as the most unique track on Bygone, with gentler, warmer tones recalling Procol Harum. Bygone would do well to make way for more variety of this kind.

Bygone is a good (though not wicked good) debut from a promising band. These Bostonians demonstrate keen awareness of what makes modern retro rock/metal work. Tone is tantamount but not totalizing; you need riffs, and Bygone holds plenty. Fans of the band’s 70s influences and other such contemporaries dealing in musical antiques will love the galactically vintage tones on display here. With a bit more songwriting variety and vocal hooks, Bygone should make Boston (and its iconoclastic transplants) more than proud.

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Svart Records
Website: Bandcamp
Releases Worldwide: December 12th, 2025

Being a non-native Bostonian in Beantown allows me to exercise a dispassionate objectivity towards the city’s musical culture. I vicariously experience the pride of housing The Pixies but don’t feel the shame of inhabiting Aerosmith Land.1 And yet, I’m always curious about local artists who can obliterate this objectivity, making me feel proud of Boston. Bygone, a heavy metal/hard rock sextet, may be able to liberate my revolutionary heart from its Tory shackles. Despite being Boston-based, Bygone have just dropped their debut album on Svart Records, an independent label based in Finland. Svart’s solid track record, coupled with that pulpy sci-fi cover, gives me more than a feeling that Bygone will deliver.

As per their name, Bygone is not really interested in revolution. These Bostonians serve a heavier-than-usual hard rock that had its heyday in the 1970s. But as the band itself so enticingly puts it, Bygone ’feels not so much of the historical past as it does the never-quite-was.’2 To this end, guitarists Noah Stormbringer and Chris Corry lay down driving riffs that feel like a chuggier Deep Purple (“Lightspeed Nights,” “City Living”). The powerful mid-range of vocalist James Kirn fronts a Uriah Heep with more heft than David Byron or John Lawton (“Shadow Rising,” “Take Me Home”). All the while, bassist Cecelia Hale and drummer Connor Donegan hover like a steadier UFO (“Fire in You Fire in Me”). With production wetter than the Charles River, Bygone sounds like the 70s proto-metal record that never was, but now is.

Bygone by Bygone

Bygone packs a tasty psychedelic flavor, largely stemming from its synths. Keyboardist Renato is a key fixture of Bygone, sonically fulfilling the spacey atmosphere suggested by the album cover. His tones span the cosmos, sounding like the stars, the interstellar spaceships traveling to them, and everything in between. “Lightspeed Nights” perfectly exemplifies Renato’s dual role in Bygone. Sometimes, he provides atmospheric background for the sparkling guitars; other times, he’s front and center, swirling like Saturnian rings around the band. But Bygone’s highlights, far and away, come from Renato’s interplays with guitarists Stormbringer and Corry. The bridge of “Shadow Rising,” for example, amplifies its time signature change with some nifty call-and-response triplets. Similarly, but more expansively, “Take Me Home” builds a progressive guitar/keyboard conversation into its DNA. On account of its psychedelic synths, Bygone becomes an album that pairs well with some Green Monster.

Bygone doesn’t go by without flaws. As mentioned, Kirn is a powerful vocalist, harboring a flexible mid-range that can satisfyingly hit higher notes. His verses and choruses, however, often need stronger hooks to differentiate themselves from the infectious guitar and keyboard melodies (“Lightspeed Nights”). Bygone also has some pacing issues. Despite being a fairly consistent 43 minutes, it lacks show-stopping highs (though “Take Me Home” comes close). Some midpoint lag (“Into the Gleam,” “The Last Horses of Avalon”) makes the album feel longer than it is. “City Living,” however, picks things back up before the closer. “Fire in You Fire in Me” stands as the most unique track on Bygone, with gentler, warmer tones recalling Procol Harum. Bygone would do well to make way for more variety of this kind.

Bygone is a good (though not wicked good) debut from a promising band. These Bostonians demonstrate keen awareness of what makes modern retro rock/metal work. Tone is tantamount but not totalizing; you need riffs, and Bygone holds plenty. Fans of the band’s 70s influences and other such contemporaries dealing in musical antiques will love the galactically vintage tones on display here. With a bit more songwriting variety and vocal hooks, Bygone should make Boston (and its iconoclastic transplants) more than proud.

