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1927 – ...ish (Album Review On Vinyl)

August 5, 2020

Sometimes a debut album can become a smashing success that simply can’t be replicated. Selling in excess of 400,000 copies and winning the 1988 Australian Recording Industry Association (ARIA) Awards for best debut single (That's When I Think of You) and album, 1927 effectively became a household name in Australia overnight. While international success eluded them, that shouldn’t reflect on the wonderful musical experience that is ...ish. Ian McFarlane, in his opus The Encyclopedia Of Australian Rock And Pop, put it perfectly when he wrote ...ish is brimful of stirring, stately pop rock anthems. Yes, dear reader, it is that good!

SIDE A

To Love Me is a great opener that is truly representative of the Australian music scene during the 80s. It is recorded, mixed, and mastered beautifully, as is the entire album.

That’s When I Think Of You has a beat, vocal presentation, and guitar solo that are off the charts. There is no pretentious playing here, it is simply beautiful! This is what good music sounds like, you literally won't be able to stop your body moving to the rhythm. So good!

If I Could is rock ballad heaven. Listen to the song once and you’ll be singing it for the rest of the day. If I Could is simply stunning!

You'll Never Know picks up the tempo, but doesn't feel out of place in the tracking of the album. By this stage, if you haven't already turned the volume up, I suggest you do so. Get that air guitar out and warm up those vocal cords, you're going to need them.

Compulsory Hero is one of the greatest songs ever recorded, by anyone, anywhere in the world. It is an unofficial Australian anthem and not only does it bring me to tears, but it makes me proud to be an Australian. It’s a sonic masterpiece!

SIDE B

All The People is a great pop/rock tune, but it was always going to be difficult for any song to follow Compulsory Hero. Thankfully, in the minute or so it takes to flip the record, the senses have a chance to reset. Regardless, All The People is a worthy addition to the album.

Nothing In The Universe is a lovely song. While not on par with some of the earlier songs, it is certainly no B-side.

Propaganda Machine has an interesting punk/pop feel to it. I love it!

Give The Kid A Break has a sensational beat and series of guitar riffs. I hope you didn't turn that volume knob down as this song deserves to be heard at ear-bleeding levels. While a B-side, no one ever said a B-side couldn't be thoroughly enjoyable.

The Mess, unfortunately, doesn't follow the quality B-side that is Give The Kid A Break. The mess is, for lack of a better term, a mess and sounds like pure filler. That, however, doesn’t deter me from flipping back to Side A and enjoying this sensational album once more.

...ish is not only one of the greatest albums ever recorded by an Australian band, but it is also sonically and musically on par with all the greatest bands of the era. In fact, the production quality is world-class and it truly shows on the 2018 vinyl re-issue. Pressed at the world-renowned Pallas plant in Germany, I’ve never heard this album sound so good…ever! The record is pressed on audiophile quality eco-grade vinyl and is so silent you’ll hear the blood rushing through your veins before you hear any unwanted surface noise. The soundstage is immersive, with incredible depth that proves just how good vinyl can sound if diligence is taken in the mastering and pressing process. Yes, the edition on Apple Music is excellent, but it pales in comparison to the vinyl release.

I could honestly keep talking about how exceptional this album is, but I suggest you just track down a copy and experience it for yourself.

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The Beatles – Abbey Road (2009 Remaster) [Album Review On Vinyl, CD, & Apple Music]

April 3, 2020

There are masterpieces and then there is Abbey Road. Very few albums in the history of recorded music maintain the mystique that Abbey Road does. From its iconic cover art, to the Paul is dead conspiracy theories, to the sonic wonderland that still eludes musicians to this day, Abbey Road is beyond perfect and this is, therefore, less of a review and more of a love letter to the fans and those remarkable individuals who made the album.

When comparing Abbey Road, it is important to note that all three versions detailed in this overview are from the same mastering sessions and therefore, logically, should be on par with each other. I can attest that that is the case as they all sound incredible, but there are some minor differences that I would like to highlight.

The CD has plenty of punch, perhaps a little too much at times. Yes, vinyl by its very nature needs amplification but I prefer digital music that allows me to pump it to the level that I choose, yet the 2009 CD release requires me to turn the volume down to a level that is a few decibels lower than I would ultimately prefer. This increased volume is also fatigue-inducing and while I find that I can play the vinyl edition on repeat for hours on end, the treble-focused presentation of the CD can be a little jarring at times; despite it’s overall warm, for CD, tone. This is where the Apple Music edition, an Apple Digital Master, shines as the laid back analogue sound, as heard on the vinyl reissue, has made it’s way to the Apple Music edition thereby ensuring that this version is less shrill in the treble range, subsequently resulting in a much more pleasurable listening experience at all volume levels.

