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THE ALAN PARSONS PROJECT

Crossover Prog • United Kingdom


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The Alan Parsons Project picture
The Alan Parsons Project biography
Formed in 1975 - Somehow active until 1990 (last record release in 1987)

The ALAN PARSONS PROJECT is a "project" of acclaimed English producer Alan PARSONS, best known for his works with The BEATLES's "Abbey Road" and PINK FLOYD's "Dark Side of the Moon". Along with songwriter Eric WOOLFSON, PARSONS created a series of 10 (and counting) albums of progressive rock, employing a rotating cast of session musicians to do most of the performing. (PARSONS does play keyboard and sings on some tracks.). He creates the concept, writes some of the music and hires the artists, while WOOLFSON writes the lyrics, some of the music and sings on many tracks. Additionally, Andrew POWEL joined the project in 1976 as musical arranger.

"Tales of Mystery and Imagination" (1975): The theme of this album is inspired by he works of Edgar Allen Poe.
"I Robot" (1977): The story of the rise of machine and the decline of man, which paradoxically coincided with his discovery of the wheel.
"Pyramid" (1978): "Pyramid" examined the power of ancient myths.
"Eve" (1979): "You can't live with them. You can't live without them."
"The Turn of a Friendly Card" (1980): "a reflection of something that was going on in my subconscious. It's tied up with Monte Carlo, gambling there and taking risks generally."
"Eye in the Sky" (1982): "a cautionary tale about the loss of individualism."
"Ammonia Avenue" (1984): The title track was inspired in part by a Petro-Chemical plant in Middlesborough, England.
"Vulture Culture" (1984): "an unsparing look at modern society, at contemporary relationships and the business of popular culture."
"Stereotomy (1985)": The word Stereotomy comes from Poe's "The Murders in the Rue Morgue".
"Gaudi" (1987): This album was inspired by the life and works of Antonio Gaudi (1852-1926), a Catalan architect whose grand conception, The Sagrada Familia Cathedral in Barcelona.
"Freudiana" (1990): PARSONS and WOOLFSON planned an album called "Freudiana", about the psychiatrist Sigmund Freud.

See also: ALAN PARSONS

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THE ALAN PARSONS PROJECT discography


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THE ALAN PARSONS PROJECT top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.07 | 765 ratings
Tales of Mystery and Imagination
1976
3.81 | 590 ratings
I Robot
1977
3.44 | 421 ratings
Pyramid
1978
2.75 | 339 ratings
Eve
1979
3.58 | 482 ratings
The Turn of a Friendly Card
1980
3.40 | 513 ratings
Eye in the Sky
1982
2.99 | 296 ratings
Ammonia Avenue
1984
2.40 | 253 ratings
Vulture Culture
1984
2.77 | 245 ratings
Stereotomy
1985
3.05 | 263 ratings
Gaudi
1987
2.76 | 73 ratings
The Sicilian Defence
2014

THE ALAN PARSONS PROJECT Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

2.10 | 11 ratings
Extended Versions
2004
4.00 | 21 ratings
Live In Colombia
2016

THE ALAN PARSONS PROJECT Videos (DVD, Blu-ray, VHS etc)

3.94 | 14 ratings
Live in Colombia
2016

THE ALAN PARSONS PROJECT Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

2.63 | 50 ratings
The Best of Alan Parsons Project
1983
2.83 | 30 ratings
The Best of the Alan Parsons Project Vol. II
1988
2.77 | 36 ratings
The Instrumental Works
1988
4.21 | 10 ratings
Anthology
1991
3.57 | 29 ratings
The Definitive Collection
1997
2.96 | 4 ratings
Works
2002
3.83 | 6 ratings
Anthology
2002
3.25 | 4 ratings
Silence and I: The very Best of
2003
4.11 | 19 ratings
The Essential Alan Parsons Project
2007
4.67 | 3 ratings
The Collection
2010
4.53 | 8 ratings
I Robot (Legacy Edition)
2013
4.08 | 7 ratings
The Complete Albums Collection
2014

