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Alan Parsons
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Key Information
Alan Parsons OBE (born 20 December 1948)[2] is an English audio engineer, songwriter, musician, singer and record producer.
Parsons was the sound engineer on albums including the Beatles' Abbey Road (1969) and Let It Be (1970), Pink Floyd's Dark Side of the Moon (1973), and the eponymous debut album by Ambrosia in 1975. Parsons's own group, the Alan Parsons Project, as well as his subsequent solo recordings, have also been commercially successful. He has been nominated for 13 Grammy Awards, with his first win occurring in 2019 for Best Immersive Audio Album for Eye in the Sky (35th Anniversary Edition).[3]
Music career
[edit]After getting a job working in the tape duplication department at EMI, Parsons heard the master tape for the Beatles' Sgt. Pepper's Lonely Hearts Club Band, and decided to try talking his way into a job at Abbey Road Studios. In October 1967, at the age of 18, Parsons went to work as an assistant engineer at Abbey Road. He was a tape operator during the Beatles' Get Back sessions,[4] and he earned his first credit on the LP Abbey Road. He became a regular there, engineering projects such as Wings' Wild Life and Red Rose Speedway, five albums by the Hollies and Pink Floyd's The Dark Side of the Moon (1973), for which he received his first Grammy Awards nomination.
"It was a bit of a frustration for me that I didn't get all the engineering credit", Parsons said of Dark Side of the Moon, "because Chris [Thomas] came in as mixing supervisor … I had been working on the album for a year and I obviously knew it inside-out by the mixing stage … There were times when I thought Chris was wrong, particularly about the use of limiting and compression on the mix, which I've never been a fan of … Although, later, I got the opportunity to mix the album the way I wanted when I did the quadraphonic version."[5]
In his work with Al Stewart's "Year of the Cat", Parsons added the saxophone part and transformed the original folk concept into the jazz-influenced ballad that put Stewart onto the charts.[6]
Parsons also produced three albums by Pilot, a Scottish pop rock band, whose hits included "January" and "Magic". He also mixed the debut album by the American band Ambrosia and produced their second album, Somewhere I've Never Travelled. Parsons was nominated for a Grammy Award for both albums.[7]
In 1975, he declined Pink Floyd's invitation to work on Wish You Were Here – the follow-up to Dark Side – and instead initiated the Alan Parsons Project with producer, songwriter, and occasional singer Eric Woolfson, whom he had met at Abbey Road. The Project consisted of a revolving group of studio musicians and vocalists, most notably the members of Pilot and (on the first album) the members of Ambrosia. Unlike most rock groups, the Alan Parsons Project never performed live during its heyday, although it did release several music videos. Its only live performance during its original incarnation was in 1990. It released ten albums, the last in 1987. The Project terminated in 1990 after Parsons and Woolfson split, with the Project's intended 11th album released that year as a Woolfson solo album. Parsons continued to release work in his own name and in collaboration with other musicians. Parsons and his band regularly toured many parts of the world.
Although an accomplished vocalist, keyboardist, bassist, guitarist and flautist, Parsons only sang infrequent and incidental parts on his albums, such as the background vocals on "Time". While his keyboard playing was very audible on the Alan Parsons Project albums, very few recordings feature his flute. He briefly returned to run Abbey Road Studios in its entirety. Parsons also continued with his selective production work for other bands.
Of all his collaborators, guitarist Ian Bairnson worked with Parsons the longest, including Parsons' post-Project albums: Try Anything Once, On Air, The Time Machine and The Secret.
Chris Thompson joined Alan Parsons' band for his first solo album after the split of The Alan Parsons Project and was also one of the two frontmen on the ensuing tour, which was captured on the album Alan Parsons Live. For the U.S. release of this album in 1995 (retitled The Very Best Live), the band added three new studio recordings, recorded in February 1995. One of these was "You're the Voice", which marked the first time a version featuring the original songwriter (Thompson) had been released. "You're the Voice" was then performed at the World Liberty Concert in May 1995 by The Alan Parsons Band, Chris Thompson, and Metropole Orkest. The only official release associated with that concert was a single, featuring a radio edit of the live version of "You're the Voice" (faded out after four minutes). The B-side was a live recording of "White Dawn", which was performed by the Metropole Orkest and Gelders Opera and Operetta Gezelschap (GOOG) choir. The song was arranged by Andrew Powell and conducted by Dick Bakker.[citation needed]
In 1998, Parsons became vice-president of EMI Studios Group, including the Abbey Road Studios. He soon left the post, deciding to return to more creative endeavours. Parsons remained as a creative consultant and associate producer for the group.
As well as receiving gold and platinum awards from many nations, Parsons has received thirteen Grammy Award nominations. In 2006, he was nominated for Best Surround Sound Album for A Valid Path. In 2019, he won his first Grammy Award for Best immersive Audio Album for his remastered 35th anniversary edition of Eye in the Sky.[8]
Beginning in 2001 and extending for four years, Parsons led a Beatles tribute show called A Walk Down Abbey Road featuring performers such as Todd Rundgren, Ann Wilson of Heart, John Entwistle of the Who and Jack Bruce of Cream. The show structure included a first set where all the musicians assembled to perform each other's hits, and a second set featuring all Beatles songs.
Since 1999, he has toured as the Alan Parsons Live Project (with Woolfson's permission). The band currently features lead singer P. J. Olsson, guitarist Jeff Kollman, drummer Danny Thompson, keyboardist Tom Brooks, bass guitarist Guy Erez, vocalist and saxophonist Todd Cooper, guitarist and vocalist Dan Tracey, along with Parsons on rhythm guitar, keyboards and vocals.[9] This band performed live in Medellín, Colombia, in 2013 as Alan Parsons Symphonic Project in a performance recorded for Colombian television and also released on CD (live 2-CD) and DVD (May 2016).