It’s important to note that the vinyl reissue was pressed from a high-resolution master file and Apple Music similarly requires the high-resolution master to be presented before compressing to the AAC format; a result that is increasingly providing a much better audio quality when compared to the CD counterpart. Now, the delta between versions remains quite low and in all honesty, unless you’re comparing them, as I have, it is unlikely that you’ll be disappointed by the CD release for, as a standalone item, it is superb and an example of how good CD can sound. It is just that I prefer the tonally warmer sound that is more noticeable on the vinyl and Apple Music editions but I’ve no doubt that many CD lovers wouldn’t consider the CD release to be too clinical and clean sounding, but perfect to their ears. I’ve never been completely enamoured with accuracy and enjoy a bit of colouration, especially when it comes to the mid and low range elements, but that isn’t necessarily everyone’s taste. Truthfully, there isn’t a bad way to experience the 2009 remasters but if you’re like me, trying to find the version that best suits your tastes, then the above details will hopefully assist you with making a judgement call.

Where the CD shines, however, is in its presentation. The Digipak folding design works well, and the included liner notes are a nice addition to peruse as you’re enjoying the music. If you’re after lyrics, however, the CD is not for you but thankfully Apple Music provides that functionality. The vinyl edition, however, is barebones with no booklet or liner notes other than the main cover sleeve. It’s a little disappointing if I’m to be completely honest. The CD is also an enhanced CD but that technology is unfortunately rather dated and if you no longer have a CD drive in your computer, then the Abbey Road Documentary is forever locked within the plastic disc. Again, the Apple Music edition provides additional functionality and thankfully the documentary is included in the digital version. I acknowledge, however, that this can be rather distracting as you’re unlikely to want to watch it every time you play the album. Thankfully, you can simply deselect it from your library and only stream it when you wish, ensuring that the music remains front and centre.

Side One

Come Together is an incredible song and a perfect opener. Interestingly, when I first heard Come Together, it was Michael Jackson’s version and at the time I had no idea that it was a Beatles original. Well, Jackson performed it admirably with a little more pop than the original, but the ultimate masters are The Beatles and we can completely ignore Aerosmith’s bastardisation of this classic. However, if you like the classical guitar, you’re going to love Miloš Karadaglić’s version from Blackbird.

Something is absolutely stunning, leaving me somewhat speechless upon each listen.

Maxwell’s Silver Hammer is a fun tune, despite its darker lyrical undertones, that will get your body moving to the rhythm. I just can’t seem to sit still when listening to Maxwell’s Silver Hammer and I love McCartney’s somewhat awkward giggle during the recording. Thankfully that was kept in!

Oh! Darling is pure McCartney. His vocal recording on this track is spectacular; the best in his career in my opinion.

Octopus’s Garden is perfect, I love it!

I Want You (She’s So Heavy) is one of my favourite Beatles’ songs and is a great way to close out Side One of the vinyl release. Is it just me or do you find it challenging to accurately predict the end of the song? It is almost like a game for me and I rarely get it because the song keeps going on and on and on and on but I must admit that the sharp cutoff always irritates me for a moment as I would prefer the song to simply fade away. Yes, I Want You (She’s So Heavy) very possibly could have been a disaster, but it is arguably The Beatles at their very best.

Side Two

Here Comes The Sun is superb. Nothing more really needs to be said when a song is this good.

Because is moody, brooding, and the ultimate sonic contrast to Here Comes The Sun. The triple-tracked harmonies are spectacular, making Because the epic we know it to be.

You Never Give Me Your Money flows perfectly from Because and is musically gorgeous. Although, and perhaps it’s just me, at times I feel there is a little too much distortion in the guitar tracking and it can subsequently become a little distracting.

Sun King is a little off-beat and it takes a while to get used to. While it isn’t a song that I would actively seek out on its own, it works well with the melody aspect on the second half of Abbey Road.

Mean Mr Mustard flows beautifully and is a great song. I particularly like the fuzz bass as it works extremely well for this song.

Polythene Pam shifts the musical style masterfully. A great tune!

She Came In Through The Bathroom Window is brilliant!

