Our Albums from the Lost and Found column returns with a look at this Asylum Records release from 1980, one of only two solo albums ever released by legendary session guitarist Danny “Kootch” Kortchmar, best known for his work as a regular sideman to James Taylor and Carole King in the ‘70s and as Don Henley’s indispensable co-writer/co-producer during the ‘80s. So what does Kortchmar sound like on his own? Read within to find out!Read More
We conclude our Lost and Found feature on the criminally underrated R&B/funk diva Teena Marie by delving into her final two albums for the Gordy label, 1980's Irons in the Fire and 1981's It Must Be Magic!Read More
To tie in with our Discog Fever feature this week on Rick James, we fittingly devote this week's Lost and Found feature to the first four albums from Teena Marie (all released on Gordy, years before she moved to Epic and finally had her first Top Ten pop hit with "Lovergirl")!Read More
Sporting one of the most notorious album covers of the early '70s (the uncensored version of which you can view inside this article), this Three Dog Night record (actually their second album to get pulled from the market due to objectionable artwork!) is also one of their most underrated.Read More
Our "Lost and Found" column returns after a near-three-month-long break with our first-ever feature on a predominantly instrumental outing - in this case, a funk-tinged 1987 affair from legendary trumpeter (and A&M Records co-founder) Herb Alpert (co-produced here by Jimmy Jam and Terry Lewis of The Time, surprisingly enough!) that would give him his final two Top 40 hits to date.Read More
In the second half of this week's Lost and Found column on late-'70s comeback albums from female pop stars of the '60s, we take a look at Love Me by Name by Lesley Gore, which reunited the "It's My Party" singer with her first producer Quincy Jones and features unlikely collaborations with the likes of Herbie Hancock and the funk duo The Brothers Johnson!Read More
Our Lost and Found column returns from a brief break with this two-part feature on late-'70s comeback albums from female pop stars of the '60s, beginning with this look at Victim of Romance from former Mamas and the Papas member Michelle Phillips!Read More
The siblings’ fourth album was its most commercially successful yet, although, ironically, it’s the one they had the least involvement in making (six of the nine songs surprisingly are ...Read More
The follow-up disc, 1983’s In a Special Way, is the group’s masterpiece and ranks among the very best full-lengths to ever come out of the Motown machine (critic Robert Christgau has gone so far as to hail it as one of ...Read More
They’re one of the most heavily-sampled acts in all of rap and hip-hop and their silky-smooth ballads made them R&B legends. Yet DeBarge strangely commands little attention from most music critics and their music – though it’s never really gone away, living on both in the form of ...Read More
by Jeff Fiedler
Albums from the Lost & Found is a regular feature on thegreatalbums.com in which contributor Jeff Fiedler reviews and helps us rediscover great pop albums that seem to have been lost to time.
Alan Parsons became a part of rock history before he ever made his first album, having served as the assistant engineer on The Beatles’ Abbey Road and the head engineer behind Pink Floyd’s masterpiece The Dark Side of the Moon. Parsons would shortly after try his hand at producing, going on to produce several big-selling albums for singer-songwriter Al Stewart (including Modern Times, Year of the Cat, and Time Passages) and early discs from Ambrosia (who would go on to soft-rock superstardom with “How Much I Feel” and “Biggest Part of Me”) and John Miles, as well as the enduring Top Five single “Magic” by ‘70s one-hit-wonders Pilot. (“Oh, oh, it’s magic, you know / Never believe it’s not so!”)
By the mid-‘70s, Parsons – who, similar to fellow producer Quincy Jones, seldom ever actually sang lead vocals on any of his own self-billed records, usually confining himself musically to the role of arranger and keyboard wizard – was sufficiently confident in his abilities as a writer and performer to turn the spotlight on himself and consequently formed the Alan Parsons Project with Eric Woolfson. Naturally, with Parsons’ background as one of the most renowned engineers in the business, the pair’s albums were consistently textbook-worthy examples of sound and production at its finest, and it’s not surprising that the band’s catalog has been a magnet for audiophiles of all kinds, 1977’s I Robot (based on the Isaac Asimov book of the same name) becoming one of the most wildly-popular titles in Mobile Fidelity Sound Lab’s ongoing series of original-master-recording reissues.