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Svart Records
Website: Bandcamp
Releases Worldwide: December 12th, 2025

Being a non-native Bostonian in Beantown allows me to exercise a dispassionate objectivity towards the city’s musical culture. I vicariously experience the pride of housing The Pixies but don’t feel the shame of inhabiting Aerosmith Land.1 And yet, I’m always curious about local artists who can obliterate this objectivity, making me feel proud of Boston. Bygone, a heavy metal/hard rock sextet, may be able to liberate my revolutionary heart from its Tory shackles. Despite being Boston-based, Bygone have just dropped their debut album on Svart Records, an independent label based in Finland. Svart’s solid track record, coupled with that pulpy sci-fi cover, gives me more than a feeling that Bygone will deliver.

As per their name, Bygone is not really interested in revolution. These Bostonians serve a heavier-than-usual hard rock that had its heyday in the 1970s. But as the band itself so enticingly puts it, Bygone ’feels not so much of the historical past as it does the never-quite-was.’2 To this end, guitarists Noah Stormbringer and Chris Corry lay down driving riffs that feel like a chuggier Deep Purple (“Lightspeed Nights,” “City Living”). The powerful mid-range of vocalist James Kirn fronts a Uriah Heep with more heft than David Byron or John Lawton (“Shadow Rising,” “Take Me Home”). All the while, bassist Cecelia Hale and drummer Connor Donegan hover like a steadier UFO (“Fire in You Fire in Me”). With production wetter than the Charles River, Bygone sounds like the 70s proto-metal record that never was, but now is.

Bygone by Bygone

Bygone packs a tasty psychedelic flavor, largely stemming from its synths. Keyboardist Renato is a key fixture of Bygone, sonically fulfilling the spacey atmosphere suggested by the album cover. His tones span the cosmos, sounding like the stars, the interstellar spaceships traveling to them, and everything in between. “Lightspeed Nights” perfectly exemplifies Renato’s dual role in Bygone. Sometimes, he provides atmospheric background for the sparkling guitars; other times, he’s front and center, swirling like Saturnian rings around the band. But Bygone’s highlights, far and away, come from Renato’s interplays with guitarists Stormbringer and Corry. The bridge of “Shadow Rising,” for example, amplifies its time signature change with some nifty call-and-response triplets. Similarly, but more expansively, “Take Me Home” builds a progressive guitar/keyboard conversation into its DNA. On account of its psychedelic synths, Bygone becomes an album that pairs well with some Green Monster.

Bygone doesn’t go by without flaws. As mentioned, Kirn is a powerful vocalist, harboring a flexible mid-range that can satisfyingly hit higher notes. His verses and choruses, however, often need stronger hooks to differentiate themselves from the infectious guitar and keyboard melodies (“Lightspeed Nights”). Bygone also has some pacing issues. Despite being a fairly consistent 43 minutes, it lacks show-stopping highs (though “Take Me Home” comes close). Some midpoint lag (“Into the Gleam,” “The Last Horses of Avalon”) makes the album feel longer than it is. “City Living,” however, picks things back up before the closer. “Fire in You Fire in Me” stands as the most unique track on Bygone, with gentler, warmer tones recalling Procol Harum. Bygone would do well to make way for more variety of this kind.

Bygone is a good (though not wicked good) debut from a promising band. These Bostonians demonstrate keen awareness of what makes modern retro rock/metal work. Tone is tantamount but not totalizing; you need riffs, and Bygone holds plenty. Fans of the band’s 70s influences and other such contemporaries dealing in musical antiques will love the galactically vintage tones on display here. With a bit more songwriting variety and vocal hooks, Bygone should make Boston (and its iconoclastic transplants) more than proud.

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Svart Records
Website: Bandcamp
Releases Worldwide: December 12th, 2025

Being a non-native Bostonian in Beantown allows me to exercise a dispassionate objectivity towards the city’s musical culture. I vicariously experience the pride of housing The Pixies but don’t feel the shame of inhabiting Aerosmith Land.1 And yet, I’m always curious about local artists who can obliterate this objectivity, making me feel proud of Boston. Bygone, a heavy metal/hard rock sextet, may be able to liberate my revolutionary heart from its Tory shackles. Despite being Boston-based, Bygone have just dropped their debut album on Svart Records, an independent label based in Finland. Svart’s solid track record, coupled with that pulpy sci-fi cover, gives me more than a feeling that Bygone will deliver.

As per their name, Bygone is not really interested in revolution. These Bostonians serve a heavier-than-usual hard rock that had its heyday in the 1970s. But as the band itself so enticingly puts it, Bygone ’feels not so much of the historical past as it does the never-quite-was.’2 To this end, guitarists Noah Stormbringer and Chris Corry lay down driving riffs that feel like a chuggier Deep Purple (“Lightspeed Nights,” “City Living”). The powerful mid-range of vocalist James Kirn fronts a Uriah Heep with more heft than David Byron or John Lawton (“Shadow Rising,” “Take Me Home”). All the while, bassist Cecelia Hale and drummer Connor Donegan hover like a steadier UFO (“Fire in You Fire in Me”). With production wetter than the Charles River, Bygone sounds like the 70s proto-metal record that never was, but now is.