Golden Slumbers is stunningly beautiful and while I admire its polished recording, getting to the point of the song, I would love it to be a full-length song, for I feel it is that good. That said, it flows perfectly into Carry That Weight and both together could ultimately be seen as a singular song.

Carry That Weight has an incredible presence and is one song where I would have loved to have been a fly on the wall in the studio when it was recorded. Surely they knew they had a masterpiece on their hands during the recording sessions.

The End is brilliant and is Ringo’s chance to shine with a melodic drum beat that sets the tone for the song and closes out the album perfectly; at least it would have if they hadn’t left in Her Majesty.

Her Majesty (Hidden) is the only song on Abbey Road that I abhor. It doesn’t ruin the album for me, but it is cringeworthy and frankly unnecessary.

I could listen to Abbey Road on repeat indefinitely and it isn’t uncommon to put the record on in the morning and still be flipping it that evening. It’s a prized possession and if I had to choose a version that I prefer, it would be the vinyl reissue for its laid back presentation as I feel it is the very best way to experience this masterpiece.

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The Crickets – The "Chirping" Crickets (Album Review)

January 3, 2020

When I got back into collecting music a few years ago, after a hiatus that was born from the flexibility of the MP3 era, The “Chirping” Crickets was one of the first albums that I wanted to pick up. However, at the time, it had been out of print for years and it would subsequently take European grey labels, such as WaxTime, to re-issue this as well as many other classics. When I class WaxTime as a grey label, it is because their releases are not officially sanctioned by the record labels but are instead re-issues of albums that have gone beyond the time limitations of copyright in particular regions of the world. Subsequently, these records are not always mastered or pressed from the highest quality masters but from consumer-grade releases such as high-resolution digital downloads or CD. In this particular case, it sounds as though The “Chirping” Crickets album has been pressed from a CD release. That isn’t to say that it’s bad, but there are elements where the pressing is a little shrill, particularly noticeable in Buddy Holly’s vocal. Yes, this is an old recording, but it should arguably be a little smoother. Nevertheless, the record and associated mastering is musical and I find myself thoroughly enjoying the album from start to finish.

The record cover is nicely reproduced and I’ve always considered the cutout look, see hairline, to be hilarious. The rear cover is completely different, from any prior releases, with the reproduction of original liner notes as well as an additional blurb that will likely appeal to fans of Holly and The Crickets. To be quite honest, I’m rather impressed with the rear cover on this release for it is compelling to hold as I listen to the album. It’s presented nicely, going a little further than some of the official re-issues. Additionally, the inner sleeve is an archival anti-static sleeve that ensures dust and static is kept to an absolute minimum. Collectors will attest that these sleeves are hard to come by as re-issues are often delivered in the most hideous inner sleeves, regardless of price. It is therefore refreshing to see a secondary label go above and beyond for music lovers.

The vinyl itself is beautifully silent and has a generous heft to it with a blackness that can only be rivalled by a black hole. The only limitation of this release is the digital source. I do not doubt that if WaxTime were presented with a better master, this would be off-the-charts good, rather than enjoyably adequate.

This particular reissue also included 4 Bonus Tracks that were absent from the original release and they’re, in my opinion, value-added additions. Nevertheless, for the purists out there, you’d be well-advised to consider the favourably reviewed 2016 Analogue Productions re-issue which has the original track listing or the Apple Digital Master available on Apple Music.

SIDE ONE

Oh, Boy! is a great toe-tapping song to get the album started and sets the tone for the entire record.

Not Fade Away has always been a favourite of mine. The lyrical delivery and musical pauses make this tune truly great. The Rolling Stones covered this song and made it their own in a rendition that pays homage to the original while amplifying it and ensuring that it remains one of the greatest songs from the era.

You’ve Got Love has a creamy smoothness that I simply adore and is exactly what I think of when I think of the 50s sound.

Maybe Baby is a song that I can’t help but sing along to. Sensational! It has also been covered extensively with The Hollies’ recording being a valiant re-styling effort that stands out from the crowd, due in part to its slower pop-driven tempo.

It’s Too Late is a thoroughly enjoyable ballad; one that I would have loved to have heard Elvis Presley record. Nevertheless, this Chuck Willis song is superbly covered and if you haven’t checked out the original, you should because it is excellent in its own right. Roy Orbison’s recording of It’s Too Late is simply magical while Otis Redding’s rendition is simply adequate and Derek & The Dominos’ rendition is similarly assigned. Of course, if you’re interested in interesting cross-overs, Kanye West sampled It’s Too Late for Gone as heard on Late Registration and it works remarkably well.