THE ALAN PARSONS PROJECT Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

4.85 | 5 ratings
To One In Paradise
1976
4.00 | 3 ratings
(The System Of) Doctor Tarr And Professor Fether
1976
5.00 | 3 ratings
The Raven
1976
4.00 | 5 ratings
I Wouldn't Want To Be Like You
1977
3.07 | 8 ratings
Hyper-Gamma-Spaces
1978
4.00 | 3 ratings
Pyramania
1978
2.56 | 7 ratings
Lucifer
1979
3.00 | 2 ratings
Damned If I Do
1979
4.50 | 2 ratings
Lucifer
1979
4.33 | 3 ratings
The Turn of a Friendly Card / May Be a Price to Pay
1980
3.33 | 3 ratings
The Gold Bug / Snake Eyes
1980
3.13 | 5 ratings
Games People Play / The Ace of Swords
1980
2.60 | 5 ratings
An Eye Opener 7'' flexi
1981
3.83 | 10 ratings
Time
1981
3.55 | 16 ratings
Eye In The Sky (single)
1982
4.04 | 5 ratings
Old and Wise
1982
4.33 | 3 ratings
Eye in the Sky / Gemini
1982
3.67 | 3 ratings
Psychobabble
1982
4.00 | 1 ratings
You Don't Believe / Lucifer
1983
3.00 | 2 ratings
Prime Time
1984
2.00 | 3 ratings
Days Are Numbers
1984
2.71 | 7 ratings
Let's Talk About Me
1985
1.00 | 1 ratings
Stereotomy
1985
3.00 | 2 ratings
La Sagrada Familia
1986
2.00 | 1 ratings
Standing On Higher Ground
1986

THE ALAN PARSONS PROJECT Reviews


Showing last 10 reviews only
 Eye in the Sky by PARSONS PROJECT, THE ALAN album cover Studio Album, 1982
3.40 | 513 ratings

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Eye in the Sky
The Alan Parsons Project Crossover Prog

Review by Dapper~Blueberries
Prog Reviewer

3 stars Well, The Alan Parsons Project wasn't always the most proggiest or experimental band back in the 70s, in fact I'd say they were just straight up prog pop like ELO or Supertramp, so what they got going for them with Eye In The Sky isn't quite surprising to me.

This is the band's most popular album, with, I think, I Robot and The Turn Of The Friendly Card being close behind. Unlike those albums, Eye In The Sky is more or less a standardized artsy?poppy soft rock album for the 80s. Now admittedly, I am actually fine with this direction Alan Parsons Project takes here, they definitely already had a knack for pop music so this isn't bad to me, but you can definitely tell these songs were kinda made for the radios and single sales.

The best way to describe this album in my opinion is that it is a good pop album, but not really the best Alan Parsons Project album. I think the best aspect of the album is obviously Alan Parsons production, as expected with anything he has a hand in, and also the first side of the album. I think Sirius through Silence And I are some of the best music the band has created, with the more fun pop comings of Eye In The Sky and Gemini, to the more overtly art rock Children Of The Moon and Silence and I. Silence and I is especially my favorite track off this album, due to its power and emotion that builds throughout its 7 minute run.

However, the album definitely showcases its potholes with the second side. Unlike the moody, and more artistic first side, side B is a lot more basic (for lack of a better term) in terms of music, having a lot of songs that are kinda your usual soft rock flair from the 80s. I am not that offended by the second side, mostly since I grew up in a more pop loving household so the sound is a bit more well known for my tastes, but some of these songs I feel just aren't really that good, especially You're Gonna Get Your Fingers Burned and Step by Step. I also feel like compared to the first side it just doesn't stack as well. I mean how are you gonna compare the slightly lackluster instrumental Mammagamma with the pretty and somber Gemini?

I would be a lot more forgiving if this wasn't an Alan Parsons Project album, but since it is, and since this band has made some really great music especially on their second sides (IE The Fall Of The House Of Usher suite and The Turn Of The Friendly Card suite) I feel like I can give this album it's dues and critiques, especially since after this album the band kinda starts to sound like they are constantly trying to do what this album does, instead of trying new and fresh ideas like they did before. Well, the second side isn't all that bad, Old and Wise is on it and that song is a fantastic closer in my humble opinion.

