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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 | 796 ratings
Tales of Mystery and Imagination
1976
3.83 | 624 ratings
I Robot
1977
3.47 | 448 ratings
Pyramid
1978
2.76 | 356 ratings
Eve
1979
3.59 | 510 ratings
The Turn of a Friendly Card
1980
3.41 | 543 ratings
Eye in the Sky
1982
2.99 | 311 ratings
Ammonia Avenue
1984
2.40 | 263 ratings
Vulture Culture
1984
2.77 | 254 ratings
Stereotomy
1985
3.05 | 275 ratings
Gaudi
1987
2.74 | 78 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
4.03 | 22 ratings
Live In Colombia
2016

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

3.97 | 15 ratings
Live in Colombia
2016

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

2.65 | 55 ratings
The Best of Alan Parsons Project
1983
2.86 | 33 ratings
The Best of the Alan Parsons Project Vol. II
1988
2.79 | 39 ratings
The Instrumental Works
1988
4.25 | 11 ratings
Anthology
1991
3.57 | 30 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
4.12 | 21 ratings
The Essential Alan Parsons Project
2007
4.75 | 4 ratings
The Collection
2010
4.60 | 11 ratings
I Robot (Legacy Edition)
2013
4.11 | 9 ratings
The Complete Albums Collection
2014

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

4.86 | 8 ratings
To One In Paradise
1976
4.04 | 6 ratings
(The System Of) Doctor Tarr And Professor Fether
1976
5.00 | 5 ratings
The Raven
1976
4.06 | 8 ratings
I Wouldn't Want To Be Like You
1977
3.10 | 10 ratings
Hyper-Gamma-Spaces
1978
4.17 | 6 ratings
Pyramania
1978
2.63 | 10 ratings
Lucifer
1979
3.60 | 5 ratings
Damned If I Do
1979
4.75 | 4 ratings
Lucifer
1979
4.33 | 6 ratings
The Turn of a Friendly Card / May Be a Price to Pay
1980
3.60 | 5 ratings
The Gold Bug / Snake Eyes
1980
3.22 | 8 ratings
Games People Play / The Ace of Swords
1980
2.67 | 6 ratings
An Eye Opener 7'' flexi
1981
3.81 | 12 ratings
Time
1981
3.56 | 17 ratings
Eye In The Sky (single)
1982
4.04 | 7 ratings
Old and Wise
1982
4.33 | 6 ratings
Eye in the Sky / Gemini
1982
3.80 | 5 ratings
Psychobabble
1982
4.33 | 3 ratings
You Don't Believe / Lucifer
1983
3.50 | 6 ratings
Prime Time
1984
2.13 | 5 ratings
Days Are Numbers
1984
2.75 | 8 ratings
Let's Talk About Me
1985
1.50 | 4 ratings
Stereotomy
1985
3.00 | 4 ratings
La Sagrada Familia
1986
3.00 | 3 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
3.41 | 543 ratings

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Eye in the Sky
The Alan Parsons Project Crossover Prog

Review by ASPROG

3 stars "Eye In The Sky" is the sixth album by Alan Parsons Project and it makes me think two things: 1) It is one of the most beautiful albums I have ever listened to but 2) it is nothing but a great Soft Rock album!

In 1982, Progressive Rock wasn't the most popular and everything that was Progressive in music was read as something that made you say: "Look how good we are!". Yet "Eye In The Sky" is an album that could still be written, recorded and produced today without changing a thing. But it's a typical 80's album. Nothing to say against the songs included here... Some are close, in some parts, to Progressive POP but they are not even remotely similar to Prog. Yet "Eye In The Sky" is an album that is still perfect, as soon as it was released. I honestly prefer it to Asia's albums (which I don't know if they are Prog or AOR). In fact I prefer albums like GTR's (fantastic AOR) or 3's (another fantastic AOR album).

Today describing the songs contained in "Eye In The Sky" makes no sense. Better to discuss the production and the sound. But, after all, Alan Parsons is the man behind the console of a masterpiece like "Dark Side Of The Moon" by Pink Floyd and if that album is considered the perfection of sound why shouldn't "Eye In The Sky" be? From this point of view "Eye In The Sky" is a bit too cold and predictable. And I prefer to listen to Vangelis' albums that are equally well produced or certain AOR albums that demand this level of recording, production and mixing. However, if you look closely, this is part of the game and makes "Eye In The Sky" an immortal album.