Tell Me How is an incredibly addictive upbeat track. If there is one criticism, it is merely that it is too short. Of course, that is also one of its strengths but if you’re like me you’ll want to drop the needle on Tell Me How again. In one way, we can be thankful that digital music, specifically streaming music, has made such a feat much more convenient.

Blue Days, Black Nights is the first bonus track available on this particular version. It’s a great song, but I’d be lying if I said that it didn’t change the flow of the album. Nevertheless, I love it, so it is a value-added bonus.

Rock Around The Ollie Vee is the second bonus track and is excellent and another song that I would have loved to hear Elvis cover.

SIDE TWO

That’ll Be The Day needs no introduction, fanfare, or explanation, suffice to say that it is timeless Buddy Holly & The Crickets. So timeless in-fact that it could be suggested That’ll Be The Day was a song that was an original element of the launching of The Beatles as it was the first song recorded by The Quarrymen; the band that would ultimately morph into The Beatles. Linda Ronstadt also covered the song in a country-pop rock styling that is different, yet similar, to the original but it is Foghat’s rendition from 1974’s Energized that I really enjoy as they took the song, reinterpreted it, and made it their own while paying homage to the original.

I’m Looking For Someone To Love is perfectly tracked following That’ll Be The Day and while it isn’t as superb as the aforementioned song, it is thoroughly enjoyable.

An Empty Cup (And A Broken Date) is a killer 50s barbershop-styled ballad. They don’t make them like this anymore!

Send Me Some Lovin’ continues the style of An Empty Cup (And A Broken Date) but isn’t nearly as impressive. It is, however, a solid B-side originally recorded superbly by Little Richard. As a rock and roll standard, it has been covered rather extensively by the likes of Sam Cooke, Otis Redding, Dean Martin, and the incomparable John Lennon. All the aforementioned artists covered Send Me Some Lovin’ wonderfully with many matching, if not exceeding, the brilliance of the original Little Richard recording and The Cricket’s interpretation.

Last Night is a great song, although I’ve often felt it is a little eerie, in a similar vein to Santo & Johnny’s haunting Sleepwalk; a song I adore despite the musical style.

Rock Me Baby is one of my favourite songs from The “Chirping” Crickets. The rhythm is perfect and while not the final song on this reissue, as the closer on the original album release, it most certainly encourages the listener to play the album again.

Don’t Come Back Knockin’ is a solid addition with a toe-tapping beat.

I’m Changing All Those Changes is a great bonus closing track that encourages me to spin the album again and I don’t know about you, dear reader, but the guitar plucking on I’m Changing All Those Changes, while not necessarily perfect, is sublime.

Overall, The “Chirping” Crickets is a landmark album that should most certainly be in every music lover’s collection. Purists will undoubtedly love the original tracking but those wanting more will likely welcome the additional four songs that have been included on this reissue. As for me, I can appreciate either but if I am to be completely honest, I lean a little on the purist side and while I can understand WaxTime expanding the re-issue to set itself apart from other releases, I like my vinyl to consist of the original tracking and consider digital releases to be the perfect opportunity to include additional recordings.

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Eagles – Hell Freezes Over (Album Review)

October 2, 2019

The Eagles may have taken a 14-year vacation, but when they returned to the stage, one of their greatest releases would ensue. Predominately a live recording, for the 1994 MTV special, Hell Freezes Over also contained four new songs that nicely fill Side A of the double LP. While some may lament Hell Freezes Over not being presented as a complete album, I actually feel the EP-sized approach to the new recordings was ideal and as much as I adore the Eagles, their 2007 studio effort, Long Road Out Of Eden, was less than stellar when compared to their incredible back catalogue. Nevertheless, more Eagles is always a good thing and if you haven’t checked out Hell Freezes Over, join me as I take a look at the music, performance, and the 25th Anniversary vinyl re-issue.

For years, Hell Freezes Over was a missing holy grail; my collection just wasn’t the same without it. Yes, I could have picked up the CD release, or the accompanying DVD, but I always felt that I wanted to own it in its purest form. I considered the K2HD CD, the XRCD CD, and the near impossible to get at a decent price, and certainly not brand new, DTS 5.1 surround sound CD. Reviews were mixed and the prices that some of these audiophile releases go for is simply too high when reviews aren’t universally glowing, although the DTS CD is generally well regarded.