The band’s very model was rather revolutionary for its time, in fact: neither of the band’s two fixed and principal members opted to be the group’s full-time vocalist, in spite of Woolfson being a fine vocalist with a warm baritone. Instead, the band creatively decided to employ a deliberately-ever-rotating cast of lead vocalists. [Naturally, such a construct would make touring a bit of a challenge, but the Alan Parsons Project was always intended to be little more than a studio experiment, and, true to its nature, the band didn’t make its concert debut until the dawn of the Nineties, surprisingly enough!] Over the years, the Project would employ such notable names as the Hollies’ Allan Clarke, Steve Harley, Pilot’s Dave Paton, the Zombies’ Colin Blunstone, and Procol Harum’s Gary Brooker as lead singers. But the voice behind most of the band’s hit singles was typically either that of Woolfson himself (at Arista’s insistence, Woolfson would gradually take on more of the vocal duties over the years to help give the band a recognizable trademark at radio) or that of frequent Parsons collaborator Lenny Zakatek, who sings lead on their hits “Games People Play,” “Damned If I Do,” and “I Wouldn’t Want to Be Like You.”
The conceptual album that would serve as their debut, 1976’s Tales of Mystery and Imagination, their lone release on 20th Century Records before signing to Arista, nearly matched the band’s unique lineup in sheer adventurousness and ambition. The album – the most heavily prog-influenced album the pair would ever make together – is a thematic affair comprised exclusively of musical adaptations of poems and short stories from Edgar Allen Poe. It’s certainly an unusual concept for any act to make their debut with, never mind one that doesn’t even tour, so you have to suspect that 20th Century fretted over how they might be able to sell the disc, but Parsons’ reputation went a long way towards stoking listeners’ curiosity.
The disc has a moderately confusing release history, not in the least since the cover art was changed when the disc was reissued in 1977. The original cover was restored when the album finally came out on CD in 1987, but the album itself had been modified significantly, as Parsons had gone back to update and modernize the production, add additional instrumentation, and even add narration from the legendary Orson Welles! Some purists understandably howled, but the changes arguably made the album even more captivating. (Fans of the original were later placated when Mobile Fidelity released an audiophile CD reissue of the original 1976 masters in 1994. In 2007, Universal would issue a double-disc deluxe version of the album that contained both the 1976 and 1987 versions for side-by-side comparison along with eight rarities.)
The album’s complicated history aside, its actual musical content is stunning. Parsons and Woolfson cleverly and wisely enlist Parsons’ production clients as backing musicians, so all the members of both Pilot and Ambrosia are utilized here. [Strangely enough, neither Pilot’s lead singer (David Paton) nor Ambrosia’s (David Pack) are employed as lead vocalists here and are instead featured almost exclusively as guitarists.] There are two featured instrumentals here, the album-opening “A Dream Within a Dream” and the sixteen-minute tour de force “The Fall of the House of Usher,” the latter of which sports acoustic guitar work from future Wings member Laurence Juber, lush orchestrations conducted and arranged by Andrew Powell (the producer of Kate Bush’s debut disc The Kick Inside), and, on the 1987 remix, dramatic narration from Welles.
But it’s the vocal tracks that arguably make the biggest impression here, not in the least due to the great cast of talent the pair has recruited to their cause. The Hollies’ Terry Sylvester takes the mike on the closing cut, “To One in Paradise,” and also shares lead on “The Cask of Amontillado.” The enigmatic and wildly influential Arthur Brown – the eccentric former leader of The Crazy World of Arthur Brown, who came just one spot shy of topping the U.S. singles charts in 1968 with their lone hit, “Fire” – unexpectedly resurfaces to fittingly provide lead vocals on the chilling “The Tell-Tale Heart,” which is every bit as terrifying here in musical form as the Poe poem itself is in literary form. Parsons himself takes a rare lead vocal – albeit through a vocoder – alongside famed actor Leonard Whiting (the 1968 film adaptation of Romeo & Juliet) on “The Raven.”
