The Alan Parsons Project
Tales Of Mistery And Immagination Of Edgar Allan Poe

Alan Parsons is that old rascal who had the idea of inserting the sound of clocks at the beginning of Pink Floyd's "Time." Yes, but who is this Parsons? Well, this Parsons mixed "Atom Heart Mother" and was the genius sound engineer on albums like "Dark Side of The Moon," "Abbey Road," and "Let It Be," but that’s not the whole point. The important thing to emphasize is that Alan Parsons contributed to making music take a significant leap forward both in terms of recording technology and the evolution of music itself. His early experience as a young man at the Abbey Road Studios as an assistant sound engineer was invaluable, where he was struck by the fact that the 4 Beatles often created special effects without the use of musical instruments (see the funny and witty Ringo Starr blowing into a straw in a glass of water to create the effects for "Octopus Garden"). Even more important was the work to create "Dark Side of The Moon": Parsons had the brilliant idea to assemble many clocks ticking in unison and alarms ringing together: this was possible thanks to the introduction of multi-track tape, which supplanted the quadraphonic production (though used for the initial effects of "Money"). Much of the greatness of the Floyd’s most famous album, in short, is also owed to our Alan.

Then it happened that one fine day our hero met the keyboardist and manager Eric Woolfson, and the "PROJECT" was born: the Alan Parsons Project. "Tales Of Mystery And Imagination" is their debut album dated 1976. The tracks are conceived with reference to the works of Edgar Allan Poe, and the album could be described as the band’s most ominous. The album does not feature electronic instruments as in later works; indeed, the use of the synthesizer is limited to the beginning of "Arrival" (part of "The Fall of the House of Usher"), to create a wind effect. Even though there is no use of drum machines, synths, or computerized effects, this album still feels very "modern" and, despite everything, almost "electronic." This is thanks to a skillful mix of "classic" compositions and innovation (with regard to the way music is approached, through suggestive solutions, the search for special effects, the nice, very effective overlays of sounds and instruments). So, what other album has had the privilege of being opened by the magnetic voice of Orson Welles?... Well, this cinema great immediately sets the atmosphere of the album, emphasizing that "all that we see or seem is but a dream within a dream...". "A Dream Within a Dream" continues with a precise, persistent electric bass overlaid by a suggestive keyboard riff, which starts this beautiful album in a truly pleasant and impeccable way. Once in the right atmosphere, we are immediately enveloped by "The Raven," whose novelty is being the first song in history with a voice modified by a Vocoder; all immersed in great darkness. The two rock songs of the album are "The Tell-Tale Heart" and "(The System of) Doctor Tarr and Professor Fether"; the former is characterized by decisive and precise bass and guitar accompanying the beautiful voice of Arthur Brown, the latter features a low and almost hoarse altered voice repeating a verbal theme, with background guitars at first, then keyboards echoing the theme of the album’s introductory song, and even applause.

In many of the album's tracks, we have very catchy and atmospheric choruses, which might make it seem somewhat commercial on a first listen; I would rather say that the album is well "packaged" and organized, and I don’t mean that in a negative way. The listening goes smoothly and pleasantly; it is an album that is easy but of high quality, with impeccable musicians and sound engineers (really?!). Even "The Cask of Amontillado" is another gem, very slow and sweet. "The Fall Of..." is perhaps the most ambitious in the album; it is divided into 5 tracks, alternating parts that wink at classical music and others more accessible and electronic, creating, in my opinion, fantastic musical passages, with Woolfson's keyboards always impeccable. Stunning piece, nothing to say. The album ends with the typical "atmosphere song," which is "To One in Paradise," with a dreamy and at times slightly sugary atmosphere. Do this: those who love Poe, prog, or Parsons should buy it, okay? Actually, no: THOSE WHO DON’T HAVE IT, should buy it. Better!...