A Whiter Shade Of Pale

By Maestro@FringeMusic

Songwriters: KEITH REID, GARY BROOKER

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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
And 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 they would not let her be
One of sixteen vestal virgins
Who were leaving for the coast
And although my eyes were open wide
They might have just as well been closed

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, “I’m here on a shore leave,”
Though we were miles at sea.
I pointed out this detail
And forced her to agree,
Saying, “You must be the mermaid
Who took King Neptune for a ride.”
And she smiled at me so sweetly
That my anger straightway died.

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

If music be the food of love
Then laughter is it’s 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

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

Wikipedia contains an interesting article on this song. Maestro quotes the relevant portion below (footnotes and links omitted):

(Keith) Reid got the title and starting point for the song at a party. He overheard someone at the party saying to a woman, “You’ve turned a whiter shade of pale,” and the phrase stuck in his mind. The original lyrics had four verses, of which only two are heard on the original recording. The third verse has been heard in live performances by Procol Harum, and more seldom also the fourth. The author of Procol Harum: beyond the pale, Claes Johansen, suggests that the song “deals in metaphorical form with a male/female relationship which after some negotiation ends in a sexual act.” This is supported by Tim de Lisle in Lives of the Great Songs, who remarks that the lyrics concern a drunken seduction, which is described through references to sex as a form of travel, usually nautical, using mythical and literary journeys. Other observers have also commented that the lyrics concern a sexual relationship.

Structurally and thematically, the song is unusual in many respects. While the recorded version is 4:03 long, it is composed of only two verses, each with chorus. The piece is also more instrument-driven than most songs of the period, and with a much looser rhyme scheme. Its unusually allusive and referential lyrics are much more complex than most lyrics of the time (for example, the chorus focuses on Chaucer’s ” The Miller’s Tale”). Thus, this piece can be considered an early example of progressive rock.

The phrase a whiter shade of pale has since gained widespread use in the English language, noticed by several dictionaries. As such, the phrase is today often used in contexts independent of any consideration of the song. … It has also been heavily paraphrased, in forms like an Xer shade of Y, to the extent that it has been recognised as a snow clone – a type of cliché and phrasal template.

The full write-up on the song, including its musical structure, can be accessed at the link below:

http://en.wikipedia.org/wiki/A_whiter_shade_of_pale

So, in the end, it’s all about sex. Figures!

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