_/_/_/_/ _/_/_/_/ _/_/_/_/ _/ _/ _/ _/ _/ _/ _/_/_/_/ _/_/_/_/ _/_/_/_/ _/ _/ _/ _/ _/ _/ _/ _/ _/_/_/_/ _/_/_/_/ _/_/_/_/ _/ _/ _/ _/ _/ _/_/_/_/ _/_/_/_/ _/ _/ _/ _/ _/ _/ _/ _/ _/ _/ _/ _/_/_/_/Introduction
Table of contents:
The Alan Parsons Project List of Frequently Asked QuestionsVERSION 1.0 Compiled by Matt Pritchard September 1996 Send comments, questions, or money to: firstname.lastname@example.org
The APP FAQ List
Actually, the true purpose behind this FAQ is that I wanted a reason to compile all those bits of trivia I've been collecting over the years and (most recently) on the Internet.
Eric Woolfson on the inception of the band: "I had had an idea about making an album about Edgar Allan Poe's work for some time, but I didn't seem to have the necessary credibility as a producer or as a writer to carry the project through. However, when I met Alan, I felt he was somebody I might certainly be able to work with and collaborate with in achieving the realization of this project. Fortunately, the idea appealed to him, and the Alan Parsons Project was born."
And, no, despite what Homer Simpson said on the Homerpalooza episode of "The Simpsons", APP is not a hovercraft.
So, AP didn't sing, write the songs, play the instruments, (etc.) then why is HIS name in the group name? Couldn't it just as easily be called the Eric Woolfson Project?
The AP role was more like that of a director on a movie set: or, more accurately, like the director/producer. He was not responsible for writing the work, but was responsible for the overall proceedings of the undertaking. He contributed to the conceptual development of each album, wrote most of the instrumentals and some of the music, assembled and coordinated the artists, made the occasional appearance vocally or instrumentally (much like Hitchcock would do in his movies), developed new technologies for achieving the album's vision (such as the Projectron on ToMaI), engineered the music, and produced the album, as well as contributing to some of the non-musical aspects of the album, such as with its cover, liner notes, and videos.
The name might be more accurate as the Parsons-Woolfson Project, but the original APP name developed for ToMaI was retained all the way to Gaudi.
Alan Parsons, an Englishman, had the typical musical background of piano and flute. He played guitar for local London bands and worked as an electronics technician for EMI in Hayes before being hired by Abbey Road Studios. He assisted with the Beatles' album, "Let it Be", at Apple Studios and acted as tape operator/assistant engineer for their final album, "Abbey Road." (It was released before "Let it Be", but was recorded afterwards.) AP assisted with numerous other artists while at Abbey Road, and was exposed to a plethora of musical styles and genres. AP moved into engineering as he worked on albums by Paul McCartney and Wings. His career advanced significantly when he recorded "Dark Side of the Moon" for Pink Floyd. AP's career as a producer began with Steve Harley and "Psychomodo." Over his career, AP has engineered and/or produced a long list of artists, including the Hollies, Pilot, John Miles, Ambrosia, and Al Stewart ("Year of the Cat"). Not long after working with Al Stewart, AP encountered EW at Abbey Road, and soon the two began working on a new project, ToMaI. Thus began APP. Since then, AP and EW have put out a total of 11 albums. Currently, Alan is pursuing his own musical interests in the studio, and has put out two studio albums and a live album as a "soloist."
Eric Woolfson, a Scot born in Glasgow, has been a songwriter, composer, and manager for over 20 years. He used to manage Carl Douglas (of "Kung Fu Fighting" fame) and played with Herman's Hermits. He worked as a songwriter and session pianist for Andrew Lou Golden, the manager of the Rolling Stones. EW performed with the likes of Jimmy Page, John Paul Jones, Eric Stewart, and Graham Gouldman. He later moved into record production. It was in this field that EW would cross paths with AP and eventually become AP's manager and business partner, forming the APP. Sometimes described as the "silent" member of the group, EW actually had a greater voice in some ways as he wrote most of the lyrics, initiated most of the themes, and lent his voice to many of APP's most popular hits, including "Time" and "Eye in the Sky". His intellectual creativity and AP's technical creativity created synergistically to form the unique sound of the Project. After working on the latest AP/EW (and non-APP) venture, "Freudiana," in 1990, Eric realized that the theater offered him a new venue in which to express his talents. Thus, Eric and Alan parted ways, with Alan remaining in the studio (and in the concert hall) and Eric putting out musical theater production. Since 1990, EW has produced a musical entitled "Gaudi" and is currently working on another, "Gambler."
