Renowned Organist Mathew Fisher

[papadeedee]

I personally wouldn't say he is an outstanding organist but he did play one of the most easily recognisable pieces in the last 50 or so years, namely Whiter Shade of Pale with Procol Harum.
In addition to his work with Procol Harum, he was producer to Robin Trower and James Dewar
I chose this song which he produced and played on along with Jimmy dewar because I used listen to Jimmy when he played with Stone the Crows, at that time they were called The Power. (He later became singer and bassist with Robin Trower) You can hear Mathew's distinctive organ sound coming through on this beautiful song entitled Stumbledown Romancer.



Sadly, Jimmy died in May 2002 of a stroke at Dykebar Hospital in Paisley, Scotland after years of disability resulting from a rare medical condition

In 2005, former Procol Harum organist Matthew Fisher filed suit in the High Court against Gary Brooker and his publisher, claiming that he co-wrote the music for Whiter Shade of Pale.
Fisher won the case on 20 December 2006 but was awarded 40% of the composers' share of the music copyright, rather than the 50% he was seeking and was not granted royalties prior to 2005.
Brooker and publisher Onward Music were granted leave to appeal, and a hearing on the matter was held before a panel of three judges during the week of 1 October 2007. The decision, on 4 April 2008, by Lord Justice Mummery, in the Court of Appeal upheld Fisher's co-authorship but ruled that he should receive no royalties as he had taken too long (38 years) to bring his claim to litigation. Full royalty rights were returned to Brooker.
On 5 November 2008, Fisher was granted permission to appeal this decision to the House of Lords. Lawyers say it is the first time the Law Lords have been asked to rule on a copyright dispute involving a song. The appeal was heard in the House of Lords on 22–23 April 2009.
On 30 July 2009 the Law Lords unanimously ruled in Fisher's favour. They noted that the delay in bringing the case had not caused any harm to the other party; on the contrary they had benefited financially from it. They also pointed out that there were no time limits to copyright claims under English law. The right to future royalties was therefore returned to Fisher.[The musicological basis of the judgment, and its effect on the rights of musicians who contribute composition to future works, has drawn some attention in the music world. It has shown that someone who composes a "signature" part for an otherwise complete song could indeed be credited as a co-writer