4/5 The Time Machine
  by Harry Brewer (S'port, La.)
The Time Machine is an Alan Parsons effort almost in name only. He is the producer & engineer but he only plays organ (no other instruments) on two songs & only wrote one song. The stars on this album are Ian Bairnson & Stuart Elliott; these two wrote everything else on the album. Bairnson, in particular, shines, playing many different instruments. The Time Machine, though somewhat mellow, is the best thing done by Alan Parsons in years.

The album opens with the instrumental "The Time Machine (Part 1)", written by Elliott, which resembles the way the Project's album used to open; an excellent beginning to a good album. Next is "Temporalia", penned by Parsons & barely a minute in duration. "Out of the Blue", written by Bairnson, is a very good song, catchy beat, & has Tony Hadley (Spandau Ballet) doing the lead vocal. "Call Up", written by Bairnson, is a good song that features a sax solo by Bairnson. "Ignorance Is Bliss", written by Bairnson, features Colin Blunstone (The Zombies) doing the lead vocal. a long time member of Project efforts; it also has Chris Rainbow doing background vocals. "Rubber Universe" is an instrumental written by Bairnson & the best song on the album. Except for drums Bairnson plays all the instruments. "Call of the Wild" is next, written by Bairnson, features Maire Brennan (Clannad) doing lead vocal & is very Celtic sounding. "No Future in the Past" is penned by Elliott & is a very good song. This song & "Temporalia" are the only songs that Parsons performs in. "Press Rewind" is one of the best songs on the album, written by Elliott. "The Very Last Time", written by Bairnson is a slow ballad featuring Beverly Craven doing lead vocal. "Far Ago and Long Away" is an instrumental by Bairnson & harkens back to some of the sound the Project had in the days of I Robot. It features a synthesized bass, very moody, reminiscent of Pink Floyd songs with the spoken parts lower in the mix. The album closes with "The Time Machine (Part 2)" which is the perfect way to close the album.

I found this Parsons album to be particularly enjoyable, especially in light of some of his releases prior to this album. The Time Machine didn't make the charts nor did any singles but that, in no way, is an indicator of how good this album is. The orchestral arrangements does have long time collaborator Andrew Powell on board. This is more like the Alan Parsons Project albums of the 70's.

3/5 Alan Parsons - Not One Of His Best
  by Steven Sly (Kalamazoo, MI United States)
Parsons and company take on the concept of time travel on this one. Overall I find this to be one of the weakest albums in my Parsons collection. I find a lot of it on the bland side and although there is nothing that is outright horrible there is a not that is memorable either. Probably my favorite song on the album is also the longest one called "Ignorance Is Bliss" which has some very nice instrumental work and vocals. Other than that it is all fairly pedestrian. This is not a bad album and Parsons fans will probably get some enjoyment out of it, but to me it ranks about on the same level as "Eve" in the Parsons catalogue.

4/5 The ignorance is bliss
  by D. Moses (London, London United Kingdom)
I don't listen to this album much. The songs are all ok and the production is first rate. But I thought I would write a review based on the one song, 'the ignorance is bliss'. This has to be one of the best ballads for a very long time. It contains skilled musicianship no end. Blunstone's vocals are exceptional and the piano playing is first rate. The best section though, has to be the extended instrumental bridge. This section is so complex, a run down of the sections is necessary. It begins with a piano solo. Then comes the harmony vocal section part sung by Chris Rainbow. While Blunstone has to be commended for his effort, RAinbow's multi layered backing vocals and 'ignorance is bliss' backing vocals, were, at the very least, as complex as the lead. But he only gets credited with backing vocals. Just listen to to the wall of sound he creates with his voice.
Bairnson next proves how talented he is. Not only did he write the music and the meaningful lyrics, but he cintributes firstly an ethereal saxophone solo, and, if that is not enough, a gorgeous electric guitar afterwards. And, not to mention, there are glistening acoustic guitar picking tracks also!
Amazing stuff.

3/5 Missed the Point
  by cynicists outlive optimists
One thing I must say about this CD is that it contains some great ideas for songs. Unfortunately, the lyrics only give a glimpse into the potential that the songs have but don't reach.

The Time Machine (pt. 1) is easily the best piece on the album. It doesn't make me think of time travel, but it is still a good bit of music. Temporalia is okay, but I would only listen to it in the context of the album.

Out of the Blue is the first song with a good concept that it just misses. I could see Out of the Blue as being a four star song, but musically and lyrically, it gets only three. However, Out of the Blue looks a lot better because it precedes Call Up, now just the second Alan Parsons (project and post-project) song I have ever given only one star (the other is Don't Hold Back, on Eve). This song is the best example of a good concept. The idea of old people coming back to help us out of the mess we're in is an excellent idea. However, the song turns into a "my heroes" list for Ian Bairnson.

Ignorance is Bliss is another good idea that is just missed. However, the ending is quite good, and this song misses the concept musically more than lyrically (lyrically is slightly more important in my book). Rubber Universe is another good instrumental, though not as good as Time Machine pt. 1. Call of the Wild is a decent concept hit right on the mark, making it just as good if not better than the previous songs (non-instrumentals).