Andrew Powell was born in Surrey, England, to Welsh parents. While working towards his master's degree in music at King's College, Cambridge, Powell was a founding member of the live electronics group, Intermodulation. In his career he had also co-founded the group, Come to the Edge, and the progressive rock group, Henry Crow.
Upon leaving Cambridge, Powell was a soloist at the Proms at the Royal Albert Hall, London, and he worked with several London orchestras. His first commission as an arranger was the debut album of Cockney Rebel. He arranged their next two albums, and also albums for Leo Sayer, Donovan, John Miles, Cliff Richard, Pilot, Al Stewart, Ambrosia, Mick Fleetwood, Dave Gilmore, Chris Rea, Nick Heyward, Vitamin Z, Peter Hoffman, Muenchener Froiheit, Classic Rock, among others.
As a producer, Powell has worked with Kate Bush, Elaine Paige, Chris De Burgh, Kansas, Andre Heller, Tim Rice, Mari Wilson, and Judy Collins. He has produced, written, and/or contributed his musical talents to numerous movies and television series. Most notable is Ladyhawke, for which he wrote the score.
He has worked with APP since 1975/1976, as the arranger, musical director, and co-composer on ToMaI. He has since worked on all APP albums, Freudiana, and the three AP (post-APP) albums. In 1983, he released an album of his orchestral interpretations of some of APP's songs. The album is affectionately dubbed APATPOPTBOTAPP (see question 3.01).
APP was not a typical band that puts out an album and then tours before putting out another album. It was a project headed by the AP/EW/APowell triumvirate who used the talents of many session players. There are, however, several names that consistently reappeared throughout the life of APP:
Ian Bairnson - Guitars
Has been on every APP/AP album, including Ladyhawke, Freudiana, and APATPOPTBOTAPP. Has performed with: Pilot, Keats, Kate Bush, Lenny Zakatek, Jon Anderson, George Martin, Mick Fleetwood, Bucks Fizz, Stanley Clark, Steve Gadd, Beverly Craven, Michael McDonald
Stuart Elliott - Drums
Has been on all but two APP albums (not ToMaI or I Robot) and every AP album. Also: Ladyhawke, APATPOPTBOTAPP, and Freudiana. Has also performed with Keats, Kate Bush, Justin Hayward, Al Stewart
David Paton - Bass and vocals
Has been on all APP albums (save Gaudi), Ladyhawke, APATPOPTBOTAPP, and Freudiana. Has also performed with Pilot, Keats, Camel, Fish, Kate Bush, Elton John
Richard "Trix" Cottle - Keyboards/Synthesizers
Served with APP from VC to Gaudi, also found on the three AP albums, Ladyhawke, and Freudiana. Has also performed with Keats.
Some vocalists that have had frequent APP appearances include:
Colin Blunstone (who has worked with the Zombies, Keats, Don Airey, and as a soloist)
Elmer Gantry (who has worked with Elmer Gantry's Velvet Circus, and Stretch)
John Miles (who has worked with Jimmy Page, Tina Turner, Joe Cocker, and as a soloist)
Chris Rainbow (of Camel)
Lenny Zakatek (of Gonzalez and several solo projects)
Tales of Mystery and Imagination, PolyGram, 1976, remastered with new performances, 1987
I Robot, Arista, 1977
Pyramid, Arista, 1978
Eve, Arista, 1979
The Turn of a Friendly Card, Arista, 1980
Eye in the Sky, Arista, 1982
Ammonia Avenue, Arista, 1984
Vulture Culture, Arista, 1984
Stereotomy, Arista, 1985
Gaudi, Arista, 1987
The Best of the Alan Parsons Project, Arista, 1983
The Best of the Alan Parsons Project Volume 2, Arista, 1988
Instrumental Works, Arista, 1988
Anthology, Arista, 1991
APatPOPtBoTAPP, EMI, 1983.