If you’re specifically interested in the surround sound mix of Hell Freezes Over, check out Mike’s exceptional review below and if you haven’t already, make sure you subscribe to his YouTube channel, Life in Surround.

Nevertheless, I was eager to get hold of a copy on vinyl but it had been out of print for years and while I acknowledge that I could have gotten a secondhand copy, I prefer brand new copies as I want to make them my own and ultimately pass them down to my son. I almost purchased the massive career-perspective 2018 vinyl box set, Legacy, just to get Hell Freezes Over, but that is one of the ugliest releases I’ve ever come across; the box artwork in particular. Hence, when in 2019 Hell Freezes Over was reissued separately, with the original artwork, it immediately went on my Wishlist and I’m incredibly grateful to my family for gifting this masterpiece to me for Father’s Day.

The quality of the vinyl re-issue has blown my mind. It is amongst the very best sounding records in my collection and is lovely to hold in the hand. The artwork is meticulous in quality and presentation. You’ll most certainly be holding this record as you listen intently. Both records are presented in high quality printed inner sleeves and rather than a gatefold, the album is a slipcover design. Yes, I love gatefolds, but the slipcase design is far easier when getting records in and out of the sleeves. I know some collectors who remove the record from the sleeve, placing the inner sleeve and record on the outside of the album cover. It certainly makes it easier to access the album in question, but I worry that it will ultimately damage the sleeve with the pressure of the other albums on the shelf. Hence, it isn’t something I do, but I can certainly see the benefit.

The pressing itself is flawless. The records are about as silent as vinyl can be and the dynamics are full, thereby presenting a soundstage that will completely envelop you. Yes, this record was recorded, mixed, and mastered with kid gloves, but that doesn’t necessarily mean the vinyl pressing is going to be of equal quality. You’ll also get that warm analog sound that is often associated with vinyl. The bottom line is that it just sounds right.

Side A

Get Over It has a killer guitar intro and while the song is a little campy, I love it! You’ll be head-bopping and toe-tapping throughout.

Love Will Keep Us Alive is the ballad-styled song that we’ve all come to adore from the Eagles. Timothy B. Schmit yet again proves just how masterful he is as a vocalist. I could quite happily listen to all his vocal recordings for an eternity. Yes, dear reader, I may have a man-crush for Schmit, but can you blame me. Interestingly, Love Will Keep Us Alive wasn’t written by the Eagles but the writers, Pete Vale, Jim Capaldi, and Paul Carrack, wrote a song that suited the Eagles perfectly and is, in my opinion, one of their best vocal ballads.

The Girl From Yesterday is a lovely country-styled tune that is a welcome addition to the album but isn’t anything to write home about.

Learn To Be Still is a thoroughly enjoyable song and the more I hear it, the more I appreciate it. It is as though there are layers of musicality that ensure that I never tire of this song.

Side B

Tequila Sunrise is the first live song on the album and Frey’s introduction is great. It’ a beautiful song that is thoroughly relaxing and this is a stunning live performance.

Hotel California has never sounded better. I don’t know about you, dear reader, but I class this rendition to be the greatest I’ve ever heard. Because the vinyl edition is so smooth, there is absolutely no audible distortion and every musical element is present in the soundstage. I dare you to find a better live recording, by any artist. Sensational!

Wasted Time was the perfect choice to follow Hotel California as they are musically similar. It is one of my all-time favourite Eagles’ songs and while the composition of the song is very similar to the album version, that doesn’t matter for it is simply incredible. It is also Don Henley at his very best.

Pretty Maids In A Row is a lovely song to close out Side B of this vinyl release. The backing harmonious vocal is thoroughly enjoyable and while I have a love/hate relationship with Joe Walsh’s vocal, he nails this performance. That isn’t to say that I dislike Walsh’s vocal style, just that I sometimes find it to be a little too jarring.

Side C

I Can’t Tell You Why is an incredibly smooth tune and Schmit’s vocal delivery is simply magical, as is the musicality of this entire record. You’ll likely want to turn this song up because, again, you’ll hear absolutely no distortion as you toe-tap and head-bop rhythmically throughout the song. I Can’t Tell You Why is most certainly one of the Eagles’ greatest hits and it is also one of the best songs on Hell Freezes Over.

