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Posts tagged Eric Woolfson
Eric Woolfson – Alan Parsons Project That Never Was (2009) (@256)
13 May 2010
(Review from allmusic, amazon)
Eric Woolfson sang lead on the softest, smoothest hits Alan Parsons Project had in the band’s career.
Digging up his vaults, Woolfson found a batch of unfinished songs that he decided to complete for this album, rounding out the record with some songs that he would have submitted if the band had indeed recorded more albums.
As expected, Woolfson follows the silken road he paved with those soft rock hits: this is Alan Parsons Project as if Woolfson were in charge, emphasizing melody. The result is a combination of art rock songs such as “Golden Key” and “Immortal” with more pop songs such as “Nothing Can Change My Mind” and “I Can See Round Corners”.
This is sweet, soft rock, the kind of which that has been unheard since Woolfson sung on those Alan Parsons Project hits more than two decades ago.
Alas, this was Woolfson’s final album before he died of cancer in December of that year.
Track List:
01. Golden Key – 4:12
02. Nothing Can Change My Mind – 4:00
03. Rumour Goin – 4:39
04. Any Other Day – 3:08
05. I Can See Round Corners – 5:16
06. Steal Your Heart Away – 3:20
07. Along The Road Together – 3:22
08. Somewhere In The Audience – 4:36
09. Train To Wuxi – 4:19
10. Immortal – 6:02
Link in comments.
Eric Woolfson – Poe : More Tales Of Mystery And Imagination (2003) (@256)
07 Mar 2008
(Review from dailyvault.com)
Thomas Wolfe said you can never go home again. Apparently no one told this to Eric Woolfson. Good thing, too.
Woolfson, half the central core of the Alan Parsons Project, has been doing a lot of different things since the Project’s breakup in 1987. He’s done some musicals in Germany and Korea (including the critically noted Gambler), written some songs, and spent a lot of time working with more theatrical music. However, it seems he’s always wanted to revisit the first subject he ever handled as a musician — the work of Edgar Allan Poe, the subject of the Project’s 1976 debut. Finally, Woolfson, working with a new band and vocalist Steve Balsamo, has released Poe.
First things first. This is not a Project album — this isn’t even a progressive rock album. There are elements that are similar, but Woolfson has spent a decade or more in musical theater, and it shows. Poe is closer in spirit to Chess or the work of Tim Rice. That’s actually a good thing; longtime Project fans know that Woolfson’s commercial-sounding vocals (on songs like “Time”) helped destroy the Project’s progressive rock sound through record label pressure. Free of that preconception, Poe turns out to be a solid, enjoyable, and well-performed work with very few miscues.
The musicianship is excellent; sometime Project bassist Laurence Cottle joins a host of new names to put together a stellar performance. Special kudos have to go to guitarist John Parricelli, who handles multiple styles with ease and aplomb. Production and engineering show that Woolfson must have taken notes during all those years of collaboration; the sound is crisp and clear, no simple task on harmony-heavy tracks like “Goodbye To All That” and “The Murders In The Rue Morgue.”
So it seems Poe rests on the songwriting — and that’s almost perfect. Poe is astonishing. Tracks like “Tiny Star” and “Wings Of Eagles” are brilliant, “The Pit And The Pendulum” is appropriately horrible, “Somewhere In The Audience” is heartbreaking — and the closing track, “Immortal”, may be the greatest thing Eric Woolfson has ever written. Steve Balsamo’s soaring celebration of Poe’s literary immortality gave me chills. Simply beautiful.
Eric Woolfson has come full circle, and gained a good deal of wisdom and talent along the way. Take the time to dig up a little Poe — you’ll find it to be a poetically good listen.
Line-up:
- Eric Woolfson / vocals, keyboards, orchestral arrangements
with
- Steve Balsamo / vocals
- Fred Johanson / vocals
- Ralph Salmins / drums, percussion
- Ian Thomas / drums
- Martin Ditcham / percussion
- John Parricelli / guitars
- Simon Chamberlain / keyboards, orchestral arrangements
- Haydn Bendall / keyboards, sequencing
- Austin Ince / sequencing
- Dermot Crehan / Irish fiddle
- The Metro Voices / vocals
- Brighton Festival Chorus / vocals
- Rob Thompson, Stephan Rhys Williams & Christian Phillips / back vocals
Track List:
01. Angel Of The Odd (2:36)
02. Wings Of Eagles (4:45)
03. Train Of Freedom (4:40)
04. Somewhere In The Audience (4:47)
05. Bells (5:32)
06. Pit & The Pendulum Part 1 (2:31)
07. Pit & The Pendulum Part 2 (2:02)
08. Pit & The Pendulum Part 3 (2:02)
09. Murders In The Rue Morgue (4:35)
10. Tiny Star (2:44)
11. Goodbye To All That (5:15)
12. Immortal (5:30)
Link in comments.