Again, this is not a bad album, but for Alan Parsons Project standards it is kinda lukewarm. There are definitely a lot of good moments on here, but the very top heavy song structure, plus the very middle of the road songs on the second side just doesn't get me wanting to return to it all that much. If you like the more pop stylings of Yes or Genesis in the 80s then this isn't a bad record to put on your shelf, but if you want something more proggy like what this band did before, you'd best be looking somewhere else.

 I Robot by PARSONS PROJECT, THE ALAN album cover Studio Album, 1977
3.81 | 590 ratings

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I Robot
The Alan Parsons Project Crossover Prog

Review by Frets N Worries

4 stars 8/10 A great concept album, I'm not sure if it's technically considered a 'Rock Opera' but it's definitely a concept album, the gatefold says '"I Robot... The story of the rise of the machine and the decline of man, which paradoxically coincided with his discovery of the wheel... and a warning that his brief dominance of this planet will probably end, because man tried to create robot in his own image." The title track is great, but those next 3 songs after that are the best on the album. 'Some other Time' being my favorite, though 'Breakdown' and 'I Wouldn't Want to be like You' are great, highly recommend if you're into the catchier, poppy side of prog rock.
 Gaudi by PARSONS PROJECT, THE ALAN album cover Studio Album, 1987
3.05 | 263 ratings

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Gaudi
The Alan Parsons Project Crossover Prog

Review by Warthur
Prog Reviewer

3 stars The final Alan Parsons Project album is something of a return to form, after three albums in a row of prog-light art pop which got well into diminishing returns. Inspired by the titular architect, it's propped up by two more progressive pieces at the start and end - La Sagrada Familia and Paseo De Gracia - and some lighter, poppy numbers in between. The pop numbers are of the sort of quality of the better tracks from Ammonia Avenue, Vulture Culture, or Stereotomy, whilst the more ambitious numbers are a return to the band's pre-Eye In the Sky magic.

In particular, La Sagrada Familia works in elements of traditional Spanish music and bombastic opera, offering a richer range of sounds than the band had offered since at least as far back as Turn of a Friendly Card. Paseo De Gracia, likewise, incorporates Spanish guitar to add an air of drama to proceedings.

It's the pop numbers in the middle which are shakier. Too Late has a bit of bite to it, Closer To Heaven is fine, but Standing on Higher Ground, Money Talks, and Inside Looking Out are lacklustre and overlong.

As such, I'm inclined to say that whilst Gaudi is an improvement over Stereotomy - in my view their weakest album of the 1980s - it's not a radical one. It may be that, starting and finishing strong as it does, it leaves the listener with a better impression than it perhaps deserves, since thinking back on it you'll remember the good moments and overlook the weaker patches. Call it three and a half stars, rather than a return to the four star standards of their better works.

 The Complete Albums Collection by PARSONS PROJECT, THE ALAN album cover Boxset/Compilation, 2014
4.08 | 7 ratings

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The Complete Albums Collection
The Alan Parsons Project Crossover Prog

Review by Warthur
Prog Reviewer

4 stars A no-fuss boxed set of the full run of Alan Parsons Project albums. Note that it is just that, no more - no Alan Parsons Live Project, no Alan Parsons solo, no Eric Woolfson solo, and in particular no Freudiana, an album which began as a Project album but was eventually released under the "Freudiana" name because of creative differences between Parsons and Woolfson.

It's a compact, affordable way to get the complete run of releases from the band, all sounding delightful. Why only four stars, then? Well, it's largely because the Project was very much a four-star band at best. They produced some good albums, they produced some which were only lukewarm, but to my ears at least they never produced an album which was truly great; four stars was very much their ceiling.

At the same time, because of the modest pricing of this CD set it's prompted me to finally sit down and listen to some Project albums I never previously got around to - all of which have their finer moments here and there - which I might not otherwise have done. So if you want a one-purchase-and-done APP collection, this is what you want.

 Stereotomy by PARSONS PROJECT, THE ALAN album cover Studio Album, 1985
2.77 | 245 ratings

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Stereotomy
The Alan Parsons Project Crossover Prog

Review by Warthur
Prog Reviewer

3 stars With somewhat longer songs starting to make their way back on to the track listing, one might come to Stereotomy hoping to hear a return to the Alan Parsons' Project more imaginative prog-leaning roots. Nope - it's another art pop album in the vein of Ammonia Avenue or Vulture Culture.