New York Minute was originally a Don Henley solo effort, being first released on The End Of Innocence. It’s a great tune and works incredibly well for the Eagles, making me wonder how the song would have sounded had it been an original Eagles composition. Nevertheless, it is a welcome addition to Hell Freezes Over as it’s one of Henley’s best solo recordings.

The Last Resort is a solid song from Hotel California but I’ve always had mixed emotions when listening to The Last Resort. Don’t get me wrong, it’s great, but something is missing. I’ve often wondered if it is simply too long, but I thoroughly enjoy the musicality. Perhaps it is Henley’s somewhat dry vocal on this particular tune that leaves me feeling a little disjointed. Either way, this performance is solid and doesn’t detract from the album but given their extensive catalogue of music, I may have selected a different song to perform on this occasion.

Side D

Take It Easy is a little jarring, as a result of the guitar tuning, on Hell Freezes Over. Unfortunately, I have to turn the volume down to enjoy it; a shame considering just how good it is.

In The City is bloody brilliant and is one of my all-time favourite Walsh-sung songs.

Life In The Fast Lane will get you moving; I know I can’t sit still when listening to it, it is that good!

Desperado is beautiful and is arguably a perfect closer for Hell Freezes Over, encouraging me to listen to the album again and remain within the Eagle’s catalog of music.

Overall, Hell Freezes Over is one of the greatest Eagles releases. I consider it my go-to album as it’s not only a live album with four new tracks but a compilation that doesn’t feature a bad song. It has a little of everything and the 25th Anniversary vinyl re-issue is nothing short of pure perfection; you won’t be disappointed. Let’s just hope that they keep this edition in print, I’m going to eventually need to get another copy as I play this album frequently.

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The Alan Parsons Project – The Turn of a Friendly Card

January 9, 2017

It is such a long time ago that my memory is blurred on the fact, but I am pretty sure that The Turn of a Friendly Card (ToaFC) was the first music I owned.

My sister had a number of Alan Parsons Project albums on vinyl and I heard them in the house when I was a teenager. The sound must have captured my fancy because I soon owned ToaFC on cassette which I would play on my Sony Walkman. It is interesting to note that such an early discovery would really stand the test of time, as The Alan Parsons Project remains my second favourite act/artist of all time, after Jean Michel Jarre. I own a copy of every readily available album, including follow-up works by Parsons after the Project was dissolved.

ToaFC is the band’s fifth album, released in 1980, and like all preceding and indeed all following Project works is a concept album. In this case the concept is the temptations of gambling. Parsons and Eric Woolfson, the partnership that underpinned the Project, both lived in Monte Carlo within walking distance of the big casinos. Personally, as someone who often just doesn’t hear lyrics, I can forget that the theme is there most of the time and I don’t think that takes away from the listening experience.

The opening track, May Be A Price To Pay, has the typical sound of a Project work, but the track is otherwise a relatively standard “vocals and instruments” performance. The Project’s sound has an electronic timbre but typically they had a full complement of traditional instruments. The electronic sound likely came from the electronic keyboard and electric guitars, but there are also acoustic guitars and pianos, clavinets and harpsichords at times.

"May Be A Price To Pay – Live at Rock of Ages Festival 2013". This recent live version of May Be A Price To Pay shows that the more mainstream tracks are more easily replicable outside of the studio and with new band members and vocalists.

An interesting feature of Project works is that there is no “lead vocalist” in the band. May Be a Price To Pay is sung by “Elmer Gantry” (Dave Terry of Elmer Gantry’s Velvet Opera), one of four lead vocalists on this album alone, with at least a dozen over their entire catalogue. The key protagonists, Parsons and Woolfson, preferred to choose the right vocalist for the track. While Woolfson did sing on many of their songs (including some of their most successful), Parsons only sang lead once, on their debut album Tales of Mystery and Imagination, and even that was through a vocoder. (After dissolution of the Project and with live touring, Parsons has taken on a much greater role with vocals.)

While May Be a Price To Pay is very much a “standard” song with a distinctive Project feel to it, Games People Play is overtly more of a Project sound. Sung by frequent lead Lenny Zakatek, the song may sound almost normal in places, but slips into very electronic breaks and in fact has a consistent 4-note keyboard phrase from start to finish, clearly marking it as a work of the Project. It was released as a single and made number 16 on the Billboard Top 40, making it their 4th most successful.

