Alan Parsons - Tales of Mystery and Imagination

2007 digitally remastered two CD Deluxe Edition of the debut album from the Alan Parsons Project. featuring the original 1976 mix of the album, the 1987 remix and eight previously unreleased bonus tracks! Recorded at Abbey Road in 1975 and released in 1976, the idea for the Project came from manager and writer Eric Woolfson, who saw his role as an auteur, bringing together some of the greatest talents in music to bring to life Poe’s sinister, gothic tales. Enlisting the white-hot production whiz-kid Alan Parsons, fresh from his work with Wings and Pink Floyd, the duo set about making dreams reality. The album remains a singular, compelling work and can be seen as a bridge between Pink Floyd’s Dark Side Of The Moon and Jeff Wayne’s War Of The Worlds. Universal. Album Description

Stunning renditions of 7 classic tales and poems by E.A. Poe.

I'll never forget the first work by Edgar Allan Poe I ever read: it was "The Tell-Tale Heart," and Poe's short story about a madman who kills and dismembers an old man by whose "evil eye" he feels haunted soon outgrew the high school class assignment it had originally been for me; and the narrator's nightmares began to haunt me, too. (Yes, I was an impressionable 16-year-old, but Poe really *was* the master of horror for all ages.) Alan Parsons's rendition of the story on the third track of "Tales of Mystery and Imagination" does full justice to its sense of lunacy masquerading as clairvoyance, and the urgency of the narrator's acts, driven by the sound of the old man's beating heart, hidden below the floor boards of his room, and symbolized here by the steady bass and drum beat underlying the entire track -- except for the deceptively serene bridge ("And he won't be found at all, not a trace to mark his fall nor a stain upon the wall"), after which it returns with all the greater force, accentuated by the grating sound of an electric guitar which, along with the bassline and drums, causes some to describe this song as more of a traditional rock song than the other parts of this album.

The album starts with an instrumental based on the poem "Dream Within a Dream," to which the brief Poe quote from 1846's "Marginalia," where "Dream Within a Dream" was also published -- spoken by Orson Welles -- was added on 1987's remastered CD (the second CD of this re-remastered edition). In many ways, this quote sets the theme for the entire album, and for Poe's work in general: "There is ... a class of fancies of exquisite delicacy which are not thoughts ... These fancies arise in the soul, alas how rarely ... at those weird points of time, where the confines of the waking world blend with the world of dreams. ... I captured this fancy, where all that we see, or seem, is but a dream within a dream." (I owned and loved the vinyl version of this album long before the CD was released; but for the life of me I cannot understand why this quote was not included from the start -- unlike others I don't find it an intrusion but an enrichment. This double CD, however, now even affords listeners the long-awaited opportunity of a direct comparison between both the original and the 1987 recording.) And like the quote, the entire track weaves around the listener's thoughts and thus, leads us into the rest of the album, at the end introducing the drum-enforced bassline which also dominates the next two tracks on what used to be the vinyl original's first side.

Thus, "Dream Within a Dream" blends seamlessly into the interpretation of Poe's classic "The Raven" -- the epitome of a story about a nightly visitor from hell, come to torment the narrator and to leave Nevermore. (Parsons maintains the poem's gloomy mood, although he makes little to no references to its more explanatory parts.) And like the "The Raven" and "The Tell-Tale Heart," the album's fourth track deals with a soul damned forever, setting to music the tale of "The Cask of Amontillado," that bait used by its narrator Montresor to lure and immure alive in his palace's labyrinthic vaults one pointedly named Fortunado. The song's heavily textured vocals layer Fortunado's pleas for help with Montresor's gloating, while gentle keyboard and string tunes contrast his horrifying act. Horns, guitars and a choir emphasize the story's somber end.

The tales then move on to the chillingly hilarious account of the madhouse reigned by the inmates themselves (insufficiently "soothed" by the prior system and now partying wildly) and the "System of Dr. Tarr and Professor Fether," administered on their former guards.

