Alan Parsons I ROBOT Mobile Fidelity MFSL UHQR Half Speed Mastered 200 gram
  $   151

 


$ 151 Sold For
Jun 1, 2014 Sold Date
May 25, 2014 Start Date
$   90 Start price
10   Number Of Bids
  USA Country Of Seller
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Description

THE ALAN PARSONS PROJECT I Robot Mobile Fidelity Sound Lab MFQR 1-084 UHQR Half Speed Mastered Limited Edition (serial No. 415)
A1 I Robot 6:06 A2 I Wouldn't Want To Be Like You 3:19 A3 Some Other Time 4:05 A4 Breakdown 3:50 A5 Don't Let It Show 4:21 B1 The Voice 5:21 B2 Nucleus 3:35 B3 Day After Day (The Show Must Go On) 3:43 B4 Total Eclipse Written-By – Andrew Powell 3:05 B5 Genesis Ch.1. V.32 3:37

*(all photos are of the actual item)


  • Arranged By [Orchestra And Choir Arranged By], Conductor [Orchestra And Choir Conducted By] –Andrew Powell
  • Artwork By [Illustration] – Richard Manning
  • Bass, Acoustic Guitar, Vocals [Additional Vocals] – David Paton
  • Cimbalom, Kantele – John Leach
  • Conductor [Choirmaster] – Bob Howes
  • Contractor [Orchestral Contractor] – David Katz
  • Design [Cover Design], Photography – Hipgnosis (2)
  • Design [Robot Design] – George Hardie
  • Drums, Percussion, Vocals [Additional Vocals] – Stuart Tosh
  • Electric Guitar, Acoustic Guitar, Vocals [Additional Vocals] – Ian Bairnson
  • Engineer [Assistant Engineer] – Pat Stapley
  • Engineer [Assistant Engineer], Mastered By [Mastering In The U.k.] – Chris Blair
  • Executive Producer, Keyboards, Synthesizer ['projectron'], Vocoder, Vocals [Additional Vocals], Written-by – Eric Woolfson
  • Keyboards – Duncan Mackay
  • Producer, Engineer, Acoustic Guitar, Keyboards, Synthesizer ['projectron'], Vocoder, Vocals [Additional Vocals], Written-by – Alan Parsons
  • Steel Guitar – B.J. Cole*
  • Vocals – Allan Clarke, Dave Townsend, Jack Harris, Jaki Whitren, Lenny Zakatek, Peter Straker, Steve Harley
  • Vocals [Additional Vocals] – English Chorale, The, Hilary Western, John Perry (7), New Philharmonia Chorus, The*, Smokey Parsons, Stuart Calver, Tony Rivers
  • Written-By – Alan Parsons (tracks: A1 to B3, B5), Eric Woolfson (tracks: A1 to B3, B5)

Notes

Limited Edition of 5000 

Half-speed production and mastering by Original Masteringworks 

Specially plated and pressed on high definition super vinyl by Victor Company of Japan, Ltd. 
Special static free-dust free inner sleeve 
special heavy duty protective packaging 
Source: The original stereo master tape 
Mastered with Ortofon Cutting System 
Manufactured and distributed by MFSL, Inc. 
Chatsworth, CA 91311, under license from A & M Records, Inc. MFSL released eight UHQR (Ultra High Quality Record) title on LP. Each was a single-record box set limited to 5,000 copies, which were individually numbered. UHQRs LPs were pressed on heavy-weight (200 gram) "virgin" vinyl. These discs (along with previous releases) were pressed at JVC in Japan. Review: Stephen Erlewine Alan Parsons delivered a detailed blueprint for his Project on their 1975 debut, Tales of Mystery and Imagination, but it was on its 1977 follow-up, I Robot, that the outfit reached its true potential. Borrowing not just its title but concept from Isaac Asimov's classic sci-fi Robot trilogy, this album explores many of the philosophies regarding artificial intelligence -- will it overtake man, what does it mean to be man, what responsibilities do mechanical beings have to their creators, and so on and so forth -- with enough knotty intelligence to make it a seminal text of late-'70s geeks, and while it is also true that appreciating I Robot does require a love of either sci-fi or art rock, it is also true that sci-fi art rock never came any better than this. Compare it to Jeff Wayne's War of the Worlds, released just a year after this and demonstrating some clear influence from Parsons: that flirts voraciously with camp, but this, for all of its pomp and circumstance, for all of its overblown arrangements, this is music that's played deadly serious. Even when the vocal choirs pile up at the end of "Breakdown" or when the Project delves into some tight, glossy white funk on "The Voice," complete with punctuations from robotic voices and whining slide guitars, there isn't much sense of fun, but there is a sense of mystery and a sense of drama that can be very absorbing if you're prepared to give yourself over to it. The most fascinating thing about the album is that the music is restless, shifting from mood to mood within the course of a song, but unlike some art pop there is attention paid to hooks -- most notably, of course, on the hit "I Wouldn't Want to Be Like You," a tense, paranoid neo-disco rocker that was the APP's breakthrough. It's also the closest thing to a concise pop song here -- other tunes have plenty of hooks, but they change their tempo and feel quickly, which is what makes this an art rock album instead of a pop album. And while that may not snare in listeners who love the hit (they should turn to Eye in the Sky instead, the Project's one true pop album), that sense of melody when married to the artistic restlessness and geeky sensibility makes for a unique, compelling album and the one record that truly captures mind and spirit of the Alan Parsons Project.




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