Whether you are a fan of Progressive Rock, Progressive POP, Soft Rock or AOR (and of course Progressive Soul) you can't help but love "Eaye In The Sky". Which, however, remains a great Soft Rock album with several connections to Progressive music.

 Pyramid by PARSONS PROJECT, THE ALAN album cover Studio Album, 1978
3.47 | 448 ratings

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Pyramid
The Alan Parsons Project Crossover Prog

Review by Heart of the Matter

4 stars Looking at the somber color shades in the album gatefold cover (oh, the vinyl days), I can't help the association with the tone that the concept of time passing in an almost unimaginably vast scale imposes to the music through the lyrics.

Days flowing countless like grains of sand, and all that jazz, you know. The decisive point in that sort of narrative is, I think, how infinitesimal human life appears by comparison. It's overwhelming, not for us, progressive rock listeners, but for us, tiny humans dragging our brief lives. The result is elegantly somber, and inapprehensibly distant, like the pyramid scape in the cover.

And I like it, as I like the entire side one, the monumental fixation of the percussion in Voyager, the suggestion of a cyclic tide behind every change in life in What Goes Up, the properly overwehlming part in The Eagle Will Rise Again, which is where the insignificant human implores in vain to the unreachable divinity, the insinuation of infinity necessarily overcoming mortality, in the fantastic ride of One More River (to cross), led by the terrific vocals of Lenny Zakatek, and the final meeting with The Boatman, who is restless while an insipid burocrat tells you that you Can't Take It With You (you knew it, didn't you?, not even your discs).

But not only pyramids we find in the Hipgnosis shot, there is also that guy that seems to be passing a hard time on the ominous background of the desert and, well, yes, our pyramid. Side two seems dominated by him, with his trivial obsessions in Pyramania, and his final loneliness in Shadow Of A Lonely Man. Two instrumental tracks unfold a distant and almost indifferent back courtain, with massive orchestra and choir In The Lap Of The Gods, with purely mechanical minimalism sustained by keyboards Hyper-Gamma Spaces.

Take the ride, if you haven't yet, but in any case don't wait too long, the boatman is getting restless.

 Tales of Mystery and Imagination by PARSONS PROJECT, THE ALAN album cover Studio Album, 1976
4.07 | 796 ratings

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Tales of Mystery and Imagination
The Alan Parsons Project Crossover Prog

Review by Dapper~Blueberries
Prog Reviewer

4 stars APP (Alan Parsons Project) is quite the band that emerged late within the progressive rock scene. I believe they made quite a mark within the culture of prog rock as a whole, as they seemingly were the spark for the progressive sounds that bands would start to approach within the mid to late 70s through to the 80s. Whilst they would get their marks within the eye of the public's sky with I Robot, and later on Eye In The Sky, they would start this experiment with something a bit different than what they would later make within their workings as a band. I am talking about the Edgar Allan Poe tribute piece of Tales Of Mystery And Imagination, released in 1976.

I want to preface this review by stating I am looking at the 1987 remix, which I believe to be the definitive listening for this record.

For a debut album's worth, this certainly is one that feels the most peculiar within the APP discography. Many of APP's workings are based around literature, or concepts inspired by literature. This is no exception, and the inspiration goes to, well, Edgar Allan Poe, a writer that needs no introduction to those that have read at least a little bit. Each of the 7 tracks are based around one of his stories, as opposed to what their next album, I Robot, would do by having most (or the entire story) within the album. For this review I decided to go to my school's library and check out a collection of stories from Poe, and so far I have read pretty much every story that this album tells, except for The Cask Of Amontillado and To One In Paradise.

Musically speaking, this album is just excellent. The best thing I would say about this record is certainly Alan Parsons' production, though that could be said with everything he had a hand in. Despite this, the heights I would say are the more symphonic stylings that persist within this record. They would move away with this more symphonic prog outlook in future releases, only really bringing it back up with The Turn Of A Friendly Card (which funnily enough also has a song based around a Edgar Allan Poe work). I feel like if they would do these songs, without the symphonic dramatics, they would fall a bit flat, but they certainly allow the ideas of Edgar's work to shine by adding such dramas into the mix.

This record also includes some of my favorite APP tracks yet. Of course the big 15 minute epic of The Fall Of The House Of Usher is a favorite of mine, being this vibrant and haunting classical melody, as well as (The System of) Doctor Tarr and Professor Fether being this groovy rock song that is both introspective in backing, but lively in front values. I would also point my attention to The Raven, which I think is just a superb song, combining funky pop sounds with magnificent prog to what I think is a very amazing and introspective jam. Certainly a highlight to what this album holds.