Alan Parsons Project – Gaudi (1987) (@256)
10 Sep 2007
(Review from progarchives.com)
This is really the Eric Woolfson Project, Parsons being almost entirely absent from the album credits. He is listed as co-writer of the songs, but this could be very much in the way Lennon/McCartney shared every song. This album is the nearest to progressive Alan Parsons Project have come since “Tales of Mystery and Imagination”, and is a very good collection to boot.
This is of course a concept album about the architect Gaudi, and consists of generally longer tracks than other Alan Parsons Project albums. It was originally composed as a stage show, and has indeed gone on to become a successful one in Germany.
“La Sagrada Familia” kick off the album with much pomposity and orchestration. At almost 9 minutes it is a fine piece, with great vocals by John Miles (“Music”) and dramatic instrumental overtones. Miles also performs lead vocals on “Money talks”, which sound like little more than a thinly disguised mimic of Pink Floyd’s “Money”. Indeed, it is the tracks on which Woolfson take on lead vocal that shine brightest. “Inside looking out” is particularly pleasing, similar in many ways to the classic Alan Parsons Project track, “Silence and I”. “Standing on higher ground” is more like standard Alan Parsons Project fare, with it’s relaxed mid-paced rhythm, and catchy hook, a sort of “Eye in the sky part 2″.
Line-up:
- Laurie Cottle / bass
- Stuart Elliott / drums & percussion
- Ian Bairnson / guitars
- Richard “Trix” Cottle / synths and saxes
- Eric Woolfson / pianos & keyboards
- Bob Howes / timpanis
- David Cripp / horn (leader)
- John Heley / cello
- Andrew Powell / orchestra arrangements and conduction
- Bob Howes / choir, The English Chorale conduction
- John Miles, Lenny Zakatek, Eric Woolfson, Geoff Barradale, Chris Rainbow / vocals
Track List:
01. La Sagrada Familia (8:44)
02. Too Late (4:34)
03. Closer To Heaven (5:54)
04. Standing On Higher Ground (5:02)
05. Money Talks (4:23)
06. Inside Looking Out (6:19)
07. Paseo De Gracia (3:43)
Link in comments.
Alan Parsons Project – Stereotomy (1986) (@256)
09 Sep 2007
(Review from wikipedia, allmusic, progarchives.com)
The word ‘Stereotomy’ is taken from the writings of Edgar Allan Poe. It refers to the cutting of existing solid shapes into different forms; it is used as a metaphor for the way that famous people (singers, actors. etc.) are often ‘shaped’ by the demands of fame. On this album, the theme circles around the way in which the modern world molds the personality, the character, and the livelihood of the human being. People are but a slave to their lifestyle and their environment, and they are destined to be thrown into this situation at birth, with tolerance as an inevitability.
The Alan Parsons Project, being as they were a studio based “project” led by Eric Wolfson and Alan Parsons, had the luxury of being able to call upon guest vocals whom they felt would be appropriate for a particular track. This gave their albums the potential for great diversity, a facet they did not always exploit to the full. Too often, the various singers end up sounding similar to each other, overwhelmed by the everything but the kitchen sink approach adopted during production.
“Stereotomy” however is different. The chosen vocalists are individually strong, including as they do John Miles, Chris Rainbow, and the great Gary Brooker (Procol Harum). There is still the familiar APP pop sound, particularly on the lightweight tracks such as “Beujolais” and “In the real world” There is also the obligatory couple of instrumentals which always seem to sound the same, but there are also some more adventurous, well constructed pieces too.
The title track is a great upbeat opener, with the single word title being used to great phonetic effect (similar to the way Russ Ballard used to do so well on Argent tracks like “Liar” and “Tragedy”.)
“Limelight”, the track featuring Gary Brooker’s voice stand head and shoulders above the other tracks. It is truly one of the APP’s defining moments. Admittedly Brooker could make any lyric sound emotional, but when he gets the right song, as he does here, the results can be stunning.