It's the sort of thing which wouldn't sound amiss on the same playlist as mid-1980s era Genesis, and if you like that, you'll probably like this album, though as with its two predecessors you'll only like it; you won't love it, you won't rave about it, and whilst this incarnation of the Project might share the same bill as the contemporary version of Genesis, that's the big difference.

Sure, if you specifically want prog then neither act is going to offer you much - but if you come to this from a pop perspective, Genesis at the height of their pop period were simply more exciting and refreshing than the Alan Parsons Project were. For that matter, they did at least have little departures to offer like Home By the Sea/Second Home By the Sea; that's not the case here. Even if you personally don't like mid-1980s Genesis, you can imagine how someone might be very enthusiastic about them.

I can't think very many people at all are enthused by the Alan Parsons Project's mid-1980s pop albums, by comparison, and this might be my least favourite of the Ammonia Avenue/Vulture Culture/Stereotomy triptych, with Limelight in particular being a big cheesy torch song which does nothing for me. The long instrumental Where's the Walrus is the closest thing we get here to any sort of progressive flourish, and perhaps saves the album from being a write-off in my eyes, but it's barely clinging to a three-star rating whereas I'd put both of its predecessors at the low end of three and a half stars. It may well be the group's weakest effort, though Eve gives it a run for its money in that race.

 Vulture Culture by PARSONS PROJECT, THE ALAN album cover Studio Album, 1984
2.40 | 253 ratings

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Vulture Culture
The Alan Parsons Project Crossover Prog

Review by Warthur
Prog Reviewer

3 stars For better or worse, from their debut to Ammonia Avenue each new Alan Parsons Project sounded at least somewhat new. Sure, you knew you were getting in terms of the general musical style, but at least you had some conceptual touches which made subtle but crucial differences to the atmosphere. Not so with Vulture Culture - this is basically Ammonia Avenue II: Nitrogen Neighbourhood.

If you liked the art pop stylings of Ammonia Avenue, that's not necessarily such a bad thing - you'll probably like this one. (I particularly enjoyed Let's Talk About Me, which has a bit more bite than any other song on this album or the previous one.) On the other hand, you probably won't do much more than like it. There's something to be said for making a choice between being loved by a few or liked by many - but it feels like in the mid-1980s the Alan Parsons Projects were choosing between being loved by a few or liked by a few, and chose the latter.

 Ammonia Avenue by PARSONS PROJECT, THE ALAN album cover Studio Album, 1984
2.99 | 296 ratings

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Ammonia Avenue
The Alan Parsons Project Crossover Prog

Review by Warthur
Prog Reviewer

3 stars From their debut to The Turn of a Friendly Card, the Alan Parsons Project was producing pop-friendly prog rock; on Eye In the Sky, they crossed the border into rock-tinged prog pop. Ammonia Avenue finds their sound leaning harder on their poppier tunes, and with less in the way of progressive flourishes than ever before.

Whether this is a disaster or merely a further musical evolution is a matter of perspective. If you slide Ammonia Avenue in alongside the art pop produced by prog veterans in the 1980s, like post-Abacab Genesis or 90125-era Yes, it's a more than acceptable album in that style. But if you're only interested in the prog side of the Project, and wish their musical evolution had gone in exactly the opposite direction, you're not going to keen on this.

For my part, I fall into the former camp, but I would say that the album is pleasant, enjoyable, nice, entertaining... all those lukewarm second-tier praise words. It's not gripping in the way a really excellent album, whether prog or pop, can be.

 The Sicilian Defence by PARSONS PROJECT, THE ALAN album cover Studio Album, 2014
2.76 | 73 ratings

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The Sicilian Defence
The Alan Parsons Project Crossover Prog

Review by Warthur
Prog Reviewer

3 stars In 1979, Alan Parson and his Project partner Eric Woolfson were dissatisfied with their current contract with Arista. Feeling like they'd been taken for a ride, they decided to rapidly knock something out in a hurry to deliver to the label along with Eve - thereby giving them two albums at once and wrapping up their contractual requirements as a gambit to get Arista to the negotiating table.