Ladyhawke, (soundtrack), Atlantic, 1985; re-released with new tracks, GNP Crescendo, 1995
The first APowell album is his symphonic interpretation of some of APP's songs. The second is a soundtrack to the movie starring Matthew Broderick, Rutger Hauer, and Michelle Pfeiffer. AP engineered the album and several APP regulars played. In 1995 GNP Crescendo re-released "Ladyhawke" with several new tracks, a new cover and artwork, and liner notes
Well...the next APP album after Gaudi was to be "Freudiana", an album based on the life and works of Sigmund Freud. While recording the album, Brian Brolly entered the picture and he helped steer the album in a new direction: Brolly was previously a partner with Andrew Lloyd Webber, and together they created such musicals as "Cats". With Brolly's help, EW was able to turn "Freudiana" into a stage musical. A studio album was released in 1990, followed shortly after by the opening of the stage production in Vienna, Austria.
There was a bit of litigious trouble regarding the album. For more information on "Freudiana", see issue one of The Avenue. (The Avenue is described in section 4.1)
Despite the legal problems that arose with "Freudiana", EW enjoyed the musical theater and chose to pursue that artistic vein. AP on the other hand, felt that continuing with a rock band was the way for him. He dropped "Project" from his name as it is no longer an AP/EW venture but a solo effort.
The Post-APP discography:
AP/EW (sans APP moniker)
Freudiana (the studio disk, or "white" album), EMI, 1990
AP (note only one "P")
Try Anything Once, Arista, 1993
The Very Best of Live, Arista, 1995
On Air, Polygram, 1996
Gaudi: The Musical, WEA, 1995
Gambler (yet to be released)
Eric Woolfson discussed how the themes evolved with many of their albums: "I suppose I really should own up to the fact that although these albums--which are thematic albums--appear to be very carefully planned and set out, that's not always the case. We may start writing with a fixed idea in mind, but it never normally works out exactly the way we intended. In actual fact, although I don't believe an inanimate object can have a life of its own, the projects do have a way of taking their own direction in the recording studio."
The APP themes are often indistinct, work on many different levels, and are always open to interpretation, but the following list sums up some of the themes (as viewed by some) behind the individual albums:
Tales of Mystery and Imagination, Edgar Allan Poe
The works and styles of the original master of horror and science fiction, Edgar Allan Poe
A futuristic look at the perils of technology, in a world where man has been usurped by his own creation: artificial intelligence (loosely based on the series by Isaac Asimov, I, Robot)
The mystique of the ancient world, and its effect on our lives today
Perceptions of women, both cynical and reverent. As many of the songs are about women as sung by a man, or about men as sung by a woman, the album is also about the general relationship between men and women. (AP: "...the theme [is] elusive ... but I'd have to say 'It's simply about women.'"; EW: "...our original idea was to take quotes from famous women and build different tracks around these quotes...")
Turn of a Friendly Card
Games of chance, with overt references to gambling and more esoteric allusions to destiny versus the choice of self-determination, and the roles we play in this game of life
Eye in the Sky
Life in a futuristic, Orwellian society. It may draw references from the Phillip K. Dick novel, "Eye in the Sky." Or from Robert Shea and Robert Anton Wilson's "Illuminatus" trilogy.
The industrialized culture as a source of idealistic hope and grievous isolation. Partially inspired by John Harvey-Jones' book, "Does Industry Matter?" Ammonia Avenue is the nickname for a road that led to a chemical plant in Teeside/Sunderland/Middlesborough England (the location changes through different interviews with AP/EW).
A look at an atavistic society of the Eighties, molded, in part, by the tensions of the Cold War.
The life of an idealistic musician (a composite, to be sure, of numerous musicians) caught up in a banal world.
