The Alan Parsons Project
Vulture Culture

THE REVIEW

The Abbey Road recording studios, as we know, have produced many beautiful masterpieces. The Beatles recorded there first, and the Pink Floyd didn't want to be outdone (just to mention a couple of bands...). Alan Parsons also passed through there, first as a sound engineer for Pink Floyd in 1973 on the legendary "The Dark Side of the Moon" and then as a musician.
In those very studios, 11 years after Floyd, he would record the album "Culture Vulture".

With these premises, confidently, I set out in search of the album. I find it and, curious as ever, I purchase it. However, listening to it leaves me a bit disappointed; I imagined a Pink Floyd-esque sound and instead I find myself immersed in the typical 80s soundscapes. The moment I listen to the first track, "Let's Talk About Me," the situation worsens. Indeed, the second track of the album begins, "Separate Lives," which is, in my opinion, the essence of the 1980s. The bass dominates with the usual insignificant riff. The electronic drums then deliver the final blow, making the song aseptic, distant, cold—in a few words, hateful and unlistenable.
Disappointed, I resign myself to an album typical of those years that, in my opinion, contributed little in terms of quality to music. The third track, "Day Are Numbers," strangely departs from the path set by the first two and proves to be a beautiful ballad, quite listenable and engaging. Sure, though, if instead of the usual electronic drums Alan had used instruments with less silicone and more wood, it wouldn't have been bad, but you can't have everything. The track ends, and the album resumes its original sound.
The track that gives the album its name immediately reminds the listener that we are in the full 80s, and one cannot escape the cultural and musical influences of that era, so back comes the hateful bass.

Nonetheless, it cannot be denied that, apart from "Separate Lives" and "Vulture Culture," the album is very atmospheric and relaxing if you listen to it without too many expectations, knowing what it offers. Then, the last track, "The Same Old Sun," is very beautiful, rediscovering preludes to sounds that would later be revisited in the early 90s. The little guitar solo at the end is engaging and pleasant; if you will, you can even find a distant relation to some Floyd tracks, but it all ends there.

Ultimately, the album is not to be thrown away, but it's highly recommended for those who love the classic love ballads that were all the rage twenty years ago. For those who are not crazy about them, well then, it's better to look for another title.