In the long run, this led to a new deal, and a happier Parsons and Woolfson going away to put out The Turn of a Friendly Card, which would be something of a return to form after the patchy Eve. As for The Sicilian Defence, it was stuck in the vault, eventually getting an official release as part of the Complete Albums Collection boxed set. Previously, Alan Parsons had been very against it getting a release, though Woolfson had put out one of its tracks as a bonus track on something, and Parsons eventually relented for the sake of making sure that box was as complete as the name implied.

So, what do you get on here? There's an extent to which this is "APP Goes Tangerine Dream", with synth-based tracks sounding much like the output of Edgar Froese's merry band (or, for that matter, Jean-Michel Jarre) as of the close of the 1970s. Other tracks resort to acoustic piano instrumentals, played in a charming and graceful fashion. Indeed, initially the tracks seem to alternate synthesiser/acoustic/synthesiser/acoustic - in keeping with the concept of a chess game with alternating sides taking their turns - though the pattern ends up breaking by the fifth track. (The chess moves in the title tracks are legitimate, and to my eyes set up a situation where black ends up in quite a strong position - it's the "Classical Variation" on the Sicilian Defence, hence perhaps the classical music influences on the instrumentals which get teased out as the album progresses.)

Certainly, though it was blitzed through in three days as a contractual obligation piece, there was at least some effort put into this: if you just want to fill 40 minutes of tape there's faster and easier ways of doing it, after all, but I guess professional pride (and the risk that the record company might actually call their bluff and release the thing) forced Parsons and Woolfson to produce something which had just a little polish to it. That said, there's a certain repetitiveness to the whole thing - each track is fairly clearly based on a fairly limited set of musical ideas which the duo vamp on until they've hit enough time.

If you are hoping for something like the Project's other albums, you can more or less rule it out - at most this is a collection of sketches of tunes which might have become Alan Parsons Project albums given a little more time to percolate and develop. On the other hand, if the idea of a more raw, stripped-back approach of just Parson and Woolfson noodling through some musical ideas appeals, then there's something to enjoy here.

 Eve by PARSONS PROJECT, THE ALAN album cover Studio Album, 1979
2.75 | 339 ratings

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Eve
The Alan Parsons Project Crossover Prog

Review by Warthur
Prog Reviewer

3 stars The fourth Alan Parsons Project album is yet another crisply produced collection of tunes. Sonically speaking, things lean a little more towards a prog-pop direction than the first three albums (though not enormously so, since there'd always been a dose of that in the mix), though perhaps a little less inspired and catchy than preceding releases from the group, and lyrically speaking the album is a mess.

The participants have insisted that the idea was about the challenges women face, though frankly it comes across more like a bunch of men demonising women - indeed, no women are heard at all on 7 of the 9 tunes here, with only Clare Torry and Lesley Duncan getting a chance to be heard, and it's hard not to see the album as being more about mens' views of women than it is about women themselves.

This might be a clever and insightful theme for a concept album if more of an attempt were made to challenge and self-criticise those views, rather than simply taking them as read - but as it stands, it just feels faintly embarrassing, with points which sound like the audio equivalent of an incel message board.

This is exacerbated by the structure of the album; the idea seems to have been to present the negative side of women on side one, and the positive side on side two (which includes the two tracks which have women on lead vocals). There's two issues that mean it doesn't quite work; the first is that it's a concept which inherently is based around grand, sweeping generalisations, and the second is that the condemnation on side 1 seems to vastly outweigh the praise in side two, leaving the whole thing seeming imbalanced.

To be fair, only I'd Rather Be A Man would stand out as being especially misogynistic if you took it on its own - the rest of the compositions here would be inoffensive if heard in isolation. It's when you put them all together in one package that side 1 ends up seeming so ugly and bitter, and overshadows side 2's more conciliatory tone so much.

The bitterness may have been exacerbated by the fact that Parson and Woolfson were at odds with Arista at this time, and were grumpy about their contract. Indeed, this would be around the time that they knocked off The Sicilian Defence in three days, delivering it to the record company simultaneously with Eve, in order to burn through their contractual obligations and leverage Arista back to the barganining table. The end result was a renewed contract and something of a return to form on The Turn of a Friendly Card.