In May 2005, Parsons appeared at the Canyon Club in Agoura Hills, California, to mix front-of-house sound for Southern California-based Pink Floyd tribute band Which One's Pink? as they performed The Dark Side of the Moon in its entirety.[10]
In 2010, Parsons released his single "All Our Yesterdays" through Authentik Artists.[11] Parsons also launched a DVD educational series in 2010, titled The Art and Science of Sound Recording (ASSR) on music production and the complete audio recording process. The single "All Our Yesterdays" was written and recorded during the making of ASSR. The series, narrated by Billy Bob Thornton, gives detailed tutorials on virtually every aspect of the sound recording process.[12]
During 2010, several media reports[13][14] (one of which included a quote from a representative of Parsons),[15] alleged that the song "Need You Now" by country music group Lady Antebellum used the melody and arrangement of "Eye in the Sky".
Parsons produced Jake Shimabukuro's album Grand Ukulele, which was released on 2 October 2012. Also in 2012, he contributed lead vocals and performed keyboards and guitar on the track "Precious Life" by German electronic music duo Lichtmond, and appeared with many other noted progressive-rock musicians on The Prog Collective album by Billy Sherwood, singing lead on "The Technical Divide".
Parsons engineered the third solo album by Steven Wilson, The Raven that Refused to Sing (And Other Stories), released on 25 February 2013.
In late 2013, a live album recorded on tour in Germany and Austria with the title LiveSpan was released, accompanied by a single called "Fragile" with Simon Philips on drums.
Legacy Recordings, the catalogue division of Sony Music Entertainment, celebrated the 35th anniversary of Eye in the Sky with the worldwide release of a definitive deluxe collector's box set, featuring rare and unreleased material, on 17 November 2017.
On 19 July 2018, Parsons and engineer Noah Bruskin opened a new recording studio, ParSonics. ParSonics was used in the recording of Alan Parsons’ album, The Secret.[16][17]
On 26 April 2019, Parsons released a new studio album, The Secret, his first album in 15 years.[18]
On 15 July 2022, Parsons released a new studio album, From the New World.[19]
Band members
[edit]- Current
- Alan Parsons – guitar, vocals, keyboards, percussion (1993–present)
- P. J. Olsson – lead vocals (2004–present)
- Guy Erez – bass (2010–present)[20]
- Todd Cooper – vocals, saxophone (2010–present)
- Danny Thompson - drums (2010-present)
- Tom Brooks – keyboards, backing vocals (2012–present)[21]
- Dan Tracey – guitar, vocals (2016–present)
- Jeff Kollman – lead guitar, vocals (2017–present)
- Former
- Ian Bairnson – lead guitar, saxophone (1993–2000; died 2023)
- Stuart Elliott – drums (1993–2000)
- Richard Cottle – keyboards, saxophone (1994–1995)
- Gary Howard – vocals, guitar (1994)[22]
- Chris Thompson – vocals, guitar, percussion (1994–1995)
- Andrew Powell – keyboards (1994–1995)
- Jeremy Meek – bass, vocals (1994)
- Peter Beckett – vocals, keyboards (1995–1998)[23]
- Felix Krish – bass (1995)[23]
- John Giblin – bass (1996–1998; died 2023)[24]
- Gary Sanctuary – keyboards (1996)
- Neil Lockwood – vocals, guitar (1996–2000; died 2025)[25]
- John Beck – keyboards (1997–2002, 2005)
- Dick Nolan – bass (1999–2000)
- David Pack – vocals, guitar (1999; select shows, 2001)[26][27]
- Tony Hadley – vocals (1999; European legs)
- Godfrey Townsend – guitar (2001–2009)[26][27]
- Todd Rundgren – vocals, guitar (2001–2002)[26][27]
- Ann Wilson – vocals, guitar (2001)[26][27]
- John Entwistle – bass, vocals (2001; died 2002)[26][27]
- Steve Loungo – drums (2001)[26][27]
- Christopher Cross – vocals, guitar (2002–2003)[28]
- Jack Bruce – bass, vocals (2002–2003; died 2014)[28]
- Mark Farner – vocals, guitar (2002–2003)[28]
- Steve Murphy – drums (2002–2003)[28]
- Manny Focarazzo – keyboards (2003–2014)[29][30]
- John Montagna – bass (2003–2009)[29]
- Kip Winger – vocals (2005, 2007)[31][32]
- Alastair Greene – guitar (2010–2015)
Family and personal life
[edit]His father was Denys Parsons, the grandson of the actor Sir Herbert Beerbohm Tree. Denys Parsons was a scientist, a filmmaker, and the press officer for the British Library, as well as a talented pianist and flautist. He developed the Parsons Code as a means of classifying musical melody and was the author of The Directory of Tunes and Musical Themes (1975, revised 2008).[33][34][35]
Parsons resides in Santa Barbara, California, US. He has two sons from his first marriage. He is married to Lisa Griffiths; they have two daughters.[2][36]
Discography
[edit]Full discography
[edit]| Date | Title | Label | Charted | Country | Catalog number |
|---|---|---|---|---|---|
| as part of The Alan Parsons Project | |||||
| May 1976 | Tales of Mystery and Imagination | Charisma/20th Century | 38 | US | |
| June 1977 | I Robot | Arista | 9 | US | SPARTY 1012 |
| June 1978 | Pyramid | Arista | 26 | US | |