The life and works of the Spanish architect, Antonio Gaudi
[For more in depth analysis of these themes, peruse Andy Burnett's mailing list archives (discussed in section 4.3) for a host of postings on the matter. Specifically, Ian Thomas and Paul Henning have performed some extensive analysis.]
The life and works of the German psychiatrist, Sigmund Freud
Try Anything Once
A themeless album, which, when coupled with the title, is still a theme. Others think of the album as dealing with an introverted psychological discovery.
Flight and its relationship to man: from the soaring of one's spirit and dreams, to the history of aviation. (Packaged with a CDROM using music, visuals, history, literature and a wealth of other related information to further the theme of flight).
Listed below is a comprehensive discography of the APP singles released in the USA. Tom Gill spent several hours of research in the music section of Shields Library at the University of California, Davis.
Year Peak # Title Released on chart --------------------------------------------------------------------------- The System of Dr Tarr & Prof. Fether 1976 37 The Raven 1976 80 To One In Paradise 1977 108 I Wouldn't Want to Be Like You 1977 36 Don't Let It Show 1977 92 Breakdown 1978 -- What Goes Up... 1978 87 Pyramania 1978 -- Damned if I Do 1979 27 You Lie Down With Dogs 1979 -- You Won't Be There 1980 105 Winding Me Up 1980 105 Games People Play 1980 16 Time 1981 15 Snake Eyes 1981 67 Eye In The Sky 1982 3 Psychobabble 1982 57 Old & Wise 1983 -- You Don't Believe 1983 54 Don't Answer Me 1984 15 Prime Time 1984 34 Let's Talk About Me 1985 56 Days Are Numbers [The Traveller] 1985 71 Stereotomy 1986 82 Limelight 1986 -- Standing On Higher Ground 1987 -- AP Singles: Turn it Up 1993 -- Oh Life (There Must Be More) 1993 -- Brother Up in Heaven (?) 1996(?) ?
In chess, the "Sicilian Defense" is an aggressive opening move, with three pawns advancing in a gambit that allows for subsequent attack.
I Wouldn't Want To Be Like You
Games People Play (?)
The Turn of a Friendly Card (part one) - not released
Don't Answer Me
Let's Talk About Me
Standing On Higher Ground
Don't Let The Moment Pass
Turn It Up
In addition, AP and APP have been nominated for a Grammy 11 times. The year and nomination category are as follows [source: Steve Martin. For the original message, see the original "Grammy Awards" post in the mailing list archives, dated 5 March 1996]:
1973 Best Engineered Recording, Non Classical (AP for "Dark Side of the Moon" by Pink Floyd) 1975 Best Engineered Recording, Non Classical (AP and others for "Ambrosia" by Ambrosia) 1976 Best Engineered Recording, Non Classical (AP for ToMaI) 1978 Best Engineered Recording (AP for Pyramid) 1978 Producer of the Year (AP) 1979 Best Album or Original Score Written for a Motion Picture or Television (AP, EW, and others for "Ice Castles") 1979 Best Engineered Recording (AP for Eve) 1981 Best Engineered Recording (AP for ToaFC) 1982 Best Engineered Recording (AP for EitS) 1986 Best Instrumental Performance (Orchestra, Group or Soloist) (AP for "Where's the Walrus?") 1986 Best Album Package (Colin Chambers and Andrew Ellis for "Stereotomy")Unfortunately, APP has not benefited from winning a Grammy, but being nominated is enough. Isn't it?
At the first annual MTV awards in 1985, "Don't Answer Me" was nominated as best video, but didn't win. In 1995, Alan won the TEC Les Paul Award, an award given to music engineers. [source: Steve Levet]
"Ice Castles" was a 1978 film starring Lynn-Holly Johnson and Robby Benson. The soundtrack was released by Arista, which was also the label for APP. Arista added the track "Voyager" to the movie soundtrack, giving APP a little promotion. The song appears in the film only briefly in a scene where there is a party going on and Lexie (played by Johnson) stares out a window overlooking a rink, in the background you can barely hear "Voyager" and part of "What Goes Up...".