Bygone by Bygone

Bygone packs a tasty psychedelic flavor, largely stemming from its synths. Keyboardist Renato is a key fixture of Bygone, sonically fulfilling the spacey atmosphere suggested by the album cover. His tones span the cosmos, sounding like the stars, the interstellar spaceships traveling to them, and everything in between. “Lightspeed Nights” perfectly exemplifies Renato’s dual role in Bygone. Sometimes, he provides atmospheric background for the sparkling guitars; other times, he’s front and center, swirling like Saturnian rings around the band. But Bygone’s highlights, far and away, come from Renato’s interplays with guitarists Stormbringer and Corry. The bridge of “Shadow Rising,” for example, amplifies its time signature change with some nifty call-and-response triplets. Similarly, but more expansively, “Take Me Home” builds a progressive guitar/keyboard conversation into its DNA. On account of its psychedelic synths, Bygone becomes an album that pairs well with some Green Monster.

Bygone doesn’t go by without flaws. As mentioned, Kirn is a powerful vocalist, harboring a flexible mid-range that can satisfyingly hit higher notes. His verses and choruses, however, often need stronger hooks to differentiate themselves from the infectious guitar and keyboard melodies (“Lightspeed Nights”). Bygone also has some pacing issues. Despite being a fairly consistent 43 minutes, it lacks show-stopping highs (though “Take Me Home” comes close). Some midpoint lag (“Into the Gleam,” “The Last Horses of Avalon”) makes the album feel longer than it is. “City Living,” however, picks things back up before the closer. “Fire in You Fire in Me” stands as the most unique track on Bygone, with gentler, warmer tones recalling Procol Harum. Bygone would do well to make way for more variety of this kind.

Bygone is a good (though not wicked good) debut from a promising band. These Bostonians demonstrate keen awareness of what makes modern retro rock/metal work. Tone is tantamount but not totalizing; you need riffs, and Bygone holds plenty. Fans of the band’s 70s influences and other such contemporaries dealing in musical antiques will love the galactically vintage tones on display here. With a bit more songwriting variety and vocal hooks, Bygone should make Boston (and its iconoclastic transplants) more than proud.

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Svart Records
Website: Bandcamp
Releases Worldwide: December 12th, 2025

Being a non-native Bostonian in Beantown allows me to exercise a dispassionate objectivity towards the city’s musical culture. I vicariously experience the pride of housing The Pixies but don’t feel the shame of inhabiting Aerosmith Land.1 And yet, I’m always curious about local artists who can obliterate this objectivity, making me feel proud of Boston. Bygone, a heavy metal/hard rock sextet, may be able to liberate my revolutionary heart from its Tory shackles. Despite being Boston-based, Bygone have just dropped their debut album on Svart Records, an independent label based in Finland. Svart’s solid track record, coupled with that pulpy sci-fi cover, gives me more than a feeling that Bygone will deliver.

As per their name, Bygone is not really interested in revolution. These Bostonians serve a heavier-than-usual hard rock that had its heyday in the 1970s. But as the band itself so enticingly puts it, Bygone ’feels not so much of the historical past as it does the never-quite-was.’2 To this end, guitarists Noah Stormbringer and Chris Corry lay down driving riffs that feel like a chuggier Deep Purple (“Lightspeed Nights,” “City Living”). The powerful mid-range of vocalist James Kirn fronts a Uriah Heep with more heft than David Byron or John Lawton (“Shadow Rising,” “Take Me Home”). All the while, bassist Cecelia Hale and drummer Connor Donegan hover like a steadier UFO (“Fire in You Fire in Me”). With production wetter than the Charles River, Bygone sounds like the 70s proto-metal record that never was, but now is.

Bygone by Bygone

Bygone packs a tasty psychedelic flavor, largely stemming from its synths. Keyboardist Renato is a key fixture of Bygone, sonically fulfilling the spacey atmosphere suggested by the album cover. His tones span the cosmos, sounding like the stars, the interstellar spaceships traveling to them, and everything in between. “Lightspeed Nights” perfectly exemplifies Renato’s dual role in Bygone. Sometimes, he provides atmospheric background for the sparkling guitars; other times, he’s front and center, swirling like Saturnian rings around the band. But Bygone’s highlights, far and away, come from Renato’s interplays with guitarists Stormbringer and Corry. The bridge of “Shadow Rising,” for example, amplifies its time signature change with some nifty call-and-response triplets. Similarly, but more expansively, “Take Me Home” builds a progressive guitar/keyboard conversation into its DNA. On account of its psychedelic synths, Bygone becomes an album that pairs well with some Green Monster.