Line-up:
- David Paton / bass
- Stuart Elliott / drums & percussion
- Ian Bairnson / guitars
- Richard “Trix” Cottle / synths ans saxes
- Eric Woolfson, Alan Parsons / pianos & keyboards
- Steve Dye / backing vocals
- Andrew Powell / orchestra arrangements and conduction
Track List:
01. Stereotomy (7:15)
02. Beaujolais (4:27)
03. Urbania (4:34)
04. Limelight (4:39)
05. In The Real World (4:17)
06. Where’s The Walrus? (7:34)
07. Light Of The World (6:22)
08. Chinese Whispers (1:02)
09. Stereotomy Two (1:18)
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Alan Parsons Project – Vulture Culture (1985) (@256)
07 Sep 2007
(Review from progarchives.com, allmusic, wikipedia)
“Vulture Culture” offers more of the same from Alan Parsons, in the form of well produced melodic soft rock. The theme of the album is the fact that everyone lives in a parasitic society, where it’s every man for himself. Those who can’t fend for themselves simply won’t survive in a world where the kindness of the human spirit is rapidly deteriorating.
The album only contains one instrumental piece. Almost every song is a touchy and delicate ballad, no surprises in this aspect, but still they’re some which are slightly nostalgic and memorable.
The aptly named “Let’s Talk About Me” rolls out first and it perfectly epitomizes the narcissistic attitude of the 80s. It sets the tone for the entire album, being a mid-paced melodic rock song with a strong hook.
The sentimental, mellow and heartful ballad Days Are Numbers (The Traveller) stays as a top selection, among with the upbeat urban style of the tilte track, Vulture Culture. The other songs are also enjoyable and very melodic, you’ll enjoy Separate Lives, The Same Old Sun and Sooner Or Later, the three songs are fine ballads all sang by Woolfson. Also the paranoic but still delicate Somebody Out There, and the desert like, interlude instrumental Hawkeye are good.
Originally, the album was intended to be the second LP of a double album, with Ammonia Avenue being the first. This is the only Project album that does not feature the orchestration of Andrew Powell.
Line-up:
- David Paton / bass
- Stuart Elliott / drums & percussion
- Ian Bairnson / guitars
- Eric Woolfson / pianos
- Alan Parsons / fairlight prog.
- Richard “Trix” Cottle / synths & saxes
Track List:
01. Let’s Talk About Me (4:22)
02. Separate Lives (4:42)
03. Days Are Numbers (The Traveller) (4:02)
04. Sooner Or Later (4:26)
05. Vulture Culture (5:21)
06. Hawkeye (3:48)
07. Somebody Out There (4:56)
08. The Same Old Sun (5:24)
Link in comments.
Alan Parsons Project – Ammonia Avenue (1984) (@256)
07 Sep 2007
(Review from allmusic, wikipedia, progarchives.com)
One of the most interesting aspects about the Alan Parsons Project is the band’s ability to forge a main theme with each of its songs, while at the same time sounding extremely sharp and polished. Much of this formula is used in Ammonia Avenue, only this time the songs rise above Project’s overall message due to the sheer beauty of the lyrics partnered with the luster of the instruments.
Ammonia Avenue was originally intended to be released as a double album with their next album, Vulture Culture’s material forming the second record. The title of the album was inspired by Eric Woolfson’s visit to Imperial Chemical Industries (ICI) in Billingham England, where the first thing he saw was a street with miles of pipes, no people, no trees and a sign that said ‘Ammonia Avenue’. The album focused on the possible misunderstanding of industrial scientific developments from a public perspective and a lack of understanding of the public from a scientific perspective.
The enchanting saxophone of Mel Collins on “Don’t Answer Me” adds to its lonely atmosphere, while the briskness of Eric Woolfson’s wording throughout “Prime Time” makes it one of the Project’s best singles. On “You Don’t Believe,” the seriousness of the lyrics works well with the song’s energetic pace. The subtlety of the ballad comes to life on the elegant “Since the Last Goodbye,” which focuses on a failed attempt at a relationship. With Ammonia Avenue, the sum of the parts is greater than the whole product, which can’t be said for all of the Alan Parsons Project’s albums. Vocalists Eric Woolfson, Chris Rainbow, Lenny Zakatek, and Colin Blunstone equally shine, placing their talents above and beyond the album’s main idea.
Line-up:
- David Paton / bass
- Stuart Elliott / drums & percussion
- Ian Bairnson / guitars
- Eric Woolfson / keyboards
- Alan Parsons / fairlight prog.
- Mel Collins / saxophone
- Andrew Powell / orchestra arrangements and conduction
Track List:
01. Prime Time (5:03)
02. Let Me Go Home (3:20)
03. One Good Reason (3:36)
04. Since The Last Goodbye (4:33)
05. Don’t Answer Me (4:11)
06. Dancing On A Highwire (4:22)
07. You Don’t Believe (4:26)
08. Pipeline (3:56)
09. Ammonia Avenue (6:30)
Link in comments.