"Keats", EMI, 1984
The band is a mostly APP crew: Colin Blunstone (vocals); Ian Bairnson (guitars); David Paton (bass); Stuart Elliott (drums) and Pete Bardens (keyboards). Richard Cottle plays sax and keyboards and AP produced and engineered the record. See The Avenue On-line (section 4.3.01) for more info on the "Keats" 1996 re-release.
"The Single Factor", 1982
"Stationary Traveller", 1984
"Dust and Dreams", 1992
(You may want to try "Mirage", 1974 and "The Snow Goose", 1975; but these have little relation to APP)
Camel has included some APP members in its line-up over the years, including Chris Rainbow (vocals), Duncan Mackay (keyboards), and David Paton (bass), as well as Pete Bardens (of Keats) and Mel Collins.
"The World Liberty Concert was held on 8 May 1995 and commemorated the 50th anniversary of VE-Day, the liberation of Europe. The venue for the concert was Arnhem, the Netherlands, near the John Frost bridge, the bridge immortalized in the film `A Bridge Too Far' (well... I think the original bridge was blown to bits). The idea for the WLC was conceived by 25 year old Dutchman Arno Geul, who, at an early stage, decided Alan Parsons was the perfect Musical Director for the show. Apart from (not entirely live) performances of the Alan Parsons Band (with Chris Thompson and Mick Mullins on vocals), Candy Dulfer, Art Garfunkel, UB40 and many others (including an 80 piece orchestra and a local choir), the show consists of military parades, airshows and a narration by Walter Cronkite, the legendary war correspondent and later news anchorman. The Alan Parsons Band performed a number of well-known songs (Sirius/Breakaway, Old and Wise, The Gold Bug, Sirius/Eye in the Sky) plus some new material commissioned for the show (among which White Dawn) and also accompanied Dulfer, Joe Cocker and Art Garfunkel on their segments. The show was televised live in 40 countries, was attended by approximately 85.000 people and is about two hours long."
EW had this to say: "He was really quite inspirational in this album [Stereotomy] in telling us what we'd been doing wrong, in his view, on the previous albums ... "Urbania" was one of the words he came out with during the course of a long conversation. Another title he's responsible for ... is "Where's the Walrus," the other instrumental, 'cause he was really giving us a hard time, I must tell you: 'Your guitar sounds are too soft, and your whole approach is, you know, slack, and your lyrics -- there's no great lyrics anymore! I mean, where's the walrus? I don't hear the walrus!' Referring, of course, to John Lennon's "I am the Walrus" ..."
Lee Abrams also wrote the liner notes on the TBAPP.
The quote comes from the poem 'To One in Paradise' by E.A. Poe. One version of the poem is included in The Assignation (1844), one of Poe's "Tales of Mystery and Imagination." The version used by APP was published as a separate work by Poe, and reads:
And all my days are trances And all my nightly dreams Are where thy dark eye glances And where thy footstep gleams In what ethereal dances By what eternal streams!
The lines that begin "A Dream Within A Dream" are adapted from Marginalia 150 by E.A. Poe. The adapted lines read:
"For my own part, I have never had a thought which I could not set down in words with even more distinctness than that which I conceived it. There is, however, a class of fancies, of exquisite delicacy, which are not thoughts and to which as yet I have found it absolutely impossible to adapt to language. These fancies arise in the soul (alas, how rarely!) only at epochs of most intense tranquillity, when the bodily and mental health are in perfection and at those mere points of time where the confines of the waking world blend with the world of dreams. And so I captured this fancy where all that we see or seem is but a dream within a dream."
The lines that begin "Fall of the House of Usher" are presumably from an E.A. Poe work as well, though the source(s) has yet to be found. The passage read by Mr. Welles is as follows:
"Shadows of shadows passing. It is now 1831, and as always, I am absorbed with a delicate thought. It is how poetry has indefinite sensations, to which end, music is an essential. Since the comprehension of sweet sound is our most indefinite conception, music, when combined with a pleasurable idea, is poetry. Music without the idea is simply music. Without music or an intriguing idea, color becomes pallor, man becomes carcass, home becomes catacomb, and the dead are, but for a moment, motionless. . ."