The Sicilian Defence was an infamous goof-off - a deliberately lazy effort that Parsons and Woolfson didn't seriously expect to see the light of day - but it's hard not to feel like they may have been holding back a little here, keeping back their most choice ideas just in case that contract negotiation fell through and they needed to offer something tasty and tempting to some other record company.

The end result is that Eve barely scrapes to three star status off the back of the pristine production and lush instrumental backing to its compositions, but the combination of Parsons and Woolfson semi-phoning it in and the bitter tone of the whole thing means it's hard to give it more credit than that.

 I Robot by PARSONS PROJECT, THE ALAN album cover Studio Album, 1977
3.81 | 590 ratings

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I Robot
The Alan Parsons Project Crossover Prog

Review by Dapper~Blueberries
Prog Reviewer

4 stars When people think about Alan Parsons, I figure most would think of his production work with The Beatles and Pink Floyd, however it isn't uncommon for people to think of The Alan Parsons Project too. The Alan Parsons Project were a crossover Prog band from the late 70s through 80s, and is considered to be a real home star runner of the progressive pop in that strange era for Prog music. The project was basically a duo of Alan Parsons and Eric Woolfson. Most people when they think of this duo would be their 80s output of Eye In The Sky, or perhaps The Turn Of The Friendly Card. More Progheads would look towards their first two albums though, especially I Robot.

I Robot is one of APP's most acclaimed albums in the 70s, and for really good reasons. I think the main appeal here is the fact that this came out during the time when Prog rock was starting to fade from public consciousness, and with this album's more pop-like approach, they managed to create an album that both popheads and progheads could enjoy. I find the main appeal for this album, for me at least, is the strong musical architecture this duo creates. You get flavors of your usual, classic Prog rock affair, but mixed with funk, ambient, soft rock, and even a bit of Pink Floydian sounding space rock with Day After Day (The Show Must Go On). It really allows this record to feel like an actual project the two members worked on. Something to test their own sounds and stylizations, and I am all for it. Not only do they harness that fun and lively 70s pop into their progressive sound, but they also bend their own flutes and try to make something that is quite varied in their approach.

This record is a concept album, and one that, at the surface, might not seem so apparent. Basically, it draws slight concepts from Isaac Asimov's Robot Stories, which delves in philosophies and themes from AI, and humanity. I find it cool that Asimov was around to happily approve and listen to this final conceptual work. In fact, many of the album's themes draw from these books, especially on the last track of Genesis Ch. 1 V.32, which is an implication piece, drawing parallels to the Bible's Genesis story, having a first chapter that has 31 verses, and so this song being a 32nd verse showcases a new age of life, being a lot more robotic yet still alive. While the concept is considerably loose, I find it really cool how the story of these books draws their seams into the album's workings, kinda like how The Flaming Lips would do 24 years later with Yoshimi Battles the Pink Robots. This album has a lot more of a mechanical and cold feel, but still resonates that fun, carefree pop tone APP is quite known for, which I think is quite appealing.

I do have some problems with this record, and it's that I feel as though they really gave out some missed opportunities for something greater. I wasn't looking for any epics since I can find them in their first and fifth record, but I won't deny that tracks like Some Other Time, Nucleus, and especially Total Eclipse left me in the cold. They weren't as big or as excellent sounding as Breakdown or The Voice, which is quite disappointing. Also I felt the length of the record was quite underwhelming. I kinda, no, really wanted there to be some sort of grander ending, possibly with Genesis Ch. 1 V.32 being a lot longer than 3 minutes (possibly 7 or 8 minutes) as it develops more and more upon itself, giving this album a great closure. Either way, even if this album has a few missed potentials and a few chilled feet, I think this is quite a charming little album.

I decided to listen to another APP album because of this record, and so it made me a fan of this duo's unique blending of pop rock, Prog rock, and many other genres. I won't say it is an essential listening experience, especially in regards to 1977 albums, but this is not a bad record, and in fact one that is worth looking into for anyone curious to get in APP like I did. A cold, metallic album that despite its breezes can still warm up a groove in my feet.

Thanks to ProgLucky for the artist addition. and to NotAProghead for the last updates

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