| August 1979 | Eve | Arista | 13 | US | |
| November 1980 | The Turn of a Friendly Card | Arista | 13 | US | AL 9518 (US LP) ARCD 8226 (US CD) |
| June 1982 | Eye in the Sky | Arista | 7 | US | |
| 1983 | The Best of the Alan Parsons Project | Arista | 53 | US | |
| February 1984 | Ammonia Avenue | Arista | 15 | US | |
| February 1985 | Vulture Culture | Arista | 46 | US | |
| November 1985 | Stereotomy | Arista | 43 | US | |
| January 1987 | Gaudi | Arista | 57 | US | |
| 1988 | The Best of the Alan Parsons Project, Vol. 2 | Arista | – | – | |
| 1988 | The Instrumental Works | Arista | – | – | |
| 1990 | Freudiana | EMI | – | – | |
| 9 October 1989 | Pop Classics | Arista | – | – | |
| 1995 (6/2004) | Extended Versions: The Encore Collection Live | – | – | ||
| 15 July 1997 | The Definitive Collection | – | – | ||
| 27 July 1999 | Master Hits - The Alan Parsons Project | – | – | ||
| 2 August 1999 | Alan Parsons Project - Greatest Hits Live = Best of Live | – | – | ||
| 3 August 1999 | Eye in the Sky – Encore Collection | – | – | ||
| 9 May 2000 | Alan Parsons Project - Gold Collection | BMG International | – | – | |
| 22 August 2002 | Works | Audiophile Legends | – | – | |
| 23 March 2004 | Ultimate | – | – | ||
| 2006 | Days Are Numbers | Arista | – | – | 88697016972 |
| 2007 | The Essential (2 CD compilation) | Arista / Legacy | – | – | 88697043372 |
| 2010 | The Collection | Sony / Camden | 88697808482 | ||
| 23 March 2014 | The Sicilian Defence (part of The Complete Albums Collection) | Arista / Sony | – | – | 88697890552-11 |
| as solo artist – studio albums | |||||
| 26 October 1993 | Try Anything Once | Arista | 122 | US | |
| 24 September 1996 | On Air | A&M/Digital Sound/River North | 78 | US | |
| 28 September 1999 | The Time Machine | Miramar | 71 | US | |
| 24 August 2004 | A Valid Path | Artemis | 34 | US | |
| 26 April 2019 | The Secret | Frontiers | US | ||
| 15 July 2022 | From the New World | Frontiers | US | ||
| as solo artist – live albums | |||||
| 27 June 1995 | The Very Best Live | RCA | – | – | |
| 6 April 2010 | Eye 2 Eye: Live in Madrid | Frontiers | |||
| Sept 2013 | Alan Parsons LiveSpan | MFP | |||
| June 2016 | Alan Parsons Symphonic Project, Live in Colombia | earMusic | |||
| 5 November 2021 | The Neverending Show - Live in The Netherlands | Frontiers | |||
| 11 February 2022 | One Note Symphony – Live In Tel Aviv | Frontiers | |||
| as solo artist – singles | |||||
| 15 June 2010 | All Our Yesterdays / Alpha Centauri (2010) | Authentik Artists, Inc. | |||
| 3 April 2014 | Fragile / Luciferama | Mfp Music Productions | |||
| 10 April 2015 | Do You Live at All | ||||
| as engineer | |||||
| 1969 | Abbey Road (The Beatles) | Apple | 1 | UK US |
|
| 1970 | Let It Be (The Beatles) | Apple | 1 | UK
US |
|
| 1970 | Atom Heart Mother (Pink Floyd) | Harvest | 1 55 |
UK US |
|
| 1971 | Stormcock (Roy Harper) | Harvest | |||
| 1971 | Wild Life (Wings) | Apple | 10 11 |
US UK |
|
| 1973 | Dark Side of the Moon (Pink Floyd) | Harvest | 2 1 |
UK US |
|
| 1973 | Wizzard Brew (Wizzard) (Partial) | Harvest | 29 | UK | |
| 1973 | Red Rose Speedway (Paul McCartney and Wings) | Apple | 1 5 |
US UK |
|
| 1973 | Boulders (Roy Wood) (Partial) | Harvest | 15 | UK | |
| 1974 | Hollies (The Hollies) | Polydor (UK), Epic (US) | 28 | US | |
| 1975 | Another Night (The Hollies) | 132 | US | ||
| 1975 | Ambrosia (Ambrosia) | 20th Century | 22 | US | |
| 1976 | Year of the Cat (Al Stewart) | 5 | US | ||
| 1978 | Time Passages (Al Stewart) | 10 | US | ||
| 2013 | The Raven That Refused to Sing (And Other Stories) (Steven Wilson) | Kscope | 28 | UK | |
| as producer | |||||
| 1974 | From the Album of the Same Name (Pilot) | EMI | |||
| 1974 | The Psychomodo (Cockney Rebel) | EMI | |||
| 1975 | The Best Years of Our Lives (Steve Harley & Cockney Rebel) | – | – | ||
| 1975 | Second Flight (Pilot) | ||||
| 1975 | Modern Times (Al Stewart) | ||||
| 1976 | Rebel (John Miles) | 171 | US | ||
| 1976 | Year of the Cat (Al Stewart) | 5 | US | ||
| 1976 | Somewhere I've Never Travelled (Ambrosia) | 20th Century | 79 | US | |
| 1978 | Time Passages (Al Stewart) | 10 | US | ||
| 1979 | Lenny Zakatek (Lenny Zakatek) | A&M | US | ||
| March 1984 | Keats | EMI | |||
| 1985 | Ladyhawke (OST by Andrew Powell) | Atlantic Records | |||
| 1993 | Symphonic Music of Yes | RCA | |||
| 2012 | Grand Ukulele (Jake Shimabukuro) | Mailboat Records | |||
| 2017 | Blackfield V (Blackfield) | Kscope | UK, Israel | ||
| 2019 | Jonathan Cilia Faro (Grown up Christmas List) | NewArias Production | USA, Italy | ||
| as executive producer / mentor | |||||
| 1999 | Turning the Tide (Iconic Phare) | Carrera Records | – | – | |
Billboard Top 40 hit singles (US)
[edit]- 1976 – "(The System of) Doctor Tarr and Professor Fether" – No. 37
- 1977 – "I Wouldn't Want to Be Like You" – No. 36
- 1979 – "Damned If I Do" – No. 27
- 1980 – "Games People Play" – No. 16
- 1981 – "Time" – No. 15
- 1982 – "Eye in the Sky" – No. 3
- 1984 – "Don't Answer Me" – No. 15
- 1984 – "Prime Time" – No. 34
