The Alan Parsons Project Album: “Time Machine”

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.

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.

As a long-time Parsons fan, my first reaction to this cd was...some nice beats, but unspectacular. I was maybe a little disappointed even. Then, after listening to it a half-dozen times or so, it started to grow on me. I noticed that many of the songs started out a little slow and uncomplicated, then as the song went on, layers would be added or tempos changed, and by the end of the song I would have goosebumps. A Pink Floyd-like guitar solo here, a three part harmony there; this is heavy stuff! The Time Machine is some of the most progressive rock ever created by the king of progressive rock. A few tracks, such as "No Future in the Past", or "Press Rewind" could easily be hit singles if Arista (the record company) would promote this music. But classic/progressive rock doesn't have the venues that it once had. It is almost impossible for the old favorites to get air time with their new material. So buy this cd and you won't hear it over-played on the radio, but you might over-play it on your cd player!!!