s a musical genre, rock 'n' roll isn't quite 50 years old, yet it has
clearly had a profound effect on contemporary culture. Whether that impact
will last far into the future remains unknown, but there's little question
that the sentiments expressed in many modern melodies often reflect age-old
concerns about the meaning of life. Progressive rock artist Alan Parsons
actively addresses these eternal anxieties on The Time Machine, a
thematic collection directly influenced by H.G. Wells' classic story of the
same name.
Each of the 12 tunes features, according to Parsons, a "motif of
time-related issues and ideas." The boisterous "Call Up" recalls over 40
departed celebrities--from Einstein and Elvis to Shakespeare and
Sinatra--who, through their intellectual, societal or political
contributions, altered humanity in a positive manner. Misgivings over bygone
actions are explored in the pensive "Press Rewind," just as the importance of
"living for today" is emphasized on the introspective "No Future in the
Past." Meanwhile, the instrumental title track, presented in two movements at
the beginning and end of the CD, blends traditional orchestral arrangements
with electronic keyboards and guitars, subtly intermingling elements from the
past, present and perhaps even future of pop music.
Though The Time Machine is billed as a solo work, many of the same
people who've performed with Parsons over the years as members of The Alan
Parsons Project also appear here, including Ian Bairnson, Stuart Elliott and
Andrew Powell. The disc also spotlights such guest artists as Clannad
vocalist Maire Brennan, Spandau Ballet singer Tony Hadley and Northumbrian
pipes virtuoso Kathryn Tickell.
Temporal tunes
Folks unfamiliar with Parsons often don't realize that his role on most of
the recordings that bear his name consists primarily of writing, engineering
and producing the songs. The Time Machine is no exception, and while
he is clearly the mastermind behind the album, it's the combined talents of
all the participants that ultimately lead to the success of this intelligent and
imaginative CD.
The haunting "Call of the Wild" is a perfect example of this synergistic
phenomenon. Brennan's crystal-clear voice marvelously accents both Tickell's
ethereal pipes and Powell's orchestral arrangements, intermingling archaic
Celtic elements with modern recording techniques. Simultaneously, the lyrics--written
by Bairnson--directly discuss the power of music to not only overcome
political and cultural boundaries, but also, as themes are passed down
through generations, to literally transcend time. The Parsons-penned tune
"Temporalia," which, appropriately enough, lasts only about a minute, is a
similarly effective number, incorporating an excerpt from the British
television production Equinox - The Rubber Universe to provide a
more scientific examination of time travel.
Not every composition is equally enjoyable--"The Very Last Time," a sweet
ballad that touches upon lost love, seems contextually out of place despite
its thematic title--but overall the disc provides an interesting and
creative survey of the more esoteric concerns raised by Wells' famous story.
While The Time Machine is clearly not a direct interpretation of its
literary namesake, Parsons and his band provide SF fans with numerous
thought-provoking and perceptive insights into the never-ending and
wondrously widespread effects of the passage of time.