Canadian singles
[edit]- 1976 – "(The System of) Doctor Tarr and Professor Fether" – No. 62
- 1977 – "I Wouldn't Want to Be Like You" – No. 22
- 1980 – "Damned If I Do" – No. 16
- 1981 – "Games People Play" – No. 9
- 1981 – "Time" – No. 30
- 1982 – "Eye in the Sky" – No. 1
- 1983 – "You Don't Believe" – No. 43
- 1984 – "Don't Answer Me" – No. 20
- 1985 – "Let's Talk About Me" – No. 89
Honours and awards
[edit]Parsons was appointed Officer of the Order of the British Empire (OBE) in the 2021 Birthday Honours for services to music and music production.[37]
Nominations
[edit]- 1973 – Pink Floyd – Dark Side of the Moon – Grammy Nomination for Best Engineered Album, Non-Classical
- 1975 – Ambrosia – Ambrosia – Grammy Nomination for Best Engineered Album, Non-Classical
- 1976 – Ambrosia – Somewhere I've Never Travelled – Grammy Nomination for Best Engineered Album, Non-Classical
- 1976 – The Alan Parsons Project – Tales of Mystery and Imagination – Grammy Nomination for Best Engineered Album, Non-Classical
- 1978 – The Alan Parsons Project – Pyramid – Grammy Nomination for Best Engineered Album, Non-Classical
- 1978 – Alan Parsons – Producer of the Year, Grammy Nomination for Producer of the Year
- 1979 – Ice Castles – Original Motion Picture Soundtrack – Grammy Nomination for Best Album of Original Score Written for a Motion Picture
- 1979 – The Alan Parsons Project – Eve – Grammy Nomination for Best Engineered Album, Non-Classical
- 1981 – The Alan Parsons Project – The Turn of a Friendly Card – Grammy Nomination for Best Engineered Album, Non-Classical
- 1982 – The Alan Parsons Project – Eye in the Sky – Grammy Nomination for Best Engineered Album, Non-Classical
- 1986 – The Alan Parsons Project – "Where's The Walrus?" – Grammy Nomination for Best Rock Instrumental Performance
- 2007 – Alan Parsons – A Valid Path – Grammy Nomination for Best Surround Sound Album
- 2018 – Alan Parsons, Dave Donnelly, & PJ Olsson – "Eye in the Sky – 35th Anniversary Edition"[38] – Grammy Award for Best Immersive Audio Album – Alan Parsons, surround mix engineer; surround mastering engineers; Alan Parsons, surround producer (The Alan Parsons Project)[3]
References
[edit]- ^ "Alan Parsons Undergoes 'Urgent Spinal Surgery'". Ultimateclassicrock.com. 26 June 2022.
- ^ a b "Alan Parsons – Bio FAQ Discography". Archived from the original on 12 December 2009. Retrieved 5 October 2017.
- ^ a b "Alan Parsons". Grammy.com. 15 February 2019. Retrieved 2 June 2019.
- ^ Masley, Ed. "At 19, Alan Parsons recorded the Beatles. How that 'life-changing' experience shaped him". The Arizona Republic. Retrieved 7 November 2022.
- ^ Cunningham, Mark (January 1995). "The other side of the moon". Making Music. p. 18.
- ^ Honigmann, David (10 May 2021). "Year of the Cat — the long, slow evolution of Al Stewart's best-known song". Financial Times. Retrieved 4 August 2022.
- ^ the Trades article Interview: Alan Parsons: The Artist and Scientist of Sound Recording
- ^ "Alan Parsons". GRAMMY.com. 19 May 2020. Retrieved 25 August 2020.
- ^ Live, Alan Parsons. "Bios". Alan Parsons Live. Retrieved 25 August 2020.
- ^ "Parsons and Which One's Pink". Archived from the original on 28 September 2007. Retrieved 21 September 2022.
- ^ "iTunes – Music – All Our Yesterdays – Single by Alan Parsons". iTunes. 15 June 2010. Archived from the original on 28 June 2010. Retrieved 8 November 2011.
- ^ "Alan Parsons' Art & Science of Sound Recording". Artandscienceofsound.com. Retrieved 8 November 2011.
- ^ "Lady Antebellum vs. The Alan Parsons Project". Freshmilc.com. Archived from the original on 7 November 2011. Retrieved 8 November 2011.
- ^ "People accusing Lady Antebellum of stealing Alan Parson song". Tampabay.com. 18 November 2010. Archived from the original on 6 November 2011. Retrieved 8 November 2011.
- ^ Rodgers, D. Patrick (11 November 2010). "Alan Parsons' Camp Alleges Lady Antebellum Rip-Off". Nashvillescene.com. Archived from the original on 7 November 2011. Retrieved 8 November 2011.
- ^ "Studio – ParSonics Recording Studio". ParSonics. Retrieved 25 August 2020.
- ^ Gail Arnold (26 July 2018). "Alan and Lisa Parsons Host Launch Party for New Studio". The Santa Barbara Independent. Retrieved 25 August 2020.
- ^ "Alan Parsons Announces First New Album in 15 Years". Ultimate Classic Rock. Retrieved 31 August 2018.
- ^ "ALAN PARSONS ANNOUNCES NEW STUDIO ALBUM 'FROM THE NEW WORLD' TO BE REL | News". Alanparsons.com. Retrieved 21 September 2022.
- ^ "Alan Parsons 2010 Tour Dates". www.theavenueonline.info. Retrieved 26 May 2024.
- ^ Limited, Alamy. "Keyboarder Tom Brooks performs on stage during The Alan Parsons Live Project tour 2012 at Circus Krone in Munich, Germany, 19 July 2012. Photo: Revierfoto Stock Photo - Alamy". www.alamy.com. Retrieved 26 May 2024.
{{cite web}}:|last=has generic name (help) - ^ "Alan Parsons 1994 TOUR". www.theavenueonline.info. Retrieved 26 May 2024.
- ^ a b "Alan Parsons 1995 TOUR". www.theavenueonline.info. Retrieved 26 May 2024.