The orchestral suite "Fall of the House of Usher," the centerpiece of the vinyl album's second side, puts to music Poe's ghastly tale of an ancient mansion causing the ruin of its owners. Here again, on the 1987 CD, Orson Welles lends his voice to Poe's words, written in 1831, eight years before the tale itself but foretelling it with its references to "[s]hadows of shadows passing," "colour becom[ing] pallor, man becom[ing] carcase, home becom[ing] catacomb, and the dead [who] are but for a moment motionless." (Again, I fail to understand why this was not already included on the vinyl version of the album -- but, again, I think proponents of both editions will be equally pleased with the direct comparison offered by this CD.) The suite's individual movements mirror the breadth of emotions contained in Poe's tale, with (alternatively and conjunctively) wailing strings, sinuous guitars, and thundering, hard-driving drums and bassline.

And as in anyone of Poe's tales, there simply cannot be an upbeat ending -- the album's last track is a melancholy interpretation of the ode "To One in Paradise," mourning the death of the speaker's love.

"Tales of Mystery and Imagination" is a quintessential concept album; the auspicious debut of that "anonymous outfit that never play[ed] gigs," as Parsons wrote in the liner notes of the remastered CD; a "project" whose name was initially not intended to be the name of the band but rather their product, the album itself. In addition to close contributor and keyboardist Eric Woolfson, Alan Parsons recruited a talented group of individuals: conductor Andrew Powell, who later produced Kate Bush's first albums, scored Richard Donner's Ladyhawke and worked with artists as diverse as Karlheinz Stockhausen, Pierre Boulez, Leo Sayer, Chris de Burgh, Kansas and the Philharmonia Orchestra; guitarist Ian Bairnson (now known for his cooperations with George Martin, Mick Fleetwood and again, Kate Bush); actor Leonard Whiting (Romeo the 1968 Zeffirelli film), Elton John's bassist David Paton, 10CC drummer and Bairnson ex-co-Pilot Stuart Tosh, Tina Turner sidekick-to-be John Miles, and Terry Sylvester, Graham Nash's replacement in the Hollies.

In addition to both versions of the album, this double CD offers bonus material such as excerpts from (spoken) interviews and an extensive booklet which contains, inter alia, the lyrics to all songs, reproductions of the original album's artwork, artist biographies, as well as a detailed essay.

If you didn't know this is Parsons's and his "Project"'s first album, you certainly wouldn't be able to tell this from the record's tight, first-rate production and musicianship. I am not the world's greatest fan of electronic music -- but this album has so much more to offer than synthesizers and vocoders. It has been one of my all-time favorites ever since its 1975 release, and I still listen to it with great regularity.

Also recommended:
Essential Alan Parsons Project
Edgar Allan Poe : Poetry and Tales (Library of America) September 9, 2008

A particularly welcome reissue

'Tales of Mystery and Imagination', a concept album based on the works of Edgar Allen Poe, first appeared on LP in 1976, reappearing (in remastered form) on CD in 1987. This 2-disc remastered resissue contains both the 1976 and the 1987 versions, together with a great deal of interesting bonus material. Hitherto, the 1976 version had never appeared on CD.

Inclusion of the original 1976 version makes this a particularly welcome reissue because, in my opinion, the 1987 version was significantly weaker than the original, lacking much of the bite of the 1976 production. Originally intended not as the name of a band but, rather, as a one-off exercise, the Alan Parsons Project went on to become one of the most successful and original of prog rock acts, but this is where it all began. From the very first cadences to the end, this is a gripping and enjoyable album of remarkable originality and power. Superb stuff, and the sonic quality of this reissue is excellent. Enjoy! May 30, 2008

This is the right place to start your adventure with the Alan Parsons Project!

The team of Eric Woolfson and Alan Parsons - the heart of The Alan Parsons Project (APP) - produced what is arguably one of the best string of rock/pop concept albums ever. And, "Tales of Mystery and Imagination: Edgar Allen Poe" was the album that got it all started.

This offering includes both the original version of the album released in 1976 and the remastered version released in 1987.

I was introduced to APP music in early 1977, mere months after the original version of this album was released. Having read a good deal of Edgar Allen Poe's work, I thoroughly enjoyed APP's adaptations of several of Poe's stories. APP's mixture of vocal and instrumental tracks has become, at least for me, their trademark.

The album includes hard driving rock (e.g. The Tell-Tale Heart, and Doctor Tarr and Professor Fether), moody instrumentals (e.g., Fall of the House of Usher - in 5 parts), and calm, reflective songs (e.g., To One in Paradise).

