A few years ago, when Alan Parsons released what was being hinted as his final studio album, The Secret, I must admit that upon my first few listens I was underwhelmed. By no means was this late career offering “bad” or even “mediocre”. It just didn’t resonate with me the same way as those classic 70s and 80s Alan Parsons Project albums do, which is an unfair judgement considering one half of the Project, and their primary songwriter/vocalist at that, Eric Woolfson, is no longer with us. Hence why while the musical and recording practices of the Project remain alive and well, the moniker does not. This is purely Parsons’s vision.
As I continued to revisit The Secret, I grew to enjoy it for what it is: An introspective look back upon the life of one of rock’s greatest visionaries. For those unfamiliar with Parsons’s resume, allow me to refresh your memory. As if scoring a slew of hits across Top 40, adult contemporary, and rock radio with his namesake band wasn’t enough, Parsons cemented himself as a master producer/engineer, responsible for bringing to life albums such as The Beatles’ Abbey Road (1969), Pink Floyd’s The Dark Side of the Moon (1973), and Al Stewart’s Year of the Cat (1976), which is widely regarded as the finest production of all time. In other words, to call Parsons a “legend” would be an understatement.
His latest album, From the New World, is more or less a continuation of The Visit, both musically and lyrically, but with perhaps an even greater emphasis on his Alan Parsons Project days. The opening “Fare Thee Well” sounds like a Project song that would’ve dominated the charts 40 years ago: A grandiose arrangement of powerful guitars, emotional strings, and delicate harmonies with pristine production to boot. It’s a robust start to an album that despite being heavy on ballads, doesn’t skimp on substance. Whether it be the Beatles-esque excursion of “Obstacles”, classic 70s pop of “Don’t Fade Now”, or epic bombast of “Give ‘Em My Love”, which showcases the full vocal range of our friend James Durbin, Parsons still has that magic touch when it comes to the softer side of rock.
It isn’t just Durbin who joins Parsons in the studio for this new outing. There’s a couple guitar spots from Joe Bonamassa, a vocal from Ambrosia frontman David Pack (“I Won’t Be Led Astray”), and even a cut with Styx guitarist/singer Tommy Shaw. Moral issues with Shaw aside, I can’t deny the excellence of his contribution to this album, “Uroborus”, whose funky prog-pop wouldn’t sound out of place on Styx’s Cornerstone (1979). Other highlights of From the New World include the breezy yacht rock rock of “You Are the Light”, electronic art prog of “Halos”, and a melancholically beautiful cover of The Ronettes’ “Be My Baby”, which I can’t help but feel was the catalyst for Parsons to enter production in the first place. Say what you will about Phil Spector, but you can’t deny the brilliance of his Wall of Sound.
With all due respect to The Secret, From the New World is a much more compelling and cohesive outing from all angles. I’d be much more comfortable with this honorary entry into the APP canon being Parsons’s final studio album than its predecessor. And if this truly is the end, then job well done Alan. Thank you for over 50 years of pushing the boundaries of rock music and paving the way for every band, songwriter, and producer to follow. We don’t need the Rock and Roll Hall of Fame to recognize such achievement. Us, the fans, have recognized it for decades now, by buying your records, going to your shows, and writing reviews like this. We still have our eye on the “Eye in the Sky”!
8 out of 10
Label: Frontiers Records
Genre: AOR
For fans of: The Alan Parsons Project, Genesis, Asia