Alan Parsons Project – Turn of a Friendly Card (1980) (@256)
06 Sep 2007
(Review from progarchives.com, wikipedia, allmusic.com)
Project’s fifth album “Turn of a Friendly Card” focuses on gambling, and loosely tells the tale of a middle-aged man who grows restless and takes a chance by going to a casino and betting all he has, only to lose it all.
This time the album doesn’t lead off with a spacey instrumental. Instead “May Be a Price to Pay” introduces the notion of playing as an exercise in trangression with an air of symphonic solemnity in the opening bars, leading us to a lighter, somewhat poppier further development, always keeping a symphonic twist.
On “Games People Play”, vocalist Lenny Zakatek sounds compelling and focused, giving the song a seriousness that aids in realization of the album’s concept. Zakatek returns a short while later on the similar “I don’t want to go home”.
The ballad-like “Time” is a typical Project mellow mood piece, and also marks the first time Eric Woolfson was given the microphone for the lead vocals. Woolfson often recorded vocals in the studio during early recording sessions, but was usually replaced with a featured singer in the final cuts. This album was recorded in France and they didn’t have anyone else available at the time, so Woolfson laid down the final cut. The success of “Time” led to many other lead vocals of Woolfson in their next albums.
Side two opens with what effectively serves as a prelude to the title suite. “The gold bug” is a typical Project instrumental featuring some fine saxophone and melodic vocalisation.
The minute “The turn of friendly card” starts, it is clear that the quality control has suddenly been turned up significantly. This is due in no small part to the distinctive vocals of Chris Rainbow (one time of Camel, but also a notable solo artist). Rainbow sings on all but one of the sections, “Nothing left to lose” which sees Eric Woolfson make his second vocal contribution to the album. The theme of the piece looks at the futility of gambling, although it has to be said that any examination of this heavy topic here is very superficial.
The orchestration which features throughout the suite comes to the fore on “The ace of swords”, an effective instrumental passage. The following “Nothing left to lose” has some of the strongest melodies on the album. Eric Woolfson offers a wonderful vocal performance to complement the reflective lyrics. The track develops through a brief reprise of the “Snake eyes” theme into one Ian Bairnson’s most aggressive guitar solos and a reprise of the title song to close the album. The final instrumental passage provides a wonderful coda to this superb piece.
Line-up:
- Eric Woolfson, Alan Parsons / keyboards
- David Paton / bass
- Stuart Elliott / drums & percussions
- Ian Bairnson / guitars
- Andrew Powell / orchestra & choir arrangements and conduction
Track List:
01. May Be A Price To Pay (4:52)
02. Games People Play (4:17)
03. Time (5:05)
04. I Don’t Wanna Go Home (4:54)
05. The Gold Bug (4:28)
06. The Turn Of A Friendly Card
- Part One (2:39)
- Snake Eyes (3:17)
- The Ace Of Swords (2:58)
- Nothing Left To Lose (4:03)
- Part Two (3:12)
Link in comments.
Alan Parsons Project – Eve (1979) (@256)
04 Sep 2007
(Review from progarchives.com)
“Eve” is a pretty good outing for the prolific Alan Parsons Project, with a good selection of guests, and some nice instrumental work. This is the only Project album to feature female lead vocalists.
The usual melodic pop prog is here, with strong melodies and fine performances. The Moody Blues, Barclay James Harvest, and later Renaissance all offer indications of the type of music to expect. The progressive influences, which were at their strongest on the first album (“Tales of Mystery and Imagination”) have all but dried up with the tracks all being shorter, individual pieces.
“Lucifer” is a truly wonderful instrumental, dominated by orchestrations and John Leach’s dulcimer and zither (they are actually a cimbalom and kantele, respectively). “Damned if I Do” was the minor hit on the album, a rocking number with orchestration with vocals from Lenny Zakatek. “I’d Rather Be a Man” and “You Lie Down with Dogs” are more rocking numbers, but there are some ballads too, like “You Won’t Be There”, and “If I Could Change Your Mind”.
It tends to be when they do ballads that Alan Parsons Project really shine, and in this case, “If I could change your mind” is the standout track. Vastly underrated singer Lesley Duncan takes the lead vocals on this track. This makes for a beautiful contrast with the normally male dominated vocals.
