Customer Reviews

Time Machine

5 star:		(19)
4 star:		(14)
3 star:		(9)
2 star:		(7)
1 star:		(0)

 

 

Being an Alan Parsons' fan since the late 70's (I got into them by a suggestion from a friend who knew I was a big Pink Floyd fan), I was especially pleased at the release of "The Time Machine". Except for their first three or four albums, most of Alan Parsons' work takes a few plays to fully appreciate, and this one is no exception.

There is some classic Alan Parsons here, especially "Time Machine" parts 1 & 2, and "Out of the Blue". A few cuts take many listenings before they grew on me, but all-in-all this is a very solid set, except for "Call Up", which I feel is annoying at best. I found "Ignorance is Bliss" to be especially wonderful after a few plays.

Their entire body of work is amazingly impressive, so much so, that it is difficult picking out a favorite, or least favorite. Every album, even those I first thought of as weak, I just wouldn't want to be without.

In a time where my favorite groups have disbanded, retired, or are rarely visible (Pink Floyd, Supertramp, ELO, Moody Blues, etc.), it's a joy to see Alan Parsons still creating and touring. Between 1 and 10, "The Time Machine" gets a solid 8.

I have been listening to Alan Parsons since his first album in 1977, so I am no newcomer to the man and his music. However, unlike many of the dissillusioned people who have posted reviews on here (I wonder how many times they played this album before reviewing it?) I believe that Mr. Parsons has some of his best music in the 90's. His previous works this decade, "Try Anything Once" and "On Air", are every bit as strong as as the Project classics of the 70's & 80's, perhaps better in some ways. Now "The Time Machine" continues the AP tradition, albums of pure creativity, with lots of musical variety along the way to keep things interesting. Unlike some, I don't miss Eric Woolfson's presence much at all here. Eric was (and is) a great talent, of course, but with other great talents in his place the band has produced some of their finest work ober these last three albums. Guitarist Ian Bairnson is a real standout on this disc!

"Time Machine" is a big improvement over 1998's lackluster "On Air." Although there are no songs that equal their best, especially their last great song "Oh Life" from 1993's "Try Anything Once," there are still some nice additions to the Parsons catalog. The title is appropriate as this collection both recalls past efforts and moves forward with some interesting additions. Recalling the past are the interesting instrumentals (more of which are included here than in recent CDs) and the best song on the disc "Ignorance Is Bliss," which brings back the feel of their hit song "Time." Moving in a new direction, two songs that feature female lead vocals. Maire Brennan (from Clannad) lends a Celtic lilt to the disc's centerpiece, "The Call of the Wild." Beverly Craven emotes wonderfully in "The Very Last Time," probably the most sentimental song that Parsons has recorded. As usual, the CD sounds fantastic. That is something that you can always count on when you purchase an Alan Parsons disc. However, even with the good elements, the disc is still not up to the levels of earlier heyday albums like "Eye In The Sky" and "Amonia Avenue." (And I really miss Eric Woolfson!) The bulk of this album was written and performed by Ian Bairnson, whose material can range from excellent to mediocre. Perhaps the key to a more consistant disc would be to keep his best songs and recruit another songwriter or two for the balance. The disc is a must for fans, but I would recommend earlier albums for those discovering Alan Parsons.

Sounding like a combination of the Alan Parsons Project of the 70s with a dash of Pink Floyd and perhaps even Enigma, "The Time Machine" is an aural experience sure to please many fans of Parsons, New Age and Soft Electronica. Here is music to work, run or meditate by.

This CD opens with the instrumental "The Time Machine, Pt. 1." The music is a combination of acoustic and electronic instruments with Ian Bairnson's guitars overlaid. This brisk opening introduces the theme of time travel and prepares you for the monologue by Professor Frank Close in the second track, "Temporalia." Professor Close is correct that viewing light from other stars is a travel back in time, because that light has traveled for thousands or millions of years to reach the earth; an interesting perspective on an esoteric subject.

The CD moves steadily onward, though figuratively remaining in place, with the mellow song "Out of the Blue," with lead vocals by Tony Hadley of Spandau Ballet. This song is nicely orchestrated, and Ian Bairnson's guitar adds a marvelous counterpoint to the keyboards.