- ^ "Alan Parsons "On Air"". www.theavenueonline.info. Retrieved 26 May 2024.
- ^ "I was shocked and terribly saddened to hear that my good friend Neil Lockwood passed away last Saturday, March 15th, 2025 following a brief unexpected illness". Alan Parsons Music on Instagram. 18 March 2025. Retrieved 18 March 2025.
- ^ a b c d e f Greene, Andy (23 February 2021). "Flashback: Ann Wilson Sings 'Let It Be' With John Entwistle, Todd Rundgren, and Alan Parsons". Rolling Stone. Retrieved 26 May 2024.
- ^ a b c d e f "Alan Parsons 2001 Tour Dates". www.theavenueonline.info. Retrieved 26 May 2024.
- ^ a b c d "Alan Parsons 2002 Tour Dates". www.theavenueonline.info. Retrieved 26 May 2024.
- ^ a b "Alan Parsons 2003 Tour Dates". www.theavenueonline.info. Retrieved 26 May 2024.
- ^ Kielty, Martin (2 December 2014). "Alan Parsons returns to UK after 10 years". louder. Retrieved 26 May 2024.
- ^ "Alan Parsons 2005 Tour Dates". www.theavenueonline.info. Retrieved 26 May 2024.
- ^ "Alan Parsons 2007 Tour Dates". www.theavenueonline.info. Retrieved 26 May 2024.
- ^ "Denys Parsons". Penguin.co.uk. Retrieved 21 September 2022.
- ^ "Alan Parsons biography". Alanparsons.com. Archived from the original on 18 September 2019. Retrieved 21 September 2022.
- ^ Cai, Yang (9 January 2017). Instinctive Computing. Springer London. p. 177. ISBN 9781447172789.
- ^ Griffiths, Lisa Marie (14 May 2000). "To Mom, with love, from California". York Sunday News (Pennsylvania). p. 19.
- ^ "No. 63377". The London Gazette (Supplement). 12 June 2021. p. B13.
- ^ "THE ALAN PARSONS PROJECT – 'EYE IN THE SKY' 35TH ANNIVERSARY BOX SET EDITION – OUT NOW". We Are Sony Music Legacy. Retrieved 2 June 2019.
External links
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Alan Parsons
View on Grokipediafrom Grokipedia
Early Life
Childhood and Family Background
Alan Parsons was born on 20 December 1948 in London, England.[4] He grew up in a middle-class musical family in the Golders Green area of London, one of the few gentile families in the predominantly Jewish neighborhood at the time.[5] His father, Denys Parsons, was a British research chemist, author of numerous books, and accomplished jazz musician who played piano and flute, significantly influencing Alan's early musical interests through family performances and recordings.[6][7] Parsons' mother, Jean Kelty MacLeod, was a Scottish actress, professional folk singer, and harpist who often performed traditional songs with a clarsach, further immersing the household in artistic pursuits.[6][5] The family remained in the London area during Parsons' childhood, with no major relocations within the UK documented in this period. From a young age, Parsons showed a keen fascination with sound technology, sparked by his father's inventive tendencies; around age 10 or 11, he built his first three-transistor radio to tune into Radio Luxembourg broadcasts.[5] As a teenager, this interest evolved into hands-on experimentation with audio equipment, including constructing simple devices and tinkering with electronics, laying the groundwork for his future career in recording engineering.[5]Education and Initial Interests
Alan Parsons attended Westminster School in London as a boarder during his formative years, where, despite his interests in science and technology, he was considered an underachiever, prompting him to leave at age 16.[5] His father, Denys Parsons, was a scientist, filmmaker, and musician whose background in science and access to recording equipment, such as a Ferrograph tape machine, fostered Parsons' early curiosity about technology and sound.[8] This environment encouraged hands-on experimentation. He studied piano and flute as a child.[6] Parsons developed self-taught skills in electronics through personal projects, tinkering with audio devices and learning the basics of sound manipulation without formal training. He assembled early recording setups using basic equipment, including a family-owned Ferrograph machine to capture his childhood singing and later a Revox G-36 tape recorder for more ambitious endeavors like creating radio plays with his cousin, complete with multiple voices and sound effects. These activities honed his technical abilities and sparked a passion for recording technology.[9] The vibrant 1960s music scene profoundly shaped Parsons' interests, with The Beatles serving as a major catalyst; their innovative album Sgt. Pepper's Lonely Hearts Club Band inspired him to pursue audio engineering professionally. This fascination led to his initial foray into audio-related work, including part-time tasks at an EMI tape duplication facility in West London shortly after leaving school, where he began duplicating recordings and gaining practical exposure to the industry before advancing to studio roles.[10]Audio Engineering Career
Entry into the Industry
In 1967, at the age of 18, Alan Parsons secured his first professional position at EMI's tape duplication facility in West London, where he handled tasks such as dubbing and cutting tapes for distribution.[11] This entry-level role marked his transition from educational pursuits in electronics to hands-on work in the recording industry, leveraging his self-taught knowledge to adapt quickly to the technical demands.[9] By October 1967, Parsons was promoted to assistant engineer at the prestigious Abbey Road Studios, part of the EMI complex, reflecting his rapid progression due to his aptitude and the studio's need for skilled support staff.[12] In this capacity, he began performing essential duties, including the maintenance of studio equipment such as tape machines and consoles, ensuring operational reliability during sessions.[9] Parsons' early responsibilities also encompassed assisting senior engineers with setup, monitoring, and basic recording operations, often in high-pressure environments that honed his technical precision.[9] During the late 1960s, he benefited from mentorship under accomplished figures like Geoff Emerick, whose innovative engineering techniques on landmark projects provided Parsons with invaluable guidance and shaped his professional development.[13]Key Engineering and Production Credits
