Unlike George Lucas ruining the original Star Wars trilogy, the 1987 remix of Tales of Mystery and Imagination is nothing short of perfection and while the original mixes, from 1976, are worth your time tracking down and listening to, the remix is arguably the best way to enjoy this cult classic.
Yes, there’s an 80s vibe to this 70s album, but the prog-rock style remains ever-present thereby offering not only refinement in production but a significant improvement over the original. No doubt there’ll be some who prefer the original mix and there’s nothing wrong with that. Subjectively, I prefer the fuller, more atmospheric, sound of the remix along with the inclusion of the Orson Welles’ narration; although it does make for a less fluid and relaxing musical experience.
While the original mix has previously been difficult to come by, in the modern era, it’s wonderful to note that it is available, as of 2024, via Apple Music et al. However, in going back to the album whilst compiling the upcoming Best Albums of 1976 ranked list, I took the time to listen to both versions and can declare that I remain most impressed with the 1987 remix as it’s more akin to a rock symphony than its original mix. It is simply a sonically better, and bolder, presentation, that works incredibly well with the style of music.
It’s also important to mention that the 1976 mix was reissued in a 2007 Deluxe Edition and via the 40th Anniversary releases; a release that is not currently available to streaming services. As physical releases go it should be noted that Mobile Fidelity Sound Lab was the first to re-issue the original album on CD in 1994, although this particular release isn’t readily available and goes for considerable prices on the second-hand market. These releases no doubt showcase a perfect example of why physical media reigns supreme, but it’s a missed opportunity for those of us who choose streaming as our primary method for music delivery and it would be nice to see these additional versions released to a broader audience.
Similarly frustrating is the fact that a higher resolution and the well-respected surround sound mix is missing from Apple Music. The only version present is the lossless CD-quality edition and while it’s an adequate facsimile, it could be so much more immersive. Given Apple Music’s push for Spatial Audio Dolby Atmos streams, it’s bizarre that Mercury Records hasn’t delivered Apple Music for streaming via their network. Most likely, while it is only conjecture on my part, they’re probably waiting for the 50th Anniversary release window before offering an updated release. Some may ponder if the surround mix is available elsewhere, or if a higher resolution is present via TIDAL or Qobuz and the answer to that thought process is no. They have the exact same version, of this album, as Apple Music. While it may be a frustrating omission, let’s hope that we will see additional offerings over the next couple of years as the album approaches its 50th Anniversary.
While fans will be aware of Alan Parsons’ legacy, newcomers may not realise that this project and the subsequent albums didn’t merely come about randomly for Parsons worked with The Beatles, Paul McCartney & Wings, and Pink Floyd as an engineer on Abbey Road, Red Rose Speedway, and Dark Side Of The Moon respectively. To say he’s a legend would be an understatement but no amount of collaborative efforts with these musical masters could have prepared the world for the haunting musical retelling of Edgar Allan Poe’s most classic written works.
Of course, 70s art rock would be for nothing if album artwork hadn’t played a key role. Instantly recognisable, the barren artwork directs your eye to the centre image, one of a shadow man presented on a strip of recording tape. The concept’s great for it is as if there’s an open door in the two-dimensional world that we can see but can’t quite access. From a distant view, it also gives the impression of an audio waveform; at least to me.
Upon the release of the 1987 remix, however, the cover art did get a makeover that fills in the white space with an even more obscure caricature, taken from the original liner notes, that works surprisingly well with the existing artwork. It also maintains a solid match to the music but whichever way you look at it, both designs can stand on their own, sans the musical accompaniment.
As with many popular albums from the era, there was a range of alternative cover art, with some of the cassette releases being particularly appealing along with the 1977 vinyl reissues that feature Parsons being wrapped up as if he would become the faceless mummified man.
Nevertheless, while the cover art may have drawn you to the album, it’s ultimately the music that keeps us engaged and coming back for more. Join me as we explore the music that makes the Tales of Mystery and Imagination so compelling.
A Dream Within A Dream (1987 Remix) opens the album with Orson Welles’ narration. While it isn’t the best opening, it’s far from the worst and helps the music to build gradually in the background. Once the minute-long spoken introduction has ended, the rest of this tune, instrumental in nature, has an oriental feel to it before morphing into a rhythmic rock piece. A Dream Within A Dream is just that; a multitude of songs within a singular track. Stunning and emotive, A Dream Within A Dream most importantly flows seamlessly through the transitions, blending perfectly into The Raven.
The Raven (1987 Remix) is the opus here, both from Edgar Allan Poe’s perspective as well as The Alan Parsons Project. It’s magnificent and in part that is due to Alan Parsons’ use of the vocoder that breathes an otherworldly life into the song. Similarly, Leonard Whiting’s non-distorted vocal on The Raven is incredible, as is the guitar solo that is notable for being included in this 1987 remix. Even if you’re not a fan of the entire album, The Raven is one of the greatest classic rock songs ever recorded.
The Tell-Tale Heart (1987 Remix) has a Led Zeppelin feel to it but it’s symphonic rock at its very best. There are moments of chaos and moments of subtle delicateness, but it all comes together in a killer tune that will set your stereo on fire; figuratively speaking, of course!
The Cask Of Amontillado (1987 Remix) flows seamlessly from The Tell-Tale Heart, even though the style is much more mellow by comparison. It takes a group of master musicians to pull off such a transition even when contrasted against the era of the linear album format. The adage that they don’t make music like this anymore rings true for The Cask Of Amontillado is audible perfection.
(The System Of) Doctor Tarr And Professor Fether (1987 Remix) is a killer rhythmic tune. John Miles’ did a remarkable job on the vocal but it’s the guitar tuning, and performance, that really sets this recording apart from the rest of the songs on Tales of Mystery and Imagination.
The Fall Of The House Of Usher [Instrumental] (1987 Remix) while split into Prelude, Arrival, Intermezzo, Pavane, and Fall sections is arguably a collective body of work that shouldn’t be considered as individual pieces when discussing the movement. Yes, it is sectional and could be discussed in that manner but The Fall Of The House Of Usher is stronger as a continuous piece of work that will remind you of Pink Floyd in places, particularly in the Arrival section, and classical symphonies in others. There’s even a classic film vibe, think The Godfather, to be heard within the Prelude area of the movement.
The Fall Of The House Of Usher [Instrumental], overall, is a lovely piece but one would rightly suggest that Side A of the original vinyl release would be worn out, unless you’re more of a fan of the symphonic elements, for that is where the soul of Tales of Mystery and Imagination really lies. Of course, what could be seen as a weakness could also be interpreted as a strength for this album can be listened to, and subsequently interpreted, in different ways. The Fall Of The House Of Usher [Instrumental] is a 15-minute behemoth but it’s as memorable for its length as David Bowman's movement through space and time in Stanley Kubrick's 2001: A Space Odyssey.
To One In Paradise (1987 Remix) closes the album out nicely while ensuring that you’ll feel like playing it again. Even though To One In Paradise may not compare to the songs found on the first half of the album, it’s contemplative meaning that even if you decide not to spin the record again, you’ll be just as rewarded for sitting back and reflecting on the music you’ve just experienced.
From start to finish, the Tales of Mystery and Imagination is an experience. One that will captivate you, and allow you to interpret Edgar Allan Poe’s works in an entirely different manner to his written output. Despite its modest success and subsequent cult following, I’m sure that if you take the time to listen, undistracted by the world around you, you’ll also become a fan of The Alan Parsons Project: Tales of Mystery and Imagination…forevermore.