But on I Robot the rhythm section also includes real basses, guitars and drums which makes is more worthwhile for a prog lover.įrom its early beginning Parsons used the skills of some of the greatest vocalists in the music business at the time. Soon you’re aware of the typical sounds of a Parsons instrumental track. The opening track sets the scene with rising futuristic keyboards and a thin choir voice. A catchy melody with progish vocal harmonies and wonderful orchestrations from Andrew Powell in the end. A highly accessible album with some excellent melodic 70’s pop/rock with progressive flavours. Not really a prog masterpiece but this comes close. I don’t think The Alan Parsons Project ever created an album with the quality of “I Robot”, to me, I think they started repeating the same thing over and over, making all the later albums sound the same (despite the changes of technology by the mid 1980s), so if you’re not the biggest APP nut, like me, this is definitely one of the albums you need. 1 V.32” (a supposedly non-existent bible verse, as GENESIS is supposed to have only 31 verses, but don’t quote me on that since I’m not too familiar with the bible), it’s another heavily electronic instrumental cut that’s very similar to the title track. This piece is downright creepy, complete with sinister voices and equally sinister strings. Then it segues in to “Total Eclipse”, which is orchestral conductor Andrew Powell’s turn to shine. Then there’s the ambient experiment “Nucleus” which then segues in to “Day After Day (The Show Must Go On)”, which is by far the best ballad APP has ever done, in my opinion. “The Voice” has that nice repetitive bass line, great string synths, and a great funky solo in the middle. The largely acoustic “Some Other Time” is truly amazing, and definately overlooked, especially by radio programmers. This album also premiers the vocals of Lenny Zakatek, as demonstrated on “I Wouldn’t Want To Be Like You”. Like the title cut, which tends to be heavily electronic, with lots of great synths, as well as a cimbalom (Hungarian dulcimer) and kantele (Finnish zither) being used, courtesy of John Leach. Many of you are familiar with “I Wouldn’t Want to Be Like You” and “Breakdown” which radio stations still continue to play to this day, but there’s some other great stuff as well. While “Tales of Mystery & Imagination” features no synths, PARSONS’ second album “I Robot” has since became his most synth-heavy album I have heard. This album has been with me for a better part of my life, ever since my dad bought a cassette of this back in 1984. Top 50 Composers from Broadway and the Early 20th.50 years ago: Delaney & Bonnie & Friends recorded.Grammy Lifetime Achievement and Trustees Awards.Dave’s Music Database Hall of Fame: Music Makers.Dave's Music Database Hall of Fame: Music Maker In.You’re Gonna Get Your Fingers Burned (1982) The Turn of a Friendly Card Part II (1980)Ģ5. Days Are Numbers (The Traveller) (1985)ġ9. He has received 13 Grammy nominations.įor a complete list of this act’s DMDB honors, check out the DMDB Music Maker Encyclopedia entry.ĭave’s Music Database lists are determined by song’s appearances on best-of lists as well as chart success, sales, radio airplay, streaming, and awards.Ĩ. In 1976, he launched the Alan Parsons Project with Eric Woolfson and maintained the group for a decade before recording officially as a solo artist. He also worked with Ambrosia, the Hollies, Pilot, and Al Stewart. Early in his career, he worked as an engineer on classic albums such as the Beatles’ Abbey Road and Pink Floyd’s Dark Side of the Moon. Alan Parsons was born on this day – December 20 – in 1948 in London, England.
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