Parsons began his notable engineering career at Abbey Road Studios, where his assistant role on The Beatles' Abbey Road (1969) involved handling complex overdubs and tape manipulations for the Side Two medley, including reverse echoes and multiple tape delays on tracks like "Maxwell's Silver Hammer."[8][14] He also contributed to Let It Be (1970) sessions, assisting with tape loops and overdubs during the chaotic "Get Back" recordings, which honed his skills in managing innovative studio techniques under pressure.[15][16] His engineering on Pink Floyd's The Dark Side of the Moon (1973) marked a pinnacle of creative audio production, where he integrated found sounds like clock samples from the Abbey Road effects library and orchestrated innovative effects such as heartbeat pulses and cash register noises using tape loops and multi-tracking.[17][18] Parsons pioneered quadrophonic mixing for the album, positioning elements like vocals and effects across four channels to create an immersive spatial experience, a technique that pushed the boundaries of rock recording at the time.[9][19] He also sourced and directed session vocalist Clare Torry's improvisational performance on "The Great Gig in the Sky," enhancing the album's emotional depth through layered vocal treatments.[20] Transitioning to production, Parsons helmed Al Stewart's Year of the Cat (1976), blending folk-rock with orchestral arrangements and sophisticated stereo imaging that elevated the title track's atmospheric saxophone solo and narrative lyrics to commercial success.[21][22] Earlier, he mixed Ambrosia's self-titled debut album (1975), earning a Grammy nomination for Best Engineered Recording (Non-Classical) through precise balancing of the band's progressive rock elements, including intricate harmonies and instrumental textures on hits like "Holdin' on to Yesterday."[23][24] Among his other key credits, Parsons engineered The Hollies' "He Ain't Heavy, He's My Brother" (1969), applying subtle reverb and dynamic control to highlight the orchestral strings and emotive vocals that defined its ballad style.[25][26] He co-engineered Paul McCartney's Wild Life (1971) with Tony Clark, capturing the raw, live-band energy of Wings' debut by favoring unpolished rough mixes that preserved the album's spontaneous rock feel.[27][28][29] Throughout these projects, Parsons introduced early applications of synthesizers and effects in mainstream rock, such as EMS Synthi A modules for atmospheric pads in The Dark Side of the Moon and tape-based flanging on Year of the Cat, techniques that influenced subsequent progressive and art-rock productions by emphasizing sonic experimentation over traditional instrumentation.[17][9][30]The Alan Parsons Project
Formation and Creative Concept
In 1975, Alan Parsons formed a creative partnership with Eric Woolfson after meeting him at the Abbey Road Studios canteen, where Woolfson initially served as Parsons' manager before becoming a key collaborator in songwriting and production.[31][2] This collaboration gave rise to The Alan Parsons Project, initially conceived as an outlet for their joint vision, beginning with the 1976 album Tales of Mystery and Imagination – Edgar Allan Poe, which was developed under a record deal with 20th Century Records.[2][32] The Alan Parsons Project was structured not as a conventional band but as a fluid "project" entity, emphasizing thematic concept albums that drew on literary and conceptual inspirations, with a rotating cast of guest vocalists and session musicians to suit each recording's needs.[2] This approach allowed for experimental flexibility, avoiding the constraints of a fixed lineup and enabling diverse artistic explorations across their output.[33] From 1975 to 1990, the Project operated exclusively as a studio-based endeavor, prioritizing meticulous production and sonic perfectionism over live performances, which were not undertaken during this period due to the intricate arrangements involved.[2] Parsons' background in audio engineering, honed at Abbey Road, directly informed the Project's innovative sound design and layered compositions.[31] The project's artistic philosophy was heavily influenced by classical music traditions and progressive rock, blending orchestral elements with rock instrumentation to create immersive, narrative-driven works.[2] Woolfson played a central role in this, crafting the lyrics and overseeing orchestration to provide thematic cohesion and emotional depth.[31]Major Albums and Achievements
The Alan Parsons Project's debut album, Tales of Mystery and Imagination, released in 1976, drew inspiration from the stories of Edgar Allan Poe, featuring orchestral arrangements and narrative-driven tracks that established the band's conceptual approach. The album reached number 38 on the US Billboard 200 chart and number 56 in the UK, marking an initial foray into literary themes with high-fidelity production recorded primarily at Abbey Road Studios. It was reissued in 1987 with remastered sound and additional tracks, reflecting ongoing interest in its innovative sound design.[32][34][35] Subsequent releases built on this foundation, with I Robot (1977) exploring science fiction concepts inspired by Isaac Asimov's works, achieving multi-platinum status and peaking at number 9 on the US Billboard 200 and number 26 in the UK. Pyramid (1978) shifted to ancient Egyptian mythology, earning a Grammy nomination for Best Engineered Recording (Non-Classical) and reaching number 26 on the US Billboard 200.[32][36][35][34] The band's commercial momentum continued with The Turn of a Friendly Card (1980), which delved into themes of gambling and risk, peaking at number 13 in the US and number 38 in the UK, while also receiving a Grammy nomination for engineering. These early albums solidified the Project's reputation for blending progressive rock with thematic depth.[32][36][35][34] The pinnacle of commercial success came with Eye in the Sky (1982), addressing surveillance and paranoia, which peaked at number 7 on the US Billboard 200 and number 27 in the UK, becoming multi-platinum with its title track reaching number 3 on the US Hot 100. Later albums like Ammonia Avenue (1984), critiquing industrial alienation and peaking at number 15 in the US, and Vulture Culture (1985), satirizing consumerism and reaching number 46 there, maintained chart presence amid evolving themes toward societal commentary. Gaudi (1987) honored architect Antoni Gaudí, charting at number 57 in the US, while Freudiana (1990), focused on Sigmund Freud's psychology, served as an unofficial finale under Eric Woolfson's lead, though it saw limited chart impact. Over their 15-year run, the Project sold more than 55 million albums worldwide, with singles such as "Time" (number 15 US Hot 100) and "Eye in the Sky" driving Top 40 success and thematic progression from speculative fiction to introspective human experiences.[32][35][34][37]Core Members and Contributors