Bygone doesn’t go by without flaws. As mentioned, Kirn is a powerful vocalist, harboring a flexible mid-range that can satisfyingly hit higher notes. His verses and choruses, however, often need stronger hooks to differentiate themselves from the infectious guitar and keyboard melodies (“Lightspeed Nights”). Bygone also has some pacing issues. Despite being a fairly consistent 43 minutes, it lacks show-stopping highs (though “Take Me Home” comes close). Some midpoint lag (“Into the Gleam,” “The Last Horses of Avalon”) makes the album feel longer than it is. “City Living,” however, picks things back up before the closer. “Fire in You Fire in Me” stands as the most unique track on Bygone, with gentler, warmer tones recalling Procol Harum. Bygone would do well to make way for more variety of this kind.

Bygone is a good (though not wicked good) debut from a promising band. These Bostonians demonstrate keen awareness of what makes modern retro rock/metal work. Tone is tantamount but not totalizing; you need riffs, and Bygone holds plenty. Fans of the band’s 70s influences and other such contemporaries dealing in musical antiques will love the galactically vintage tones on display here. With a bit more songwriting variety and vocal hooks, Bygone should make Boston (and its iconoclastic transplants) more than proud.

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Svart Records
Website: Bandcamp
Releases Worldwide: December 12th, 2025

Tim Andrews a.k.a Chris Andrews SONG OF THE WEEK: Tiny Goddess” https://timchrisandrews.bandcamp.com/track/tiny-goddess

#tinygoddess #nirvana #baroquepop #psychedelicrock #britpop #beachboys #britishrock #beatles #beegees #leftbanke #moodyblues #procolharum #harpsichord #orchestra #paulbuckmaster #timandrews #chrisandrews #abbeyroad

Tim Andrews a.k.a Chris Andrews SONG OF THE WEEK: Tiny Goddess” https://timchrisandrews.bandcamp.com/track/tiny-goddess

#tinygoddess #nirvana #baroquepop #psychedelicrock #britpop #beachboys #britishrock #beatles #beegees #leftbanke #moodyblues #procolharum #harpsichord #orchestra #paulbuckmaster #timandrews #chrisandrews #abbeyroad

https://www.tumblr.com/singeratlarge/785267919302049792/monday-matinee-music-videosad-simon-lives-again?source=share

#simonbaker #timandrews #chrisandrews #fleurdelys #sadsimon #tonyhall #beatles #carmenmcrae #blacksabbath #mikenoble #parlophone #baroquepop #psychedelic #Britpop #beachboys #beegees #leftbanke #moodyblues #procolharum #benedictcumberbatch #songwriter

MONDAY MATINEE MUSIC VIDEO—“Sad Simon Lives Again” 55th Anniversary Version: https://www.youtube.com/watch?v=g2N9fZs0Nbo
#simonbaker #timandrews #chrisandrews #fleurdelys #sadsimon #tonyhall #beatles #carmenmcrae #blacksabbath #mikenoble #parlophone #baroquepop #psychedelic #Britpop #beachboys #beegees #leftbanke #moodyblues #procolharum #benedictcumberbatch #songwriter

"A Whiter Shade of Pale" is a song by the English rock band #ProcolHarum that was issued as their debut record on 12 May 1967. The single reached number 1 in the #UKSinglesChart on 8 June and stayed there for six weeks. Without much promotion, it reached number 5 on the US #Billboard Hot 100. One of the anthems of the 1967 #SummerOfLove, it is one of the most commercially successful singles in history, having #soldMoreThan10Million copies worldwide. In the years since.
https://www.youtube.com/watch?v=_BADDeIQWVQ

New #review today: "#ViaMedia is the British-Norwegian duo of #KarlYngvarDale and #ToreDimmestol. They list their influences as #KingCrimson, #ProcolHarum, #Genesis, #DavidSylvian, #RobertWyatt, #JagaJazzist, #BélaBartók, #Stravinsky, and #PhilipGlass. However, what I hear that comes through loud and clear on their new album, Bridge of Sighs, is none of these influences, but #Camel." #ExposeOnline #ProgressiveRock http://expose.org/index.php/articles/display/viamedia-bridge-of-sighs-6.html

Chanson du jour

I took her by the looking glass
And forced her to agree
Saying, ‘You must be the mermaid
Who took Neptune for a ride.’

https://youtu.be/JyOatVYq0mM

#AnnieLennox #ProcolHarum #WhiterShadeOfPale #mjbMusic

Today is Robin Trower’s 79th birthday. Happy Birthday!