Next is one of two tracks on the album sung by Woolfson. Time was his first for the Project and also features Parsons on backing vocals. It was their second most successful single, making it to number 15 on the Billboard Top 40, and it only takes a few moments of listening to understand why. A very simple, slow ballad, it is sung with soft, almost dreamy vocals and yet at times they soar to neck-hair tingling heights. It is one of my favourite Parsons tracks of all. It has been said of Woolfson (and ratified by himself) that he was not the most technically adept singer, but this track must surely be one he was proud of.

Alan Parsons Project – Time (Live 2014 Mainz). Because the band did no live performances until after Woolfson split from them in 1990, live performance videos authentic to the albums are very hard to come by. This Alan Parsons Live Project performance of Time from 2014 is a reasonable facsimile of the original.

Just when you were relaxed and chilled out by Time, along comes Lenny Zakatek again and, despite a soft start, I Don’t Wanna Go Home ramps up quickly to moderate pace with punchy vocals and equally punchy instrumentation, once again with that clear Project sound.

In the days of my cassette tape, this was the time to turn the tape over or, on more modern equipment, wait for the auto reverse to kick in.

This next track holds the honour of being the first one I absolutely fell in love with. For a time it was by far and away my favourite track, though it was not to last in that slot for long once I discovered Jarre’s works. (One day I will write about what Oxygene (Part II) does for me.)

The Gold Bug is an instrumental number that begins with Parsons whistling, rather well. He also contributes finger clicking to the percussion track. The basic makeup of this track is the unadulterated Project sound including electronic keyboards. It is lead for a time by an alto-saxophone that, like many great saxophone parts, soars to impressive heights. There are also a lot of backing vocals as instruments, to great effect. As I listen again while writing this, I can understand why this clicked with me so much in those early days. It is a stirring track.

The remainder of side 2 is taken up with the five parts of the title work, The Turn of a Friendly Card, wherein we hear the chorus line “the game never ends when your whole world depends on the turn of a friendly card,” with the title phrase spun out into far more than just a sung lyric.

The Turn of a Friendly Card, Part 1 opens with a flute which then leads to the beautiful vocals of Chris Rainbow. It’s a pretty laid back track opening with piano backing and closing with acoustic guitar. It is the shortest on the album, at a mere 2:43, but sets the tone, especially with the final line, “as he enters inside the cathedral,” punctuated by a loud gong. The cathedral, I assume, being a reference to the casino.

The Alan Parsons Project The Turn of a Friendly Card CD Gatefold

Rainbow then brings us the most overtly themed song of the album. After an instrumental opening to the basic melody, we get the opening line. “Snake eyes. Seven, Eleven. Don’t let me down boys.” Snake Eyes fits much the same musical model as I Don’t Wanna Go Home but briefly adds some background soundscape of a casino to support its message.

The Ace of Swords adds a harpsichord to the instrumentation before taking on a strong beat with another Project-identifiable instrumental. Once again, this track does not reinforce the album theme for me excepting, of course, the title, but is nevertheless an enjoyable listen and leads nicely into the lovely, balladic Nothing Left to Lose.

The Alan Parsons Project The Turn of a Friendly Card CD Rear Cover

In this track, Woolfson reprises the same vocal style as Time making this another beautiful track, though this time backed with additional, layered vocals. I recently purchased my third copy of ToaFC – another CD – in order to get the Digital Remaster version of the album. This version contains bonus tracks including a raw version of the over-dubbed vocals for this track by Chris Rainbow. It really is magical to listen to without the strong presence of instruments.

The sadder tone of the song neatly fits the theme and begins to close the story with “nothing left to lose” and including the final line that just leaves off one word. “‘Cause you’ve got nothing left.”

Finally, Chris Rainbow returns for The Turn of a Friendly Card, Part 2 which is very much a continuation to Part 1 but with far more emotion pumped into it and ending on a long instrumental. The level of “the game is over” I get from this track is typical of final tracks on Project albums. I’m no audio engineer, but I’m sure there’s something that goes into this work that marks it as a final track. Disappointingly, the song completes with a fade out.

I couldn’t tell you which is my favourite Project album of all, but ToaFC would surely be a contender. It holds a special place in my collection, having been one of my first. There is no track out of place, no track which I feel lets the album down, and I never tire of listening from end to end, while also enjoying the singles in their own right.

I think my favourite Project tracks are from the earlier Pyramid and the later Eye in the Sky, but neither of those albums achieve the overall coherence of ToaFC.

Allister Jenks is a freelance music reviewer and podcaster. You can find him on Twitter at @zkarj

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