No Future in the Past is a good concept that is explored well in the song. Press Rewind has the best concept (especially in the context of the CD) of the CD, and is used well in the song, although the "bang your drum," nonsense really detracts from the idea. The Very Last Time, I won't criticize any more than just to say that it isn't my type of song.

Far Ago and Long Away is a good instrumental, thought not as good as Rubber Universe and Time Machine 1. The title is especially good if you think about it right after listening to Close's speech in Temporalia. Far Ago and Long Away morphs into Time Machine 2, a good end to a decent album.

One reviewer called this CD classic Parsons. Parsons' work is classic Parsons when Parsons writes the music and words in conjunction with Woolfson. And every classic Parsons CD (barring Gaudi, which I don't have) is well above this album.

5/5 Alan Parsons Returns
  by Lonnie E. Holder (Columbus, Indiana, United States)
Sounding like a combination of the Alan Parsons Project of the 70s with a dash of Pink Floyd and perhaps even Enigma, "The Time Machine" is an aural experience sure to please many fans of Parsons, New Age and Soft Electronica. Here is music to work, run or meditate by.

This CD opens with the instrumental "The Time Machine, Pt. 1." The music is a combination of acoustic and electronic instruments with Ian Bairnson's guitars overlaid. This brisk opening introduces the theme of time travel and prepares you for the monologue by Professor Frank Close in the second track, "Temporalia." Professor Close is correct that viewing light from other stars is a travel back in time, because that light has traveled for thousands or millions of years to reach the earth; an interesting perspective on an esoteric subject.

The CD moves steadily onward, though figuratively remaining in place, with the mellow song "Out of the Blue," with lead vocals by Tony Hadley of Spandau Ballet. This song is nicely orchestrated, and Ian Bairnson's guitar adds a marvelous counterpoint to the keyboards.

The following song significantly changes the pace of the CD. "Call Up" is funky with a powerful blues feel. Since the song is about calling on people of the past the blues flavor is appropriate. I was surprised that Ian Bairnson provided saxophones on this song in addition to his usual guitar work. This song bears a very strong resemblance to some of the Alan Parsons Project's early work, such as that on "I, Robot."

In a more mellow and beautiful tone is "Ignorance Is Bliss." This song shares traits with music by Dan Fogelberg. This mellow song has the honor of being the longest on this CD, as well as being one of the most beautiful. The lead vocal on this song is by Alan Parson's veteran Colin Blunstone, who provided the vocals for the excellent Alan Parson's Project song "Old and Wise." There is a lovely orchestral arrangement in the extended bridge of this song, which I consider a must listen for Alan Parson's fans.

The instrumental "Rubber Universe" provides a bouncy connection between the previous mellow song and the incredible composition that arrives next. Once again, the style of this song, which is nearly all Ian Bairnson, is very similar to the style of early Alan Parsons Project. Though Bairnson's mandolin portions are too short, they are nostalgic.

I am in love with Maire Brennan's voice. The first time I heard "Call of the Wild" I skipped back to play it again, and then again. I can understand why fans of Clannad love the group so much. As much as I enjoy her sister Enya's music, I think Maire has a more powerful haunting voice, at least in this song. This song makes me run out of adjectives because it is just so (cliché time) awesome. If you can listen to this song and not feel some kind of emotion then you are unable to appreciate emotional music. Crank this song up, it is an instant classic.

The song "No Future in the Past" makes me want to go back to "Call of the Wild." I doubt any song could feel appropriate after the former song, and such is the case here. This song, which is a good song, is out of place next to Maire Brennan's voice. Perhaps there should have been an instrumental between the last song and this when just to prepare your ears for the dramatic change in styles and pace.

By the time "No Future in the Past" is finished you can listen more objectively to "Press Rewind." While this song is perhaps just a bit better than the previous song, it sounds much better following on the heels of the former song though it is middle of the road pop.

The pace slows again with "The Very Last Time." Beverly Craven powers the vocals in this song of loss and memory and love. This song is somewhat unusual in that much of the time the song is Beverly Craven and the piano. The rest of the time it is strings and piano. There are no synthesizers or guitars in this sumptuous aural feast.

The last two instrumentals provide a slight progressive twist to give the album perspective. "Far Ago and Long Away" is image laden in Richard Cottle and Ian Bairnson's keyboards. Ian Bairnson's bass is very predominant, and tempered by the programmed drums and orchestration. This instrumental is yet another reminder of the early days of the Alan Parsons Project. Though not credited, there are smatterings of vocals in this instrumental that provide a lovely other world feel.

This CD wraps up with "The Time Machine Pt. 2." This coda seems to pull the CD together, and provides a listener with the desire to go back and experience this pleasing CD once again.

When I first acquired this CD I found that I could not get enough of it. This CD is an overlooked gem. I am surprised that this CD did not have staying power and that it did not yield a single. There are plenty to choose from, most particularly the spectacularly beautiful song "Call of the Wild," the mystical "Out of the Blue," and the plaintive "Ignorance Is Bliss." I know that my musical tastes have moved away from the mainstream, again, but if current tastes are able to overlook the incredible beauty and power of this music, perhaps I want to stay out of the mainstream.