PROCOL HARUM / 1969 West Coast Conquest STEREO SOUNDBOARD (1CD)

01.Conquistador
02.Stoke Poges
03.Kaleidoscope
04.Homburg
05.Repent Walpurgis
06.Shine On Brightly
07.Goin' Down Slow
08.Juicy John Pink
09.Cerdes
10.Skip Softly My Moonbeams
11.Crucifiction Lane
12.Wish Me Well
13.Rambling On
14.Goin' Down Slow
15.A Whiter Shade Of Pale

Gary Brooker - Piano, Vocal
Keith Reid - Composer
Matthew Fisher - Hammond Organ
Robin Trower - Guitar
Barrie.James.Wilson - Drums
Dave Knight - Bass

◆Live archives at Fillmore West, S.F. and Troubadour, L.A. April 1969
STEREO SOUNDBOARD RECORDING / 24bit Digitally Remastered

The greatest masterpiece in PROCOL HARUM bootleg history is now available on a permanently preserved pressed CD! PROCOL HARUM made a sensational debut in 1967 with "A Whiter Shade of Pale," and shortly after, a lineup change brought in Robin Trower on guitar and B.J. Wilson on drums, creating the ultimate "original" PROCOL HARUM. This golden age lineup continued until mid-1969 when Matthew Fisher, the Hammond organist who was central to the band's sound, left. This album is a superb live archive that encapsulates those two years truly worthy of being called their golden age. The stereo soundboard master, reportedly recorded at gigs at Fillmore West and Troubadour in April 1969 and unearthed from the record company's archives, has been digitally remastered in 24-bit, achieving a superb sound quality that vividly captures the energy of the early days of rock on the US West Coast. The master copy used in this release has been circulating under the name [Fillmore East 4/6], but as can be confirmed by the MC at the beginning of "Walpurgis Regret," there is no doubt that the performance held around Easter that year took place at either the Fillmore West or the Troubadour. And while it has historical value, the greatest appeal of this release is above all its superb sound quality. The master tape, a perfect stereo line source, had very high documentary value, but it also had problems such as hiss noise due to age and phase inversion in some tracks. These various problems have been removed, the sound image, which was previously flat, has been given spatial depth, and the remastering has focused on faithfully reproducing the warm and fat sound of the late 1960s stage equipment without falling into the trap of the hard sound often associated with digital processing.