The Alan Parsons Project
The Turn of a Friendly Card

THE REVIEW

My father owns a record shop in Treviso, and I've often found myself browsing here and there in search of something interesting. I first discovered The Alan Parsons Project thanks to a "best of" (the '83 one), and I was determined to delve deeper into a sound that struck me for its depth and aesthetic perfection, rarely heard before. I had read excellent reviews of "The Turn of The Friendly Card" and was fascinated by that original cover clearly inspired by Gothic-medieval art: it seemed more than reasonable to get hold of a record that many Project followers consider the one that most corresponds to the group's style. The album captivated me immediately, and I remember a great satisfaction when I listened to it for the first time, a pleasure I still feel today.

It is certainly more luxuriant than the works that followed, in which an attempt to sometimes adhere to the traditional song form can be noticed (and unfortunately sometimes romantic and cheesy); it is an album rich in true sound magic, presenting a sound of astonishing fullness. I confess to loving very rich sounds, and this record is truly a treasure trove of ideas in this regard. Funky pop in the opening track, which has a fascinating overture and a jazzy interlude; disco-rock in "Games People Play", a big hit featuring a pause in the instrumental interlude, leading to a bold guitar solo; the ballad "Time", which reminds a bit too much of "Us and Them" by Pink Floyd; more funky rock in "I Don't Wanna Go Home", a gritty and powerful track, with an almost bluesy cadence; the dreamy instrumental "The Gold Bug": great keyboards and a sax solo worth keeping in your wallet. The following suite consists of five tracks that I find too varied to be grouped into a single track. In the first and last parts, the main theme unfolds (the final part is more impressive, great guitar); within it, the rhythmic rock of "Snake Eyes", the symphonic escape of the splendid instrumental, "The Ace of Swords", and the melody, in my opinion, a bit too cheesy of "Nothing Left To Lose".

In short, a alluring, captivating album that you can appreciate even after countless listens: it's my favorite album from the group. Highly successful in the fusion of different styles, and conceptually interesting; obviously, it should not be listened to with the expectation of holding a prog record, which I don't think it is. And if on the ProgArchives website some critics find the pop-rock appeal of the album unfortunate (certainly more "commercial" than "Tales" or "I Robot"), I believe that a good dose of catchiness, combined with immediate yet highly appealing instrumental ideas, is far more striking than the many sterile indulgences of some prog groups.