The following song significantly changes the pace of the CD. "Call Up" is funky with a powerful blues feel. Since the song is about calling on people of the past the blues flavor is appropriate. I was surprised that Ian Bairnson provided saxophones on this song in addition to his usual guitar work. This song bears a very strong resemblance to some of the Alan Parsons Project's early work, such as that on "I, Robot."

In a more mellow and beautiful tone is "Ignorance Is Bliss." This song shares traits with music by Dan Fogelberg. This mellow song has the honor of being the longest on this CD, as well as being one of the most beautiful. The lead vocal on this song is by Alan Parson's veteran Colin Blunstone, who provided the vocals for the excellent Alan Parson's Project song "Old and Wise." There is a lovely orchestral arrangement in the extended bridge of this song, which I consider a must listen for Alan Parson's fans.

The instrumental "Rubber Universe" provides a bouncy connection between the previous mellow song and the incredible composition that arrives next. Once again, the style of this song, which is nearly all Ian Bairnson, is very similar to the style of early Alan Parsons Project. Though Bairnson's mandolin portions are too short, they are nostalgic.

I am in love with Maire Brennan's voice. The first time I heard "Call of the Wild" I skipped back to play it again, and then again. I can understand why fans of Clannad love the group so much. As much as I enjoy her sister Enya's music, I think Maire has a more powerful haunting voice, at least in this song. This song makes me run out of adjectives because it is just so (cliché time) awesome. If you can listen to this song and not feel some kind of emotion then you are unable to appreciate emotional music. Crank this song up, it is an instant classic.

The song "No Future in the Past" makes me want to go back to "Call of the Wild." I doubt any song could feel appropriate after the former song, and such is the case here. This song, which is a good song, is out of place next to Maire Brennan's voice. Perhaps there should have been an instrumental between the last song and this when just to prepare your ears for the dramatic change in styles and pace.

By the time "No Future in the Past" is finished you can listen more objectively to "Press Rewind." While this song is perhaps just a bit better than the previous song, it sounds much better following on the heels of the former song though it is middle of the road pop.

The pace slows again with "The Very Last Time." Beverly Craven powers the vocals in this song of loss and memory and love. This song is somewhat unusual in that much of the time the song is Beverly Craven and the piano. The rest of the time it is strings and piano. There are no synthesizers or guitars in this sumptuous aural feast.

The last two instrumentals provide a slight progressive twist to give the album perspective. "Far Ago and Long Away" is image laden in Richard Cottle and Ian Bairnson's keyboards. Ian Bairnson's bass is very predominant, and tempered by the programmed drums and orchestration. This instrumental is yet another reminder of the early days of the Alan Parsons Project. Though not credited, there are smatterings of vocals in this instrumental that provide a lovely other world feel.

This CD wraps up with "The Time Machine Pt. 2." This coda seems to pull the CD together, and provides a listener with the desire to go back and experience this pleasing CD once again.

When I first acquired this CD I found that I could not get enough of it. This CD is an overlooked gem. I am surprised that this CD did not have staying power and that it did not yield a single. There are plenty to choose from, most particularly the spectacularly beautiful song "Call of the Wild," the mystical "Out of the Blue," and the plaintive "Ignorance Is Bliss." I know that my musical tastes have moved away from the mainstream, again, but if current tastes are able to overlook the incredible beauty and power of this music, perhaps I want to stay out of the mainstream.

This recording came out without much fanfare and the songs reflect why. I have been a long time Parsons fan and can see this disc's place in the growth and evolution of Alan Parson's music and engineering. However, as a disc on its own, the music is somewhat weak. The music is very thoughtful but never really seems to take the listener in any particular direction. That's the weak point here; the disc is over by the time you get an idea of what is trying to be conveyed. Go back in your collection and start at the beginning of your Parsons music. Listen all the way through to this disc and it will all fit together. Alone, this disc doesn't stand up. As a side note: If you ever have a chance to see Alan and his musicians live, GO! They put on one heckuva show.

Some people don't like the album because 'it is different from the old Alan Parsons Project music'. So what? Time has changed, and we are no longer in the 70s and 80s.

Some people lament that only very few tracks are due to Alan. So what? Ian Bairnson and Stuart Elliot have done a great job as songwriters. (I must say that Stuart has written my favorite tracks on this album.)

Some people say that the music (especially in the second part of the album) is a bit slow. So what? The title instrumental The Time Machine is phantastic and far from being slow.

