Between 1976 and 1987 The Alan Parsons Project released ten albums, not bad for a band that was never really a band. As so often in my youth I was late to the scene of this prog rock outfit that featured catchy pop songs often backed by a full orchestra, coming in on their seventh album, 1984’s Ammonia Avenue (thanks to the video for “Don’t Answer Me”.) I bought their next three albums and then the project broke up, with Parsons going off to actually tour the songs he’d been recording for the past decade and his partner Eric Woolfson turning to musicals. I always kind of hoped they’d reunite one last time for another project but that never happened before Woolfson’s death in 2009.
I’ve also been a sucker for pop music backed by an orchestra, but it can be done well and it can be done very badly. The Alan Parsons Project, thanks in large part to Andrew Powell’s orchestrations, managed to wed the two types of music together in a complementary manner. I’m not a musicologist so I can’t really describe it better than that.
In any case, here’s how I rank their ten albums.
- Eye in the Sky (1982). The first half of this album is a seamless, perfect blend of every strength the project had, opening with the evocative (and to sports fans, very familiar) instrumental “Sirius” before moving on to the hit “Eye in the Sky” and closing with the semi-epic “Silence and I.” For an example of how effective Powell’s orchestrations were, listen to the guide vocal by Eric Woolfson of the same track on the remastered album, which doesn’t include the orchestration. The second half of the album is less substantial but still includes the excellent instrumental “Mammagamma” and closer “Old and Wise.”
- The Turn of a Friendly Card (1980). This album serves as a kind of blueprint for Eye in the Sky, but the strengths of the albums are reversed, with the latter half of Turn being the stronger. There is a tone of melancholy and regret that flows through the songs, even if they are sometimes close to danceable (“Games People Play”). The opener “May Be a Price to Pay” opens with a stirring trumpet fanfare. How can you not like that?
- Tales of Mystery and Imagination (1976). Many would consider it heresy to not put this at #1 (including Parsons himself) but I feel this album doesn’t quite line up all the pieces of the project as effectively as later albums would. Still, it carries the theme of Poe’s work effectively and the remastered version that restores Orson Welle’s narration and adds a bridging “cathedral organ” turns the effort into a whole rather than two halves. While the project would never mount an epic instrumental like “The Fall of the House of Usher” again, it’s interesting to have here, even if it doesn’t mesh overly well with the other more pop-oriented songs.
- Ammonia Avenue (1984). This is more or less Eye in the Sky, Part 2, but it’s such an incredibly slick effort you can’t deny the attempt to recapture the previous album. There are standout tracks, from the wall of sound of “Don’t Answer Me” to the stirring title track. Maybe one of the strengths of the album is that none of the songs particularly feel like filler.
- Pyramid (1978). Some consider this effort slight but I’m a sucker for the theme and like Ammonia Avenue, I don’t feel there are any weak tracks. Perhaps to its detriment there also aren’t any real standouts, either, but the whole album is less than 38 minutes long, so it’s never a major commitment. My favorite songs here are opposites: the dramatic (melodramatic?) instrumental “In the Lap of the Gods,” complete with shouting choir and the utterly silly “Pyramania,” featuring the project’s only tuba solo.
- Eve (1979). This is an odd album in that most of the songs are openly hostile to women, yet the album ends with two sung by female vocalists that come across as apologies for everything before them. I doubt the album would be recorded with the same lyrics today. That said, the instrumentals are again excellent, with “Secret Garden” featuring an effervescent Beach Boys-inspired harmonizing and the opener “Lucifer” setting an appropriately dark tone for what’s to come.
- I Robot (1977). More heresy, as this is often ranked as one of the project’s top albums but I’ve always found some of the tracks too meandering and unfocused, particularly the instrumentals (excepting the title track). “Don’t Let It Show” (later covered by Pat Benatar, of all people) and “Breakdown” are my favorites here.
- Stereotomy (1986). By the mid-80s the project seems like it’s running out of steam. Powell’s orchestrations are minimal here and while the title track and instrumental “Where’s the Walrus?” are fine, a lot of the remainder, like “In the Real World,” feel by the numbers.
- Gaudi (1987). Again the orchestrations are very light here, though deployed effectively, especially the horns on the closing instrumental “Paseo de Gracia” and the opener “La Sagrada Familia.” The theme of Gaudi’s work and life elevates the album somewhat but it feels more like flourishes here and there rather than part of a cohesive whole. Some of the songs are slick but forgettable (“Too Late”, “Money Talks.”)
- Vulture Culture (1985). Andrew Powell was working with a number of project members on the music for the film Ladyhawke and as a result this is the only project album that features no orchestration. In its place is keyboards. Lots and lots of keyboards. The songs are solid but unspectacular, the whole thing feels nothing more than “nice.” The remastered re-release includes the acoustic track “No Answers Only Questions,” a song that would have rounded out the rest of the album on original release.
