Alan Parsons interviewed

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    Definitely worth reading. [LINK] Here are some of the highlights:

    This is set to be a big year for you with a series of intriguing archival Alan Parsons Project releases. Tell me about them.

    We’ve got a box set of the entire catalog coming out in the summer, as well as a re-release of I Robot, to coincide with its 35th anniversary this year. Both are in the early stages. I just found out the label wants to do it. I’ll be handling the remastering, as well as adding some new bonus material we’ve dug out of the archives.

    I understand The Sicilian Defence, the long-shelved Alan Parsons Project album, is included in these reissues.

    Yes, we’ve been coaxed into putting out that mysterious album. It was made almost as a throwaway, contractual obligation album. It was made very quickly. We delivered Eve and The Sicilian Defence simultaneously and told the label “There are your last two albums. Now, give us a new deal.” [laughs] There were all kinds of politics that went on at the time. The Sicilian Defence is very instrumental. I don’t think there’s a single vocal on it. We’ve been pretty protective of it. I haven’t even possessed a copy of it since 1979 when it was made. Don’t hold your breath on this one. It’s interesting, but not the greatest piece of work.

    Are there plans for new music of your own?

    I’ve got two-and-a-half songs in the can and I’m thinking about how to release them. We’re now in a singles world, as opposed to an album world. I might just put those out online, emphasizing that there will be high-resolution versions available that sound better than their MP3 counterparts. I also put out a single not that long ago called “All Our Yesterdays” taken from The Art & Science of Sound Recording DVD series.

    How do you look back at your last studio album, the electronica-inspired A Valid Path from 2004?

    I look back on the album a little bit unfavorably. I felt that we possibly deviated too far from our intended course. I wanted to do something different and hopefully capture a younger audience. We did to a certain extent, but I think we lost our core audience in the process. I was sorely disappointed by the sales. It didn’t achieve anything like some of my previous albums. The reason could be that people felt it was too much of a break from the tradition of what I had done previously, which was heavily orchestrated, catchy, melodic songs. The album was all recorded on computers for the first time, without a Neve console like the one we’re sitting in front of in sight.

    The track also features the SubClones, an act you were planning on making a full-length album with.

    The SubClones were—and I use the word “were” because it looks like they may not surface again—two individuals who are known for doing other things. They chose to remain anonymous by wearing masks. I won’t give the game away, but if you Google “SubClones,” you’ll figure it out. I was going to make a full-blown album with them, but they had a management kerfuffle that created issues, and I don’t think it’s going to happen.

    I Googled SubClones, and I still don’t know for certain who they were. So much for that! 😆

    Considering how well known APP was for its instrumentals, I doubt anyone’s going to kick ’em out of bed for a whole “new” album of instrumentals.

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