Line-up:
- David Paton / bass
- Stuart Elliott / drums & percussion
- Ian Bairnson / acoustic & electric guitars
- Eric Woolfson, Duncan MacKay / keyboards
- Alan Parsons, Eric Woolfson / miscellaneous
- Lesley Duncan, David Paton, Chris Rainbow, Clare Torry, Dave Townsend, Lenny Zaketek / vocals
- Andrew Powell / orchestra & choir arrangements and conduction
- The Orchestra of the Munich Chamber Opera
Track List:
01. Lucifer (5:09)
02. You Lie Down With Dogs (3:42)
03. I’d Rather Be A Man (3:52)
04. You Won’t Be There (3:37)
05. Winding Me Up (4:00)
06. Damned If I Do (4:50)
07. Don’t Hold Back (3:36)
08. Secret Garden (4:40)
09. If I Could Change Your Mind (5:49)
Link in comments.
Alan Parsons Project – I Robot (1977) (@256)
04 Sep 2007
(Review from progarchives.com)
After the huge, somewhat unexpected success of the “Tales of Mystery and Imagination” album; the duo went for another concept, based on Isaac Asimov’s “I, Robot”, a somber perspective of the conflictive relationship between humans and robots, with the former divided between their roles as masters and dominated, and the latter gaining some kind of self-awareness that motivates them to toy with the idea of becoming autonomous once and for all.
“I Robot” is a synth-heavy album. Many of you are familiar with “I Wouldn’t Want to Be Like You” and “Breakdown” which radio stations still continue to play to this day, but there’s some other great stuff as well. Like the title cut, which tends to be heavily electronic, with lots of great synths, as well as a cimbalom (Hungarian dulcimer) and kantele (Finnish zither) being used, courtesy of John Leach.
This album also premiers the vocals of Lenny Zakatek, as demonstrated on “I Wouldn’t Want To Be Like You”. The largely acoustic “Some Other Time” is truly amazing, and definately overlooked, especially by radio programmers. “The Voice” has that nice repetitive bass line, great string synths, and a great funky solo in the middle. Then there’s the ambient experiment “Nucleus” which then segues in to “Day After Day (The Show Must Go On)”, a great ballad. Then it segues in to “Total Eclipse”, which is orchestra’s turn to shine. This piece is downright creepy, complete with sinister voices and equally sinister strings. Then the album closes with “Genesis Ch. 1 V.32″, it’s another heavily electronic instrumental cut that’s very similar to the title track.
Line-up:
- Alan Parsons / acoustic guitar, keyboards, projectron and vocoder, additional vocals
- Eric Woolfson / keyboards, projectron and vocoder, additional vocals
with
- David Paton / bass, acoustic guitar, additional vocals
- Stuart Tosh / drums and percussion, additional vocals
- Ian Bairnson / electric & acoustic guitar, additional vocals
- Duncan Mackay / keyboards
- B.J. Cole / steel guitar
- John Leach / cimbalom and kantele
and
- Allan Clarke, Steve Harley, Jack Harris, Peter Straker and Jaki Whitren, Dave Townsend, Lenny Zakatek / vocals
- Hilary Western, Smokey Parsons, Tony Rivers, John Perry, Stuart Calver, The English Chorale and the New Philharmonia Chorus / additional vocals
Track List:
01. I Robot
02. I Wouldn’t Want To Be Like You
03. Some Other Time
04. Breakdown
05. Don’t Let It Show
06. The Voice
07. Nucleus
08. Day After Day (Show Must Go On)
09. Total Eclipse
10. Genesis Ch. 1 V. 32
11. Boules (Bonus I Robot Experiment)
12. Breakdown (Bonus Demo)
13. I Wouldn’t Want To Be Like You (Bonus Rough Mix)
14. Day After Day (Bonus Rough Mix)
Links in comments.
Alan Parsons Project – Tales of Mystery and Imagination (1976) (@256)
28 Aug 2007
(Review from wikipedia, progarchives.com)
During the summer of 1974, Alan Parsons met Eric Woolfson in the canteen of Abbey Road Studios. Parsons had recently engineered Pink Floyd’s Dark Side of the Moon and had already produced a number of acts. During that time, Woolfson had been working as a session pianist, but he was also a songwriter and had already composed material for a concept album idea based on the work of Edgar Allan Poe.
Parsons asked Woolfson to become his manager and Woolfson managed Parsons’s career as a producer/engineer through a string of successes including Pilot, Steve Harley, Cockney Rebel, John Miles, Al Stewart, Ambrosia and The Hollies. Parsons commented at the time that he felt frustrated in having to accommodate the views of some of the artists which he felt interfered with his production.