And why shouldn't there be some new elements in Alan Parsons music, after 25 years? Ian Bairnson is from the Shetland Islands, and the Scottish influence can be heard in the songs by Maire Brennan (from Clannad) and Beverley Craven.

Don't let me be misunderstood: there is no reason to defend this product. Go and listen to it carefully when you are in the right mood, and you will love it.

This is the third album without Woolfson (discounting Freudiana), and the first, musically, largely without Alan Parsons as well. Time Machine is not a typical AP album, and Alan Parsons' absence in composing music is evident. Being an Alan Parsons Project fan, I was disappointed with Woolfson's departure as his contribution was instrumental to that APP sound; with Time Machine Alan Parsons apparently has taken the cue by composing only a minute piece, allowing the vacuum to be filled by fellow AP band members. Competent music? Yeah. Polished production values? Sure. The Alan Parsons Project it ian't.

Alan is back, and the polish is there. I just wish there were more of him...I mean Parsons. This seems to me mainly an Ian Bairnson/Stuart Elliott piece. Not that this is bad, not at all, but I mean Alan hardly lifts an instrument here...or so it seems. He's only credited once, and that for the organ. Come on! More Alan next time. And one more little gripe. Chris Rainbow as back up singer only. Back up singer? Come on!

The songs, though, soar. From the opening (on the American release)The Time Machine Part I and onto the magical Out of the Blue, which for my money is one of the best AP(P) songs ever. I also like that Parsons has gotten back to using women on his albums again. Call of the Wild and The Very Last Time are quite good.

Overall the album is good, though not as good as either Try Anything Once nor On Air. But it's good, and that's enough with Parsons. His good is better than a lot of bands' great. I hope that Parsons doesn't waste time bringing his next album out.

I purchased this album knowing that I was a faithful Alan Parsons fan but not really knowing what to expect on The Time Machine. When I received it and listened the first time, I was immediately sure that I would come to like this album the most of his efforts this decade. To me, this album is much better than "On Air" and "Try Anything Once" in terms of having the original Alan Parsons *project* sound. As other reviewers have noted, it isn't EXACTLY the same without Eric Woolfson on board, but some of these songs are certainly good enough to make a future Greatest Hits album. I also had the extreme pleasure of seeing Alan Parsons live this past weekend (his Time Machine tour promoting the new album) and it was fantastic. Very tight, great performances including Ian Bairnson burning up the guitar and Stuart Elliott performing faithfully on the drums. They played my personal favorites from the new album: "The Time Machine (Part 1), Out of the Blue, and Press Rewind" and 2 others. They also played about *14* other songs from past albums - it was a KILLER set!! Even my wife (who I dragged along - she's a Garth Brooks fan.....)was BLOWN AWAY at the concert and now has a new appreciation for them. And yes, Alan Parsons was personally on stage playing guitar, some keyboards, and background vocals. If you get "The Time Machine" you'll really enjoy it - it is great Alan Parsons music.

For his 1999 album, "The Time Machine," producer/musician/composer Alan Parsons remains primarily in the background, writing only a lone, one-minute piece, "Temporalia," and playing keyboards on just a pair of tracks. But Parsons IS the album's producer and master of ceremonies, so he still gets the name credit. "The Time Machine" is an excellent album that explores time travel & time itself, with a great selection of songs and first-rate performances. With Parsons perfectly content to sit behind the controlboard, the songwriting & performing spotlights fall on longtime Parsons pals Ian Bairnson on guitar and Stuart Elliott on drums, who both contribute the album's songs & instrumentals, and who play the majority of instruments as well. From start to finish this is great music, including the pulsating "H.G. Force," the atmospheric "Out Of The Blue," the funky "Call Up," the fine pop-rock of "No Future In The Past," the Middle-Eastern flavored "Far Ago And Long Away," and the lovely "The Very Last Time." As usual with Alan Parsons, the music, production & performances are top-notch, including great vocal performances from Tony Hadley of Spandau Ballet, Neil Lockwood, Colin Blunstone, Graham Dye, and the lovely voices of Maire Brennan of Clannad and Beverley Craven, the first women to sing lead on an Alan Parsons album since 1979's "Eve." Granted, I do wish that Parsons would've written & played more on the album, but this is a very small gripe, as Bairnson & Elliott deliver the goods in those departments just fine. All in all, "The Time Machine" is a most excellent offering from Alan Parsons.