Most memorable of all, though, is the straightforward-yet-punchy art-rock of “(The System of) Doctor Tarr and Professor Fether,” one of the more lyrically unlikely Top 40 hits of the ‘70s. (It just snuck onto the survey, peaking at #37.) The track is so well-performed that it’s hard to pinpoint what the most dynamic element of the recording is. Woolfson’s keyboard work defines the word “bouncy,” while the members of Pilot (particularly drummer Stuart Tosh and guitarist Ian Bairnson) do a remarkable job of keeping along and punch up the track a great deal with their assertive playing. Jack Harris, meanwhile, contributes some attention-grabbingly low-pitched backing vocals to great atmospheric effect and guest vocalist John Miles injects just the right amount of soul into his delivery. [Miles would soon have a hit of his very own, his 1977 Rupert Holmes-produced disc Stranger in the City spawning a U.S. Top 40 single in “Slow Down.”]
For a band that never actually appeared in concert, the Project would ultimately rack up an almost staggering number of hits – they’d have eight Top 40 hits in all, four of them Top Twenty hits. Their biggest hit is the Woolfson-sung 1982 Number Three hit “Eye in the Sky” from the album of the same name, but as sizable a hit though that title cut was, it’s not even the most ubiquitous track from that disc these days – the album-opening instrumental, “Sirius,” has become a common fixture at sports events worldwide, even being regularly utilized by the Chicago Bulls during the ‘90s as background music for the introduction of its starting lineup.
By the release of their thirteenth album, 1978’s Legend, the band had moved from Epic to ABC (their first album for their new label, 1975’s Head Over Heels, was notable for featuring a cover of the incredibly rare Steely Dan non-LP single “Dallas”) and Schmit and Grantham had both departed as well, leaving Rusty Young as ...Read More
The Eagles may be the first country-rock band to have had a hit single of any real magnitude (1972’s “Take It Easy”), but – and this next fact gets overlooked continually by rock historians – they’re not technically the oldest country-rock band with multiple Top 40 hits to their name. That notable designation belongs to ...Read More
Not really the one-hit-wonder that everyone thinks they are - they actually have three Top 40 hits to their name, in fact - Katrina and the Waves have plenty of other fun songs besides just the immortal "Walking on Sunshine," and thanks to the songwriting chops of its lead guitarist (and former Soft Boy) Kimberley Rew, this self-titled debut is loaded with them!Read More
In this second half of our Lost and Found feature on The Tubes, we look at the David Foster-produced Outside Inside, which gave the band a surprise Top Ten hit in "She's a Beauty" and also contains the most hilariously double-entendre-laden song Earth, Wind & Fire's Maurice White has ever had a hand in writing!Read More
The Tubes didn't exactly have a reputation for being the most commercial of bands (or a particularly family-friendly one, either!) when it first signed with Capitol Records after being dumped by A&M in 1980. They're also not the most likely of bands to hire David Foster as a producer, but it happened, and the pairing works so, so much better than it has any right to on these two deliciously satirical discs!Read More
He never had a Hot 100 hit as a performer, but the hard-to-categorize singer-songwriter Kenny Rankin - equal parts pop, jazz, folk, and R&B - had some very famous fans (including two Beatles!) and is a clear influence on the much more commercially successful Jason Mraz, who's covered this all-killer-no-filler disc's "In the Name of Love."Read More
What do the NES game Super Mario 2, the song "You Light Up My Life," Sting, the movie The Boy Who Could Fly, and Phil Collins' "A Groovy Kind of Love" all have in common? They've all got some connection to this fun 1989 album from Stephen Bishop!Read More
This charming guy has made cameos in multiple cult-classic big-screen comedies, sung two of the most beloved soft-rock 45s of all-time, penned a Number One hit for Phil Collins, and can count Eric Clapton among his biggest fans. Yet he remains one of the most criminally underrated singer-songwriters of his generation. Join us as we delve into a pair of Stephen Bishop's best albums, beginning with this 1976 debut!Read More
We continue our month-long look at lesser-known double-threat actor-musicians by returning to the Albums from the Lost and Found files for a look at the self-titled debut from former Kids Incorporated star Marta Marrero, better known simply as Martika! Not familiar with the show? You might be quite surprised to find out while reading this feature just how many other stars got their start on the '80s kids show!Read More