这个问题很容易解决嘛，just google it!
一个叫 Alan Parsons Project 的乐队
同名专辑1980年发行
下面是网友对这张专辑的评价供参考（不过我没拜读，这么多英文头都大了）
原作我是听到过的，而且不止一遍，所以听到小哥的翻唱旋律很熟，你们有兴趣找找mp3吧
Concept album number one thousand six hundred and fifty three, or so it could seem to those who haven't actually taken the time to, you know, listen to these records. And why should they, when there's so much ravenously exciting stuff filling up the Earth anyway? And who the heck actually needed the Alan Parsons Project in the Eighties? Nobody did.
But the Alan Parsons Project still existed, and managed to come out with yet another highly formulaic, but utterly enjoyable, record. There are no unbelievably high points like 'Damned If I Do' on here, but overall I'd say the effort is a bit more concentrated and a bit more consistent than Eve. This one revolves around the central topic of gambling; the title track, a side-long suite on the second side, is entirely dedicated to the fates of a gamblin' guy in a direct way, and most of the songs on the first side use card references as metaphors for Parsons' highly-aimed metaphysical thematics. But consider this as nothing much more than just a bit of corny trivia - I sure as hell ain't gonna base any sweeping general conclusions based on the concepts of Alan Parsons and Eric Woolfson.
Let's just skip it and move on to the songs. First of all, we must get the Pink Floyd out of our system; Floyd reference #456350 is a lengthy melancholic ballad entitled, you guess it, 'Time'. Granted, it's closer in its gentle, slightly swaying, soothing mid-tempo atmosphere to 'Us And Them' than 'Time', but that makes it a double reference, then. As far as ballads called 'Time' go, this one isn't half-bad, though: I mean, if Alan Parsons was smart enough to record the enchanting atmosphere of 'Us And Them', he is certainly smart enough to make the atmosphere here seriously competitive. With the hook-filled vocal melody, and the shrill, but caressing whistles of the synths (that's not irony, in case you suspected that - I'm perfectly sincere!), it pushes adult contemporary as far as it can go in the positive direction. Which is pretty far, actually, if you know how to handle the production line.
The first side also includes tolerable soft-rockers like 'I Don't Wanna Go Home' and 'May Be A Price To Pay', which both haunt you with ominous lyrics and ominous synth lines, so as to tell you: "Only the Alan Parsons Project really knows what are the main problems of mankind!", and if you're smart enough, the correct way to dispel the enchantment is to say "Sorry, I'm just interested in the melodies", because that's the only thing from this album that can transcede time, if only for a limited period. As far as I know, though, 'Games To Play' is the most well-known song, a faster - and catchier - synth-rocker that predicts (and makes essentially useless) a huge chunk of Eighties synth-pop. It's well-written, but hardly inspired, that is, it could use a bit more edge and aggression, but then again, they could have turned into Foreigner had they followed that route.
Anyway, I essentially just wanted to concentrate on the title track. For a sixteen-minute long suite, and one that comes out of the hands of Alan Parsons, it is really a great little thingie. The concept is interesting, the themes are very well shaped and keep cropping up again just so as to remain memorable, never becoming annoying in their repetitiveness. First you have the "introduction" theme - a gentle, albeit slightly sappy, ballad; then comes 'Snake Eyes', a good riff-rocker; there's a slight medieval-sounding instrumental interlude, there's a slight accordeon-propped countryesque 'Mother Nature's Son' send-up to lift up your spirit, there's a terrific guitar solo, there's the reprise of the first section, okay, there's everything, it's just that I don't know what the heck to say of it. There's nothing outstanding here, just a bunch of good melodies. If I don't discuss the chord sequences, what else is there to discuss?
Oh well. I kinda figured out why so many people hate Alan Parsons so much. If you don't actually pay attention to this album while it's playing, it may imprint itself in your mind as a collection of vague, hazy, misty, blurry, bleary, dreary, and dreamy sonic pieces to be played around the time you turn off the last lights and prepare to go to bed. Without any serious guitarwork, with all these soothing vocals (even the more rocking parts feature vocal parts that can only be dubbed 'silken'), it's your perfect lullaby. It's only when you give yourself a sharp command - "I MUST focus my vision on the songs" - that the hooks become visible. If, I dunno, Big Star or Fleetwood Mac had recorded a few of these numbers, you'd be prancing all over the room. Therefore, never listen to this album in a tired, depressed, pissed-off, joyful, happy, or well-energized state. Wipe off all of your emotions, better still, convert to true Taoism, and then you'll be able to give it an even better review than I did.作者: 自己的心情 时间: 2004-4-17 11:33
