An excellent album suggested to newcomers and veterans alike. The result is solid music that is mostly entertaining but really fails to engage on more than a superficial level. Orchestra is filtered throughout, but never detracts from the raw progressive nature of the recording. The orchestras were recorded in the Kings Way Hall in London which had a marvelous acoustic, but was next to a London Underground Station which caused no end of problems. All masques for musical dramas, all nightmares for evenings without moon.
The music is decent, and of course there are plenty of sound effects and lead-ins, as well as the now recognizeable plodding Parson's rhythm, but most of the time Tales of Mystery and Imagination is fairly boring. The title of the album is taken from the title of a collection of Poe's macabre stories. Entre 1971 y 1977 publicó cinco álbumes. El Consejo de Ministros aprobó la reforma del Código Penal que contempla la condena de hasta seis años de prisión para quien incluya en su página web listados de enlaces a contenidos que son objeto de propiedad intelectual. I always view this album as the Parson's version of Darkside of the Moon, as he had such an influence on that album it most definitely carried over here.
However, the music is really endearing and Raven is my fave on here and Doctor Tarr not lagging far behind. Alan Parsons toco en directo junto a miembros de la E. It is an interesting record. They make something as amazing as this. After a spoken word section, a typical sounds from the Alan Parsons Project comes to the fore, semi-psychedelic and with a build of instruments and vocal harmonies, but never complex. Maybe the songs are too soft, and too luminous sometimes to make a good approaching to the genious's dark imaginary. The first disc is the 1976 edition and the 1987 is the second with each having bonus tracks.
I feel that having different vocalists on different tracks makes the albums sound like compilations of independent songs and not as unified albums. Classic for rainy days or candle light evenings. The booklet has all the lyrics and much of the original artwork from the 1976 booklet , credits, mention of what's different about each track some were just digitally remixed while others have additional instruments recorded or new guitar solos. I would never argue with what Orson Welles' narration brought to the newer version, it's great. The stage musical version of Woolfson's Poe premiered at in November 2003.
In 1987, Parsons completely remixed the album, including additional guitar passages and narration by as well as updating the production style to include heavy and the snare drum sound, which was popular in the 1980s. All the tracks hold up very well and have stood the test of time. For starters, it delivers for the first time Alan Parsons' already established high tech quality- engineering skills, into his own pen-written album. To hear this work of art in quadraphonic surround with the Orson Welles narrations occupying the center channel would be a A Dream Within A Dream come true! When I asked Alan Parsons how he saw his artistic legacy, he replied that his partnership with Eric Woolfson was somewhat trend-setting at the time. If you heard the 1987 remixed version first, you'll be put in a shock not hearing the narration or those '80s drums.
As to the quality of the songs, it's a mixed bag for me. The identity of The Alan Parsons Project as a group was cemented on the second album, , in 1977. Based only on Edgar Allan Poe stories see the track titles, like The Cask Of Amontillado or The Raven , this is one of the most innovative and magnificent progressive albums. Many hold the present album as the Project's best, but I don't think it is. Los tubos de vidrio que aparecen en la portada de I Robot están en el aeropuerto Charle DeGaulle en París, Francia.
The music on the album is progressive rock of the symphonic variation altough for the most part on the light pop side of the genre hence the semi mention in the beginning of the review. This album is an astonishing achievement and must be listened to by every serious prog fan. There just aren't any real stand-out moments here, on contrary the record has an even flow that non of its successors could achieve. Then there's The Cask Of Amontillado, which has some great orchestral themes interacting with conventional rock backing, topped off by a nice vocal melody from John Miles and Terry Slyvester chiming in with Hollies style harmony vocals. It contains some, but not all, of the songs from his musical. So here quite literally — the lunatics are running the asylum.
The Raven This track uses music from the original track of the same title from their album. Maybe Parsons and Woolfson failed in capturing the dark essences of the bizarre and necromatical stories and poems of Allan Poe, but they achieved to make a very worthy contribution to the 70's symphonic rock, wich had also its influence in movements like the later Neo-Prog. That combined with his supremely competent skill at arranging and producing highly accessible and technical excellent music led to this very accessible and impressive debut. This was a minor hit single in the United States and one of the stronger tracks on the album. After all they were mentioned in an Austin Powers movie! And what would be a better source of inspiration than horror stories and poems of E. This is one that I think most progressive fans will definitely appreciate, more for the atmosphere and tale-telling rather than any great musical exchanges. One notable celebrity here is Arthur Brown who sings lead vocals on The Tell Tale Heart, the rockiest song on the album.