AP imagined a mass of people chanting in unison while they labored on the Pyramids. The chorus is something along the lines of:
Hail to the King, Praise to the King
Hail to the King, and glory to His name, Hosanna. Hosanna!
"Gloria" might also be said while "Hosanna" is being repeated.
AP said of these choral chants: "After the achievement [of the construction of the pyramids], that was the glorification, if you like."
INTRO: Left Channel
Speaker: "Gentleman, the essence of the American military position presently, in all due respect to the Queen's government, is that the NATO allies have to present a military posture that is relevant to the core problems of what faces us all. Sure, you're going to realize the socialization and military intelligence and military posture that relates to the individual population and the press interpretation of such ..."
Other: (ungrateful snort)
Speaker: "See, see, these people don't want to hear what I have to say .. See, name a, name a topic ... ah, I want Alan to do the talking. Alan? Name the topic."
Alan: "Name the topic?"
Speaker: "Any topic, any topic."
INTRO: Right Channel
Speaker: "Well ... you must understand ... the essence of Porcupinus Contravius, which is generally the North American Porcupine, which are friends, and they are friends, here in Europe, don't perhaps have the opportunity to visualize or duly seek in a hunting mode ... is an animal that can directly assume a posture of defense through its natural vehicles. Everyone knows that a porcupine has a natural spinal region that is of critical nature to its offenders."
BREAK: Left Channel
Speaker: "At WGN we believe in the positive angle of the story... Hey, Mom, Dad, what the hey, what the heck, let's drive inbound on the loop and get to the job, because we here in America believe in making it happen. Okay, hey guys, Mom, Dad just enjoying the ballgame, what a great way to have a good time. Wrigley Field, 1:15 PM, $26.50 for those box office seats."
BREAK: Right Channel
Speaker: "We have now a couple of minutes after the hour of ... the bewitching hour of 1 in the morning ... and a good, good morning on the all-night special, Soft Rock 102.5 here in Brentwood ... Boy, it's good to be here to volunteer the love ... the LOVE! ... unlike a lot of the great volunteers today, particularly here in American radio."
The word come from the E. A. Poe story, "The Murders in the Rue Morgue."
"You kept your eyes upon the ground glancing, with a petulant expression, at the holes and ruts in the pavement, (so that I saw you were still thinking of the stones,) until we reached the little alley called Lamartine, which has been paved, by way of experiment, with the overlapping and riveted blocks. Here your countenance brightened up, and, perceiving your lips move, I could not doubt that you murmured the word 'stereotomy,' a term very affectedly applied to this species of pavement"
Webster says: ste.re.ot.o.my \-e=97'a:t-*-me-\ n [F ste're'otomie, fr. Ste're'-stere- + -tomie -tomy]: the art or technique of cutting solids; esp.: the art of stonecutting.
Eric Woolfson says: "I found the word "stereotomy" in an Edgar Allan Poe story called "Murders in the Rue Morgue," and it was the word that gave the hero the clue to solving the mystery, eventually ... Poe used it in the 1830s or 40s, long before any kind of technological association with stereo or anything like that, and I thought it was a great rock and roll word! And I gave it my own meaning and the album started there."
The words come from Edgar Allan Poe's "The Murders in the Rue Morgue." The complete line reads:
"...The larger links of the chain run thus -- Chantilly, Orion, Dr. Nichols, Epicurus, Stereotomy, the street stones, the fruiterer."
In the song, you hear the children's voices echoing "Chantilly, Orion, Dr. Nichols, Epicurus" when the next word of the quote, "Stereotomy," is shouted as the next track, "Stereotomy Two", begins.
I can't answer that question, but the song was written years ago by Chris Thompson, of Manfred Mann fame and singer for AP on TAO and Live albums. The first person to record it was Australian John Farnham on his "Whispering Jack" album. Heart also performed a live rendition of the song, which received some airplay.
See The Avenue On-line (section 4.3.01)
Want current information the band?