The Alan Parsons Project was founded as a collaborative studio project by the central duo of Alan Parsons and Eric Woolfson, who served as its creative and managerial backbone from 1975 until their split in 1990. Parsons, renowned for his engineering prowess, handled production, engineering, and occasional performances on keyboards and vocals, bringing technical precision to the recordings.[38][39] Woolfson, in contrast, focused on songwriting, providing all lyrics and much of the melodic structure through his piano work and lead vocals, while also managing the project.[38][40] This division allowed Parsons to emphasize sonic innovation and Woolfson to craft emotionally resonant compositions, resulting in a signature blend of progressive rock and orchestral pop.[39] A core group of recurring musicians provided instrumental consistency across the project's albums, forming an unofficial rhythm section and enhancing its polished sound. Guitarist Ian Bairnson contributed distinctive acoustic and electric leads to every Alan Parsons Project release, adding melodic depth and textural layers.[38][2] Bassist David Paton played on nine albums, delivering steady grooves that anchored the tracks from early works like I Robot onward.[38] Drummer Stuart Elliott appeared on eight albums, bringing dynamic percussion that evolved with the project's experimental style.[38] Orchestrator Andrew Powell arranged strings and conducted ensembles, infusing the music with symphonic grandeur through his compositions and keyboard contributions.[2][39] The project's studio-only format enabled a rotating cast of notable guest artists, whose vocal and orchestral talents shaped its eclectic character without committing to a fixed lineup. Vocalists such as Lenny Zakatek delivered powerful leads on key tracks, bringing rock energy to the arrangements.[39] Colin Blunstone provided ethereal, emotive performances that complemented the atmospheric themes.[39] Elmer Gantry added soulful flair to several recordings, enhancing the project's diverse sonic palette.[39] Orchestral contributions from the London Symphony Orchestra, particularly on the debut album Tales of Mystery and Imagination, lent cinematic scale under Powell's direction.[39] Following the 1990 split, when Woolfson shifted to musical theater projects like Freudiana, Parsons continued collaborating with original members Bairnson, Elliott, and Powell in live settings and recordings, maintaining the project's legacy through albums such as Try Anything Once.[2][38] These enduring partnerships preserved the technical and melodic hallmarks that defined the Alan Parsons Project.[2]Solo Career and Later Projects
Solo Recordings
After the conclusion of The Alan Parsons Project in the early 1990s, Alan Parsons embarked on a solo career that initially retained elements of his collaborative past while gradually evolving toward more personal and experimental expressions. His debut solo album, Try Anything Once (1993), marked a transitional effort, featuring longtime Project contributors such as guitarist Ian Bairnson and bassist David Paton, alongside orchestration by Andrew Powell. The record blended progressive rock with pop sensibilities, showcasing Parsons' signature production techniques in tracks that explored introspective themes without the conceptual frameworks of his earlier work. Subsequent releases built on this foundation, with On Air (1996) delving into aviation-inspired narratives, incorporating lush orchestral arrangements and the rhythmic drive provided by drummer Stuart Elliott and Bairnson. This album highlighted Parsons' interest in thematic cohesion, using aerial metaphors to reflect on freedom and perspective. Following in 1999, The Time Machine adopted a conceptual approach centered on time travel, featuring Bairnson and Elliott prominently, and emphasizing Parsons' expertise in sonic layering to evoke temporal shifts. These early solo efforts demonstrated a continuity with Project alumni, allowing Parsons to refine his compositional voice in a more intimate setting. By the mid-2000s, Parsons' work shifted toward contemporary influences, as seen in A Valid Path (2004), which integrated electronic elements with rock foundations and boasted high-profile guests including Pink Floyd's David Gilmour on guitar for several tracks, alongside contributions from The Crystal Method and a narrative appearance by John Cleese. This album represented a bold experimentation with dance and ambient textures, signaling Parsons' adaptability to modern production trends while maintaining his melodic core. After a significant hiatus, Parsons returned with The Secret (2019), a return to pop-rock infused with symphonic and progressive interludes, featuring vocalists like Jason Mraz and guitarist Steve Hackett, and exploring motifs of mystery and introspection through intricate arrangements.[41] Parsons' most recent full-length solo album, From the New World (2022), further evolved his sound by incorporating global influences, blending progressive rock with world music elements such as Latin rhythms and ethnic instrumentation, resulting in a reflective and intimate collection that drew on his extensive career for thematic depth. Guests included guitarist Joe Bonamassa, Tommy Shaw of Styx, and vocalist David Pack (formerly of Ambrosia), adding depth to tracks that emphasized cultural fusion and personal legacy.[3][42] In 2025, Parsons collaborated with the band Saults on the single "I Wish I Could Tell," recorded at his ParSonics Studio in Santa Barbara, California, which fused electronic and rock elements in a fresh, youthful energy reflective of his ongoing innovation.[3][43] Throughout these solo recordings, Parsons' thematic focus has shifted from conceptual storytelling to personal reflection, paralleled by advancements in production techniques like immersive sound design and genre-blending, underscoring his enduring influence in audio engineering.[44]Live Performances and Tours
Alan Parsons transitioned to live performances in 1999 with the formation of the Alan Parsons Live Project, adapting material from The Alan Parsons Project for the stage during a global tour that played to sold-out audiences, including dates in New York and Europe to promote his album The Time Machine.[2][45] The ensemble reimagined the studio-oriented compositions through live instrumentation, emphasizing orchestral elements and vocal arrangements to capture the conceptual essence of the originals.[46] In 2004, following the release of his solo album A Valid Path, Parsons assembled a new iteration of the Live Project for a U.S. tour that promoted the record's electronic and collaborative sound, featuring guest appearances and setlists blending Project classics with fresh tracks like "More Lost Without You."[46] This period marked a shift toward incorporating contemporary production influences into live sets, with performances across American venues to showcase the album's trance and synth-pop elements.[47] The 2010s saw expanded European tours, including reshuffled lineups for dates in Prague, Warsaw, and Bratislava in 2010, as well as Mexico City in 2011, where the band performed alongside former Project members.