The 1987 remastered and revised version of the album includes Orson Welles narration as part of "A Dream Within a Dream", and the addition of heavier duty guitar licks to some of the other tracks.

I bought the vinyl LP when it came out, followed by an audio cassette of this album (1976 version). Then I kept an eye out for this music to be released on CD. When it was in 1987 I snapped it up, not knowing about the additions and revisions to many of the songs. It was, but was not my old friend. That is why I find this 2-CD set to be such a great option. It provides both the original and the revised versions of this great album.

I believe that even if you are not a fan of Poe's work, you will enjoy APP's music.

By the way, APP relies heavily on electronic manipulation to achieve the desired result in this album, and it is used to very good effect.

If you are just testing the APP water, I suggest that this is the best place to start.

5 stars all the way. I've had this music in one format or another for over 30 years now, and it still finds its way into my music playlists!

Alan Holyoak - 30+ year APP fan February 6, 2008

Tales along a dark road

The first of The Alan Parsons Project albums set the footprint for his career to follow: choose a concept and then base progressive, highly structured and immaculately produced music around it. In the case of "Tales Of Mystery," it was Edgar Allan Poe. My original copy of this was on vinyl, a reissue of the 20th Century Records release with a second version of the cover, depicting a bust of Parsons somewhat wrapped in mummy-bandages. (The long shadow on the CD cover minus the mummy photos was the original cover.) Featuring several of APP's soon to be regular cast, collaborator Eric Woolfson and members of the groups Ambrosia (Parsons produced the debut "Ambrosia") and Pilot, it was the kind of album that got labeled "head music" in the seventies. Perfect for listening to with headphones or while hanging out with friends in a room full of black light posters while probably not 100% sober.

Some 30 years later and more often sober while listening to CD's, this album holds up well for its first half. The trademarks of APP appear in songs like "The Raven" and the instrumental "Dream Within A Dream." There was even a minor hit single as "The System Of Doctor Tarr and Professor Feather" slipped into the lower reaches of the top 40. The album's final Beatlesque ballad, "To One In Paradise," sounds worthy of Abby Road and is indicative of hits to come - think of "Time."

On the other hand, the 15 minute "The Fall Of The House Of Usher" is a soundtrack in search of a video accompaniment. While a younger and more - ummm... - 'stimulated' imagination might have filled in the picture, it now just sounds like background buzz. While I don't mind the stentorian narration Parsons added from Orson Welles for the 1987 CD release, the additional synthesizers and solo guitars are an irritant. They could have left well-enough alone, but since CD technology was the shiny new thing at the time, I don't blame Parsons for wanting to tweak the new version.

Now, however, you have both versions in one box. This ups my original rating from 3 stars to four, as the sonic enhancements make the twin discs sound even better. For the first time since a long OOP Mobile Fidelity Disc, you can hear the version of this album in its original context, minus the extra guitars and synths. The demos add little to the package, but the bare narration from Orson Welles (and the radio spot) are worth a smile. As soon as I saw this at a domestic price, I knew I'd have to own it, and it was worth the investment.

As far as its place in the APP discography, I probably prefer "I Robot," "Pyramid" and "Eye in the Sky" ahead of "Tales Of Mystery." But for shear audacity (mixing classics of literature with rock music was considered pretty risky in 1976), the Alan Parsons Project debut still can stimulate. December 23, 2007

Horrible Remaster!!!

This gives me great sorrow to write this about one of my favorite artists and who prides himself as a recording perfectionist!

We waited 13 years for this masterpiece to be remastered by Alan, who used to be the king of audiophile remasters, and I was stunned and shocked when I played it! The Mobile Fidelity version from 1994 smokes this version. This version is flat, VERY bright and hashy, has no body and warmth, and seems as if it is a compressed MP3 version on CD.

I also bought the Japan mini LP CD of this new release and same big disappointment with the remastering.

All my other latest remasters, such as Rush and Steely Dan, etc., sound way better than their MFSL counterparts, BUT not AP!!

Booklets and Bonus Tracks?? Who cares if the remaster sucks!! It should be about the music not the extras.

I can not believe AP really supervised this remaster, and if so, something must be wrong!

All we can hope for now is that it will be done in DVD-Audio by someone else.

I agree--after this release, I will NOT repurchase the rest of the APP rerelease catalogue!!

What a shame!
November 29, 2007

More reviews at Amazon.com ...