“A Whiter Shade of Pale” is the debut single by the British rock band Procol Harum, released May 12, 1967. The single reached number 1 in the UK Singles Chart on 8 June 1967 and stayed there for six weeks. Without much promotion, it reached number 5 on the Billboard Hot 100 chart in the United States. One of the anthems of the 1967 Summer of Love, it is one of the best selling singles in history, having sold more than 10 million copies worldwide.
With its Bach-derived instrumental melody, soulful vocals, and unusual lyrics – by the song’s co-authors Gary Brooker, Keith Reid[6] and Matthew Fisher – “A Whiter Shade of Pale” reached number 1 in many countries when released in 1967. In the years since, it has become an enduring classic. It was the most played song in the last 75 years in public places in the UK (as of 2009),[7] and the United Kingdom performing rights group Phonographic Performance Limited in 2004 recognised it as the most-played record by British broadcasting of the past 70 years. Also in 2004, Rolling Stone placed “A Whiter Shade of Pale” 57th on its list of the “The 500 Greatest Songs of All Time”.
In 1977, the song was named joint winner (along with Queen’s “Bohemian Rhapsody”) of “The Best British Pop Single 1952–1977” at the Brit Awards. In 1998 the song was inducted into the Grammy Hall of Fame. More than 1000 recorded cover versions by other artists are known. The song has been included in many music compilations over the decades and has also been used in the soundtracks of numerous films, including The Big Chill, Purple Haze, Breaking the Waves, The Boat That Rocked, House M.D., Martin Scorsese’s segment of New York Stories, Stonewall, Oblivion and Ken Burns and Lynn Novick’s documentary series The Vietnam War. Cover versions of the song have also been featured in many films, for example, by King Curtis in Withnail and I and by Annie Lennox in The Net.
Procol Harum recorded “A Whiter Shade of Pale” at Olympic Sound Studios in London, England. The recording was produced by Denny Cordell. Because they did not have a regular drummer, the drums were played by Bill Eyden, a session musician. The track was completed in two takes, with no subsequent overdubbing.
A few days after the session, the band re-recorded the song with their newly recruited drummer, Bobby Harrison, at Advision Studios. This version was discarded, and one of the original mono recordings was chosen for release as the band’s debut single. The B-side was “Lime Street Blues”, another Brooker–Reid song, which the band recorded at Advision.
Cordell was concerned that the sound of “A Whiter Shade of Pale” might prove problematic on the radio, due to the prominence of the drummer’s cymbals. He therefore sent an acetate copy to Radio London, and his worries were assuaged when the disco jockey played the disc on-air and announced: “That sounds like a massive hit.”
A Whiter Shade of Pale Lyrics (1967)
We skipped the light fandango
turned cartwheels ‘cross the floor
I was feeling kinda seasick
but the crowd called out for more
The room was humming harder
as the ceiling flew away
When we called out for another drink
the waiter brought a tray
And so it was that later
as the miller told his tale
that her face, at first just ghostly,
turned a whiter shade of pale
She said, ‘There is no reason
and the truth is plain to see.’
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 well’ve been closed
She said, ‘I’m home on shore leave,’
though in truth we were at sea
so I took her by the looking glass
and forced her to agree
saying, ‘You must be the mermaid
who took Neptune for a ride.’
But she smiled at me so sadly
that my anger straightway died
If music be the food of love
then laughter is its queen
and likewise if behind is in front
then dirt in truth is clean
My mouth by then like cardboard
seemed to slip straight through my head
So we crash-dived straightway quickly
and attacked the ocean bed
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