See The Avenue On-line (section 4.3.01), Wesley Chun's web page (section 4.3.04), or subscribe to the mailing list (section 4.2)
See Wesley Chun's web page (section 4.3.04) or Alistair Young's web page (section 4.3.02).
The history of APP?
See The Avenue (section 4.1), subscribe to the mailing list (section 4.2), or browse the mailing list archives (section 4.3.03)
Other APP-related ruminations or questions?
See The Avenue (section 4.1), or subscribe to the mailing list (section 4.2)
Note that all addresses and information are liable to change. They are only accurate (to the best of my knowledge) at the time of this writing, September 1996.
Contacting The Avenue:
Postal address: The Avenue 65 Front Street West Suite 0116 - Box 201 Toronto, Ontario M5J 1E6 CANADA Fax number: (416) 284-0399 e-mail: email@example.comAnd check out "The Avenue" Online at: http://www.interlog.com/~avenue/ This website includes a list of FAQs, items for sale, current news, and links to other websites.
This website includes a list of FAQs, items for sale, current news, and links to other websites. See section 4.1 for more information on "The Avenue"
This site has great graphics, a comprehensive encyclopedia of all thing Projectologic, an excellent discography, a scrapbook of magazine articles on APP, and some hints on finding some of those obscure albums. The links to other websites include some links to sound clips of APP material.
The home of the Alan Parsons Project Internet Mailing List, this site also includes the mailing list archives, which are GREAT to browse for arcane Project lore. Website also features some album covers including the full inlays of the US and European Live albums, a mirror of Alistair Young's website, and links to other APP websites.
Features the MONSTER APP discography upon which Alistair Young's graphically beautimous discography is based. These pages include some nice images relating to recent AP tours, including a complete scan of the 1994 tour programme.
Lyrics - under construction! Also has links to the Edgar Allan Poe stories which inspired Tales of Mystery and Imagination.
A stylish set of pages with some links and information on Ladyhawke.
Album covers and links.
Plenty of links, including lyrics, tabs & chords.
All sorts of information about the World Liberty Concert which was staged in Arnhem in 1995, including an interview with the organiser, Alan Parsons.
The home of the Alan Parsons Project Internet Mailing List, this site also includes the mailing list archives, which are great to browse for arcane Project lore. Website also features some album covers including the full inlays of the US and European Live albums, a mirror of Alistair Young's website, and links to other APP websites.
There have been several songbooks/folios released. Here are the known ones:
Tales of Mystery and Imagination Edgar Allan Poe
20th Centruy Fox Music Group, 1976
Distributed by Columbia Pictures Publications
Almo Publications, 1980
Distributed by Columbia Pictures Publications
Eye in the Sky
Columbia Pictures Publications, 1982
The Best of the Alan Parsons Project
Revised and Expanded Edition
Columbia Pictures Publications, 1983 (?)
Columbia Pictures Publications, 1984
Columbia Pictures Publications, 1985
Columbia Pictures Publications, 1986
Columbia Pictures Publications, 1987
All of these folios are reportedly out of print, so count yourself lucky if you can find them. The address for Columbia Pictures Publications has changed over the years, but the most recent one is 15800 NW 48th Avenue, Miami, Florida, USA, 33014.
US mirror: http://www.roadkill.com/APP/~ajy/scrap/index.html
A good place for Alan Parsons discs online.
A good source for those artifacts known as LPs.
1800 S. Robertson Blvd #279
Los Angeles CA 90035
To Call:(310) 275-1444
To Fax: (310) 275-8444
http://www.ipa.net/cust/thoughtscape/ An excellent source for those hard to find APP and APP-related titles. (I have done business with Scott at Thoughtscape and I'm pleased with their selection.)
4801 South 31st Street, #1
Fort Smith, AR 72901
Order Line: 1-800-435-6185
(After ordering the first time, you can use the e-mail address: firstname.lastname@example.org)
Other Inquiries: 1-501-649-8115
Fax Line: 1-501-646-6217
The opinions expressed are my own, but they're for sale if you want them.
Matt Pritchard, 1996.