He is unusual for a guitarist of his generation in that he hasn’t seemed to have lost a step at all. Most guys who are pushing 80 years old are not playing as well today as they did a couple of decades ago. Not Robin Trower. He’s as good, if not better, than he was 20 or 30 or even 40 years ago. I wonder what his secret is. Probably something lame like taking care of himself and practicing a lot.

https://robertjames1971.blog/2024/03/09/happy-birthday-robin-trower/

#birthday #Guitar #procolHarum #robinTrower

"A Whiter Shade of Pale" is a song by the English rock band #ProcolHarum that was issued as their debut record on 12 May 1967. The single reached number 1 in the #UKSinglesChart on 8 June and stayed there for six weeks. Without much promotion, it reached number 5 on the US Billboard Hot 100. One of the anthems of the 1967 #SummerOfLove, it is one of the most commercially successful singles in history, having #soldMoreThan10Million copies worldwide. In the years since.
https://youtu.be/Mb3iPP-tHdA

"A Whiter Shade of Pale" is a song by the English rock band #ProcolHarum that was issued as their debut record on 12 May 1967. The single reached number 1 in the #UKSinglesChart on 8 June and stayed there for six weeks. Without much promotion, it reached number 5 on the US Billboard Hot 100. One of the anthems of the 1967 #SummerOfLove, it is one of the most commercially successful singles in history, having #soldMoreThan10Million copies worldwide. In the years since.
https://youtu.be/z0vCwGUZe1I

As I take a brief moment to pause from the cleaning festivities so that I can take my afternoon vitamin pills, allow me to share with the group that this album from 1969 is a freakin’ masterpiece:

Upon the seventh seasick day
We made our port of call
A sand so white, and sea so blue
No mortal place at all

Keith Reid

I don’t know if I’ve ever realized it before, but the name Keith Reid breaks the English language “i before e except after c” rule twice. Weird.

https://robertjames1971.blog/2023/11/11/a-salty-dog/

#aSaltyDog #bjWilson #davidKnights #garyBrooker #keithReid #matthewFisher #Music #procolHarum #robinTrower

ALL HANDS ON DECK!
WE'VE RUN AFLOAT!
I heard the captain cry.
EXPLORE THE SHIP!
REPLACE THE COOK!
LET NO ONE LEAVE ALIVE!
Across the straits, around the horn
How far can sailors fly?
A twisted path, our tortured course
And no one left alive
We sailed for parts unknown to man
Where ships come home to die
No lofty peak, nor fortress bold
Could match our captain's eye.
30 May 1969 🇬🇧
Gary Brooker
Keith Reid
#popmusic #baroquerock #1960s #ProcolHarum

«Los 30 grupos de la revolución pop», parte 2
Pelo #1, p31-34
Feb. 1970

#revistapelo #music #musica #rock #thefamily #thefugs #fleetwoodmac #JimiHendrix #jeffersonairplane #themamasandthepapas #mc5 #themothersofinvention #themove #pinkfloyd #procolharum #therollingstones

«Los 30 grupos de la revolución pop», parte 2
Pelo #1, p31-34
Feb. 1970

#revistapelo #music #musica #rock #thefamily #thefugs #fleetwoodmac #JimiHendrix #jeffersonairplane #themamasandthepapas #mc5 #themothersofinvention #themove #pinkfloyd #procolharum #therollingstones

𝗧𝗲𝗸𝘀𝘁𝗱𝗶𝗰𝗵𝘁𝗲𝗿 𝗞𝗲𝗶𝘁𝗵 𝗥𝗲𝗶𝗱 (𝗣𝗿𝗼𝗰𝗼𝗹 𝗛𝗮𝗿𝘂𝗺) 𝘀𝗰𝗵𝗿𝗲𝗲𝗳 '𝗶𝗻 𝗱𝗲 𝘀𝗰𝗵𝗮𝗱𝘂𝘄 𝘃𝗮𝗻 𝗱𝗲 𝗛𝗼𝗹𝗼𝗰𝗮𝘂𝘀𝘁'

In een ziekenhuis in Londen is Keith Reid, de tekstdichter van Procol Harum, overleden aan de gevolgen van kanker. Hij was al jaren ziek. Reid is 76 jaar geworden.

https://nos.nl/l/2469462 #nieuws #nos #ProcolHarum #KeithReid #tekstdichter