Recalling his earlier Edgar Allan Poe material, Woolfson saw a way to combine his and Parsons’ respective talents — Parsons would produce and engineer songs written by the two. Although the true core of the Project have always been the duo of Parsons and Woolfson, only Parsons’ name was chosen for the band because of his “fame” as the top engineer at Abbey Road. Thus Alan Parsons Project was born.
As the album name implies this is a concept album about a writer Edgar Allan Poe (1809 – 1849) whom at end of his life, exactly on October 3, 1849, in mysterious circumstances he is discovered unconscious and is taken to hospital and he dies four days later. The album kicks off with a narration by Orson Welles that remarks the first track “A Dream within a Dream” (4:13) with some orchestration. The music enters with bass lines and drum work in repetitive notes followed with nice keyboard work and guitar. The music moves in crescendo with drum sound and it slowly fades out maintaining only the bass guitar to keep the beat. “The Raven” (3:57) enters beautifully with EMI vocoder voice line combined with orchestra and real Parsons’ voice. It’s a good track combining clean vocal, stunning guitar solo and orchestra.
“The Tell-tale Heart” (4:38) is a rockier track performed in an operatic singing style accompanied with a melodic arrangements of guitar, keyboard, bass guitar and drumming. At the background, the orchestra enriches the music textures especially during quiet passages. “The Cask of Amontillado” (4:33) is a song-oriented music with powerful melody that is really tasty to most ears, performed with excellent vocal and orchestration. This is my favorite APP track because I love the melody very much. The orchestration part is really good and I urge you to play it outloud with your stereo set. “(The System of) Doctor Tarr and Professor Fether” (4:20) brings the music into uplifting emotion with a combination of electric guitar solo, soaring keyboard sound and voice line.
The album features an instrumental epic “The Fall of the House of Usher” that comprises five parts: Prelude (7:02), Arrival (2:39) , Intermezzo (1:00), Pavane (4:36), and Fall (0:51). The epic is exploratory in nature and it contains excellent orchestration work. It finally concludes with a ballad “To One in Paradise” (4:46) using acoustic guitar and backing vocals as main rhythm section.
The album set the Alan Parsons Project on their way, and gave them instant success. After the success of their first album, “Tales of Mystery and Imagination”, Arista Records signed them for further albums.
Line-up:
- Eric Woolfson / keyboards, organ, backing vocals
- Alan Parsons / projectron & synths, recorders, backing vocals
with
- David Paton / bass, guitars, backing vocals
- Ian Bairnson / guitars
- Andrew Powell / orchestral arrangements and conduction, organ
- Francis Monkman / harpsichord, organ
- John Leach / cimbalom & kantele
- Hugo D’Alton / mandolin
- Billy Lyall / keyboards, recorders
- Christopher North / keyboards
- Stuart Tosh / percussion
- Burleigh Drummond / percussion
- David Pack / guitars
- John Miles / guitars
- Joe Puerta / bass
- Les Hurdle / bass
- Darryl Runswick / string bass
- Laurence Juber / acoustic guitars
- Kevin Peek / acoustic guitars
- Orson Welles, Leonard Whiting / narration
- Jack Harris / backing vocals
- Terry Sylvester / backing vocals
- Jane Powell / backing vocals
- Bob Howes and The English Chorale / backing choir
- Westminster City School Boys Choir / backing choir
Track List:
01. A Dream within a Dream (4:13)
02. The Raven (3:57)
03. The Tell-tale Heart (4:38)
04. The Cask of Amontillado (4:33)
05. (The System of) Doctor Tarr and Professor Fether (4:20)
06. The fall of the House of Usher
- Prelude (7:02)
- Arrival (2:39)
- Intermezzo (1:00)
- Pavane (4:36)
- Fall (0:51)
07. To One in Paradise (4:46)
Link in comments.
Alan Parsons Project – Pyramid (1978) (@256)
25 Jul 2007
(Review from progarchives.com)
Alan Parsons Project’s third album references to pyramid power and ancient Egypt surface repeatedly, the album is called “a view of yesterday through the eyes of today”. The theme of rise and fall is prominent throughout.
One of the highlights in Alan Parsons Project’s career, ‘Pyramid’ establishes a fusion of both their previous albums : The idea is not cloning themselves for the sake of it, but mainly reaffirming their own signature sound, by managing to write and produce a repertoire that flows solidly from beginning to end, although there’s not a continuous link between all nine tracks.
