Author: Peter Podbrežnik
Artist: Alan Parsons Project, The
Label: Arista Records
Released: 1985
Duration: 37:59
Rating: 4/5
“Vulture Culture” was yet another album steered by art rock attraction The Alan Parsons Project, who managed to write themselves into the annals of modern music as one of the most striking and interesting prog rock-AOR hybrids around. “Vulture Culture” was originally conceived as a second part, or companion piece, to its predecessor “Ammonia Avenue” (1984), since the project was initially supposed to come out as a double release. Still, that idea was just too risky for the eighties, especially for a band that had become a worldwide pop rock sensation with the album and namesake mega-hit “”Eye in the Sky” (1982).
Stylistically, “Vulture Culture” digs even deeper into pop rock territory, and it certainly helps that it’s the only record in the band’s story made without an orchestra under the baton of Andrew Powell. The crystal-clear production, handled by big boss Alan Parsons, who chipped in a few keyboard parts this time too, is as stunning as ever and does a great job of spotlighting the individual instrumental strengths.
Like all the previous TAPP albums, “Vulture Culture” has an interesting concept, which sadly feels even more relevant today than when it came out. The album title and most of the lyrics refer to the so-called vulture culture, a great metaphor for a modern society of greedy opportunists who get their kicks from other people’s misfortune, be they politicians, businessmen, journalists or envious neighbors. In contrast to the socially critical charge of the lyrics, which drip with barely concealed cynicism, the mood of the album stays upbeat throughout, which was pretty much typical for TAPP.
The first half of the album holds four hits, the biggest commercial success among them, especially in Germany and central Europe, going to the opening AOR evergreen “Let’s Talk About Me” with legendary singer/bassist David Paton (ex-Pilot, Camel) on lead vocals. This phenomenal melodic rocker continues TAPP’s tradition of incredibly strong, energetic openers. The almost shamelessly infectious, ultra-melodic chorus is accompanied by harmonic vocalizations and unusually subtle synth textures, with a mighty guitar line artfully laid through them. Paton’s vocal performance on this classic may even be the best moment of his career, even though over the years the guy has helped plenty of other bands rack up a nice number of hits.
The next hit, the melancholic “Separate Lives”, keeps up the high standard of first-rate AOR, with well-integrated remnants of the art rock roots. Eric Woolfson once again proves why he earned the title of the ‘ultimate’ TAPP singer. The grooving bass line ties together the central synth motif and the witty electronic effects nicely, while Bairnson’s guitar contributes a lot to the melodic cohesion. The deeply romantic ballad “Days Are Numbers” is sure to appeal to fans of bands like Yes and Barclay James Harvest too, since both of those legendary outfits, known for their falsetto vocals, tried with more or less success to hit this kind of AOR magic in the eighties. The gentle melody, built on mighty vocal lines and ethereal synth textures, is nicely spiced up by a saxophone solo courtesy of Richard Cottle.
“Sooner Or Later” is already the third attempt at crafting a mega-hit in the vein of “Eye in the Sky” (the second was “Prime Time” from the predecessor “Ammonia Avenue”), as it has a more than obviously similar guitar line, and the hypnotic chorus is carried off in much the same way. Still, this isn’t a case of copying themselves, because this time the atmosphere and rhythmic balance are completely different.
The title track is a fairly funk-leaning creation with a jazzy flavor, helped along by the pairing of Lenny Zakatek’s excellent vocal performance and the saxophone passages. The remaining songs on the album, lacking the right ingredients for a radio hit and having somewhat more laid-back structures, are a touch less interesting, but that doesn’t mean they’re throwaways. The instrumental “Hawkeye” cleverly makes use of eighties synth technology, while the dramatic “Somebody Out There”, with Colin Blunstone as lead singer, draws its lyrical inspiration from Cold War paranoia. “The Same Old Sun” is a characteristic, melodramatic ballad under the baton of Woolfson’s vocals, carrying on TAPP’s long-standing tradition of ‘solemn laments’ without a shred of saccharine cheesiness.
“Vulture Culture” still holds up after the test of time as a first-rate AOR treat, one that keeps thrilling with its distinctive lineup of hypnotic hits and with the remaining, slightly lower-profile but no less excellent tracks. TAPP never put out a bad record in their career, so that’s hardly a huge surprise. Still, “Vulture Culture” falls just a bit short of making their top three. If the second half of the album had been as thrilling as the first, though, it would be a whole different story. Most prog rock fans surely still miss the orchestra on this one, but even without it the band found their feet very well and proved that even in their most commercial incarnation they can still make quality music that thrills music gourmets and the wider public in equal measure.
Lineup
Ian Bairnson – guitar
Colin Blunstone – vocals
Richard Cottle – synthesizer, keyboards, saxophone
Stuart Elliott – drums, percussion
Mr. Laser Beam – spoken word
Alan Parsons – keyboards, programming, backing vocals
David Paton – bass guitar, guitar, vocals
Chris Rainbow – vocals
Eric Woolfson – vocals, piano, keyboards
Lenny Zakatek – vocals
Production
Alan Parsons and Eric Woolfson
Track list
1. Let’s Talk About Me
2. Separate Lives
3. Days Are Numbers (The Traveller)
4. Sooner Or Later
5. Vulture Culture
6. Hawkeye (instrumental)
7. Somebody Out There
8. The Same Old Sun