I believe there are no weak tracks, or at least no outright bad tracks. Perhaps maybe The Cask Of Amontillado and To One In Paradise, but even then they get quite the job done as very pretty tracks within the strong listing of songs here. Alan Parsons and Eric Woolfson certainly know how to write some fantastic stuff.

However, what I do find weakening about this record is less of the music, and more of the general lyricism that is found here. I certainly do agree with Billy Altman of Rolling Stone magazine that this album does not quite capture the same darkness and gothic ideals that a lot of Poe's stories deliver, especially in lyrics. The only track to really come close is that of The Tell-Tale Heart, and even then that song is a bit too upbeat for a story about a guy killing an old man (though I guess if The Beatles made songs about murder with the same upbeat tunes then I guess APP should as well). Now, as of writing this, I think it'd be cool to hear some of these songs in a more gothic rock or dark cabaret sound. Imagine a cover of The Raven from a band like Cocteau Twins or The Cure, or a cover of The Tell- Tale Heart by someone like Will Wood. Honestly, I think that'd be pretty awesome.

Some of the lyrics feel out of place too, or even strangely obtuse to the source material. While I love Usher and Doctor Tarr, even I can admit they just feel odd in the songwriting. Doctor Tarr feels more like an ad for the services provided by Doctor Tarr and Professor Fether, which I guess isn't too weird as in the original story the head of the Asylum, Monsieur Maillard, mentioned the revolutionary method of the two scientists, but merely only briefly which causes the unnamed narrator to try and find writings made by the two unknown scientists at the end, but even still lines like "You're in need of Doctor Tarr and Professor Fether" and "Just what you need to make you feel better" feels quite weird in context, even weirder than the stuff in the original story.

Usher is even weirder, having no lyrics, which to me seems like an odd choice. I guess the band wanted to create a track based around the vibes of the original story, but it kinda makes the epic feel out of place with the rest of the track listings, despite how great it is. I obviously do not hate these tracks, or think they are at all weak, but they certainly prove that for all their worth, I do not think Alan Parsons and Eric Woolfson have what it takes to do something within the macabre.

This album is in an odd limbo in the APP discography. The sound of it is quite different from stuff like I Robot or Turn Of The Friendly Card, and it is a record that has an aura that feels out of tune with the works of Poe, but in tune within them as well oddly enough. But, no matter how you cut it, this certainly is not a bad album, far from it. Certainly not the best APP album, or the best record to come out of the 1976 prog mythos, but what you do get out of this is some great music, and a picture of the evolving progression that prog rock was taking at the time. It's mysterious, it's imaginative, and while it might not fully grasp the papers of Edgar Allan Poe's works, they certainly achieve something in spirit. I recommend this to those who enjoy a more pop prog sound, but also enjoy some symphonics as well. It is an album worth exploring if you might so desire.

Best tracks: The Raven, (The System of) Doctor Tarr and Professor Fether, The Fall of the House of Usher

Weak tracks: The Cask of Amontillado, To One In Paradise

 Tales of Mystery and Imagination by PARSONS PROJECT, THE ALAN album cover Studio Album, 1976
4.07 | 796 ratings

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Tales of Mystery and Imagination
The Alan Parsons Project Crossover Prog

Review by progrockeveryday

4 stars I don't remember the last time I listened to the album, but the magic is the same. The first album by Alan Parsons Project transports you to the literary world of Edgar Allan Poe, with varied and rich music.

Starting with "A Dream Within A Dream" and "The Raven" Alan Parsons set his style for the rest of the discography. Then "The Tell-Tale Heart" breaks in (with an annoying and weird "aaaah", I always hated that haha) and the beautiful ballad "The Cask of Amontillado". Everything is what you have listened in better known albums like Eye In The Sky, the essence of Alan Parsons Project is something unique.

The most impressive part is the suite called "The Fall of the House of Usher", combining experimental art rock with orchestral sections, bringing some chaos to the record that "To One in Paradise" restore with an idyllic soft song.

If you want some accessible art rock but different and varied at the same time, this is a good choice.

 Eye in the Sky by PARSONS PROJECT, THE ALAN album cover Studio Album, 1982
3.41 | 543 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
3.83 | 624 ratings

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I Robot
The Alan Parsons Project Crossover Prog

Review by Frets N Worries

5 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 | 275 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
4.11 | 9 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 | 254 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 | 263 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.

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

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