‘Voyager’ kicks off the album as a reflective starter, leading to ‘What Goes Up…’ (a meditation on the futility of all earthly things), then leading to ‘The Eagle Will Rise Again’ (a final melancholy thought upon determination for resurgence): the threesome are really very well integrated, thus stating the duality of ups and downs as the central point of ‘Pyramid’. Next, ‘One More River’ reincides on the strength of determination in a pop-rock context, only to be segued into ‘Can’t Take It With You’, which reminds us that by our time of dying, we shall leave all the things we struggled for behind us – the opening whistling feels quite creepy, actually. ‘In the Lap of the Gods’ is the most splendorous number in the album, a dazzling manifestation of symphonic progressive where the orchestra, choir, and rock band interact with full majesty. Its abrupt end is followed a couple of seconds later by the bang of a gong, which is where the funny ‘Pyramania’ starts (something like Alan Parsons Project’s version of Supertramp’s ‘Dreamer’): its folly ambience is accurate for the lyrics, which mock at the new age pseudo-mystical stuff. ‘Hyper-Gamma-Spaces’ shows APP drawing closer to the electronic ambiences of J-M Jarre and Kraftwerk, while getting “rockier” than the former and not as “robotic” as the latter. This lush electronic exercise seems to be a celebration of the cosmic powers of creation and regeneration, but before things get too exulting, here comes ‘Shadow of a Lonely Man’. This overwhelming symphonic ballad is nothing but a self-pitying, dramatic portrait of riches to rags, which serves as a reminder of the fact that all men and all things, no matter how grandiose, share a common fate of death and oblivion.
All things must pass, and ‘Pyramid’ states it beautifully.
Line-up:
- Stuart Elliott / drums, percussion
- Ian Bairnson / guitars
- David Paton / guitars, bass, vocals
- Alan Parsons / acoustic guitar, keyboards, vocals
- Eric Woolfson / keyboards
- Duncan MacKay / keyboards
- Andrew Powell / orchestra & choir arranger and conductor
- Colin Blunstone / vocals
- Dean Ford / vocals
- David Paton / vocals
- Lenny Zakatek / vocals
- Jack Harris / vocals
- John Miles / vocals
Track List:
01. Voyager (2:24)
02. What Goes Up… (3:31)
03. The Eagle Will Rise Again (4:20)
04. One More River (4:15)
05. Can’t Take It With You (5:06)
06. In The Lap Of The Gods (5:27)
07. Pyramania (2:45)
08. Hyper-Gamma-Spaces (4:19)
09. Shadow Of A Lonely Man (5:34)
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Alan Parsons Project – Eye in the Sky (1982) (@256)
22 Apr 2007
(Review from seaoftranquility.org)
Once you hear the familar sounds of Alan Parsons’ fairlight and layered synths from Eric Woolfson & Haydn Bendall on the opening “Sirius”, a classic Alan Parsons Project instrumental piece that became a familiar theme to many sporting events, so begins the popular 1982 release Eye In the Sky.
The title track was a big hit on FM rock radio back when the album was originally released, a lush pop/prog song with Woolfson’s emotional vocals and swirling Wurlitzer, complemented nicely by Ian Bairnson’s tasty guitar work, who is a vastly underrated player. The engaging “Children of the Moon”, which features plenty of proggy keyboards from Woolfson and a soulful vocal from bassist David Patton. Check out the soaring choir and orchestra on this one, as well as some jazzy piccolo trumpet from John Wallace. The layers of vocals on the quirky “Gemini” almost remind of Gentle Giant with a Pink Floyd edge, while the somber yet catchy “Silence and I” is a 7+ minute piece with lush keyboards and orchestra, plus another solid vocal from Woolfson. About mid-way through the song things pick up quite a bit, and it actually turns into a bombastic classical flavored rocker, with a tasty guitar solo from Bairnson to close things out.
“You’re Gonna Get Your Fingers Burned” is a funky rocker, very typical of early 80′s AOR material, littered with tight keyboard work from Parsons, crunchy guitar riffs, and plenty of catchy vocal melodies. The popular “Psychobabble” is a proggy yet funky track with plenty of hooks and classy instrumentation, while “Mammagamma” is a futuristic sounding instrumental not unlike some of the Tangerine Dream output of the same era. Expect loads of synths, delayed guitar riffs, and electronic drum programming on this one. ‘Step By Step” is a fairly generic funk rocker, easily the weakest track on the album, and the closing “Old and Wise” sees the band return to dreamy, orchestral progressive rock, complete with emotional vocals, layers of keys, strings, brass, and reeds. The sax solo from former King Crimson member Mel Collins is especially noteworthy on this one.
