I don’t know if it’s another song or a movie or what, but I get the feeling that I thought it was from the Hobbit cartoon or something.Alan had dabbled with live performance in his late teens as a folk/blues acoustic player and as a lead guitarist with a blues band called The Earth in the late sixties in his hometown of London. The beginning of “The Cask of Amontillado” opens with “by the last breath of the four winds that blow/I’ll have revenge upon fortunato” and I know I’ve heard it used in something else. I already knew I was not up for that, but there were the occasional parts that brought it back to my attention in between daydreams. When we flipped the record over, I happened to notice that track one was a 15 1/2 minute instrumental song. Tar and Feather one that sounds like if someone played Chicago and Steely Dan at the same time, and then did that thing where they stare at you waiting for you to show just how much you love it too. Some kind of reminds me of early metal stuff, but then there’s The Dr.
I often couldn’t tell if songs were over or just breaking down. I actually really liked the artwork that accompanies all of the songs and the way Poe’s works are reflected, but I just cannot handle the jamminess of most of it. Not that it’s bad or anything, “The Raven” is a cool song, but the rest is just not my thing. Jenna was a lot more generous about this album than I was. A depressing final thought on a mediocre album. This track is definitely from the 70's and reminds me of Commodore's "Easy." Dreamy and atmospheric, groovy and mellow, this track is a far cry from "For alas! alas! with me/ the light of life is o'er!/No more-no more-no more." Again, a poem reflecting on the temporariness and frivolity of life. It blended earlier tracks with the ominous nature of the original work. I thought the "House of Usher" was a great crescendo. Not what I would've ended the album with. This is my second favorite track because it seems the closest to Poe's work while simultaneously showing APP's skill. It changes into something reminiscent of Goblin's work on films like Suspiria and Deep Red. The track melts into the tone of Side A as synth builds behind an organ and a thunderstorm straight from a Halloween special FX album. It resonates with the rest of the album in sounding like a stage production, but this has more nuance, like a ballet.
It goes through moods: happy with a sinister presence lurking until it completely swells with the sound of doom. I've read it but I had to skim the Wikipedia to double-check my work.It seems that the instrumental version fits pretty well. It sounds like the missing jazz track of a 1970's production of Sweeney Todd.Īnother Poe story I am not too familiar with. This song straight up sounds like an intro to a period piece detective show, where a quirky ragtag team jives along the dreary streets of 19th century London. What even is this? I am completely unfamiliar with this story, but I can guarantee you that it does not reflect what I am listening to. This is a very 70's adaptation and the music reminds me of The Beatles' "She's Leaving Home." Very prog-rock and not frantic as I would have expected.
ALLEN PARSONS PROJECT HALLOWEEN FREE
This is my favorite Poe short story because the idea of being walled up alive under the guise of getting free wine terrifies me. The song jauntily goes on about killing an old man because of his creepy-ass eyeball but you would never know because it demands jazz hands. It's jazzy and a little too close to sounding like Cats for my taste. I remember watching Vincent Price recite this story from a coffin and this is most likely whatever the opposite of that is. Similar to "The Raven," this song shares a lot of lyrics with Poe's short story. Definitely the best track of the album and an essential to any Halloween party playlist. Like a rock opera, there's wailing guitars, chanting that makes you want to pump your fist in the air, melodious ethereal vocals and Edgar Allan Poe. Then it drops into a more stereo, catchy song at "to my amazement/there stood a raven" and goes from there. The song begins with a robot voice introducing not the poem's "Once upon a midnight dreary." but "The clock struck midnight"-pretty close in content. My 9 year old ears perked up: "What is that?" My dad somehow was playing this on our way home-maybe on a CD or via the most obscure radio station, I'm unsure. This is my introduction to Edgar Allan Poe and subsequently, horror as a genre. One of my all time favorite songs, maybe technically a guilty pleasure. The tone is dramatic, sure, but the hopelessness of the poem is lost in the funky bass line leading up to I honestly would've never pinned this work (favorite line: "O God! Can I not save/ one from the pitiless wave?/ Is all that we see or seem/ But a dream within a dream?") to this song. My favorite poem of Poe's is now translated into a funkier, groovier rendition.
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