Line-up:
* Alan Parsons – keyboards, fairlight programming
* Eric Woolfson – keyboards, vocals
* Andrew Powell – keyboards, orchestral arrangements
* Ian Bairnson – guitar
* Mel Collins – saxophone
* David Paton – bass, vocals
* Stuart Elliott – drums & percussion
* Chris Rainbow – vocals
* Lenny Zakatek – vocals
* Elmer Gantry – vocals
* Colin Blunstone – vocals
Track List:
01. Sirius (1:48)
02. Eye In The Sky (4:33)
03. Children Of The Moon (4:49)
04. Gemini (2:09)
05. Silence And I (7:17)
06. You’re Gonna Get Your Fingers Burned (4:50)
07. Psychobabble (4:50)
08. Mammagamma (3:34)
09. Step By Step (3:52)
10. Old And Wise (4:52)
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Alan Parsons Project – Freudiana (1990) (@256)
16 Feb 2007
(Review from allmusic.com, amazon.com)
Back in the ’70s, engineer/producer Alan Parsons wanted to dedicate an entire album to fantasy writer Edgar Allan Poe. He hired numerous musicians and singers to help him in what would become the first album of the Alan Parsons Project. Initially meant to be a one-time experience, the “project” turned into a full-time band, and quite a successful one, with that. Some two decades later, Eric Woolfson, Parsons’ long-time companion, puts up his own project. This time, it is not about Poe but about Freud. The subsequent band and album are both named Freudiana, as is one of the tracks. And of course, the whole is produced by — who else — Alan Parsons himself. The result is a concept album which offers — to quote the liner notes: “an image of the composer seen through a Freudian mirror.”
1990′s “Freudiana” was the last album that singer/composer Eric Woolfson collaborated on with Alan Parsons. It is an Alan Parsons Project album in all but name. It features virtually the exact same revolving door of musicians & singers that have featured on previous Project albums, such as co-leaders Parsons & Woolfson, guitarist Ian Bairnson, drummer Stuart Elliot, and “Gaudi” bassist Laurie Cottle, as well as singers Graham Dye, Chris Rainbow, John Miles & Eric Woolfson himself, along with “newcomers” Leo Sayer, Kiki Dee, and 10cc’s Eric Stewart. “Freudiana” is structured like a Project album, and it’s incredible music & production sounds like a Project album.
After “Freudiana,” Woolfson parted ways with Alan Parsons to concentrate on musical theater (and “Freudiana,” in fact, was later staged as a musical in Vienna in December of 1990). While Parsons continues to make albums under his own name (minus the “Project” moniker), it can’t be denied that Woolfson’s unique singing & songwriting contributions are missed. But he couldn’t have chosen a better album to exit with — many Alan Parsons Project fans actually name “Freudiana” as their favorite “Project” album.
The lyrics go through various interpretations of Freud’s works, studying all his most famous cases (Wolfman, Ratman, Dora, Little Hans, Schreber and the Judge). Some songs (like “Little Hans”) are reminiscent of the Beatles — which shouldn’t be too surprising, considering Woolfson used to be a member of Herman’s Hermits. Others are obvious reminders of the Alan Parsons Project (most noticeably “Dora”). The rest can be progressive at times (“Funny You Should Say That,” “No One Can Love You Better Than Me”) and the whole is very creative and intelligent. Lead vocals, as on all of the Alan Parsons Project releases, are shared by a number of singers — from Woolfson himself to Kiki Dee, Eric Stewart and John Miles. The strongest performances are by Leo Sayer (“I Am a Mirror”) and the Flying Pickets (on the strange, yet incredibly powerful, “Funny You Should Say That”).
Line-up:
- Laurie Cottle / bass
- Stuart Elliott / drums and percussion
- Ian Bairnson / guitars
- Eric Woolfson / keyboards, vocals
- Richard Cottle / synthetizers and saxophones
- Alan Parsons / additional keyboards
- Andrew Powell / orchestra arrangement and conduction
- Leo Sayer, Graham Dye, The Flying Pickets, Kiki Dee, Eric Stewart, Frankie Howerd, Marti Webb, Gary Howard, Chris Rainbow, John Miles / vocals
Track List:
01. The Nirvana Principle
02. Freudiana
03. I Am A Mirror
04. Little Hans
05. Dora
06. Funny You Should Say That
07. You’re On Your Own
08. Far Away From Home
09. Let Yourself Go
10. Beyond The Pleasure Principle
11. The Ring
12. Sects Therapy
13. No One Can Love You Better Than Me
14. Don’t Let The Moment Pass
15. Upper Me
16. Freudiana
17. Destiny
18. There But For The Grace Of God
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