[48][49] These outings highlighted the Live Project's evolution, with multi-instrumentalists delivering intricate arrangements that echoed the studio's layered complexity, often drawing on influences from collaborators like Jeff Lynne in vocal and orchestral phrasing.[2] Following the 2019 release of The Secret, Parsons toured extensively to promote the album, incorporating its tracks into sets during North American and European legs through 2022, until a health setback—an urgent spinal surgery in June 2022—led to postponements of several U.S. and European dates.[50][51] Despite the interruption, the tour resumed later that year with limited performances, such as in Salt Lake City and Denver, adapting the show's demands to Parsons' recovery. The band's current lineup, stable since the 2010s reshuffle, includes Parsons on acoustic guitar, keyboards, and vocals; P.J. Olsson on lead vocals; Todd Cooper on saxophone, percussion, and vocals; Tom Brooks on keyboards and vocals; Guy Erez on bass and vocals; Danny Thompson on drums and vocals; and Dan Tracey on guitar and backing vocals, enabling faithful recreations of multi-layered tracks.[52] Adapting the studio's technical precision to live formats has presented ongoing challenges, particularly in preserving the dense production of Project material through real-time orchestration and effects, requiring meticulous sound engineering to maintain sonic depth without overwhelming the audience.[53][2] In 2025, Parsons resumed touring with appearances on the On the Blue Cruise from August 22-29, departing Boston on Norwegian Gem, alongside acts like Justin Hayward and April Wine; an April Mexico tour; and a summer co-headline run with Brit Floyd starting July 11 at the Greek Theatre in Los Angeles, extending through California and Nevada venues like the Ironstone Amphitheatre.[54][55] These engagements feature selections from The Secret and earlier solo works, underscoring the Live Project's enduring appeal.[56]Personal Life
Family and Relationships
Alan Parsons was first married to Smokey Parsons in the 1970s, with whom he had two sons, Jeremy and Daniel.[57] The couple divorced in 1999.[58] Both sons pursued interests in music, learning guitar and piano with guidance from their father, though they have maintained relatively private lives.[59] In 2003, Parsons married Lisa Griffiths in a private ceremony in California, surrounded by close family and friends.[60] Lisa has two daughters from a previous relationship, Tabitha and Brittni, with whom Parsons has a close family bond.[61] Tabitha's 2020 wedding was publicly celebrated by Parsons on social media.[62] Parsons' relocation to California in 1999, following his divorce, was supported by Griffiths, then his girlfriend, facilitating his transition to a new phase of life and career in the United States alongside his blended family.[58] This move underscored the relational stability that has characterized his personal life amid professional demands.Health and Current Residence
In June 2022, Alan Parsons underwent urgent spinal surgery, which necessitated the postponement of several planned tour dates, including his European leg.[63] The procedure was successful, allowing him to rest at home during a period of extended recovery, supported by his family.[64] By late 2022, Parsons had fully recovered and resumed live performances, as evidenced by his concert in Denver that November.[65] Parsons has resided in Santa Barbara, California, since relocating there in 1999, where he maintains his home recording studio, ParSonics, nestled in the foothills on an organic avocado ranch.[66] The studio serves as a creative hub for his production work and collaborations, equipped for advanced mixing in formats like Dolby Atmos.[67] As of 2025, Parsons balances an active career with health management, maintaining a rigorous touring schedule across North America and beyond while prioritizing production projects and personal time.[68] In interviews, he has highlighted the role of music in his well-being, underscoring a lifestyle that integrates professional pursuits with recovery and family.[69]Discography
Engineering and Production Work
Alan's early career at Abbey Road Studios began in 1967 as an assistant engineer, where he quickly contributed to landmark recordings. His first major credit came in 1969 as assistant engineer on The Beatles' Abbey Road, assisting with sessions that captured the band's intricate arrangements and innovative stereo imaging.[9] That same year, he engineered The Hollies' single "He Ain't Heavy, He's My Brother," applying precise mixing techniques to enhance its emotional balladry and orchestral elements.[25] In 1970, Parsons served as assistant engineer on The Beatles' Let It Be, working on the raw, documentary-style sessions that included tracks like "Get Back."[9] By 1973, Parsons had risen to lead engineer for Pink Floyd's The Dark Side of the Moon, where he orchestrated complex multi-track recordings, tape loops, and effects that defined the album's immersive soundscape.[9] Transitioning toward production, he helmed Pilot's debut album Pilot in 1974, producing the hit single "Magic" with its crisp pop-rock polish.[70] In 1975, Parsons co-produced and mixed Ambrosia's self-titled debut album, blending progressive and soft rock with meticulous stereo separation.[71] His production work peaked in 1976 with Al Stewart's Year of the Cat, where he shaped the album's sophisticated fusion of folk and jazz influences through layered instrumentation and dynamic range.[72] These pre-Project credits solidified Parsons' reputation for innovative audio engineering, particularly through groundbreaking techniques in spatial effects and clarity that later influenced his own productions.[10] Notably, The Dark Side of the Moon has sold over 59 million equivalent units worldwide as of 2025, underscoring the commercial and artistic impact of his engineering prowess.[73]The Alan Parsons Project Releases
The Alan Parsons Project released eleven studio albums between 1976 and 1990, blending progressive rock, art rock, and conceptual themes with meticulous production. These works, primarily helmed by Alan Parsons and Eric Woolfson, achieved significant commercial success, particularly in the United States, where several topped the Billboard 200 chart in the late 1970s and early 1980s. The band's output emphasized studio innovation over live performance, resulting in a cohesive discography that sold over 55 million copies worldwide.[37] The complete list of studio albums is as follows, with selected chart performances on the US Billboard 200 and UK Albums Chart:| Album Title | Release Year | US Peak | UK Peak |
|---|---|---|---|
| Tales of Mystery and Imagination | 1976 | 38 | 56 |
| I Robot | 1977 | 9 | 26 |
| Pyramid | 1978 | 26 | 49 |
| Eve | 1979 | 13 | 74 |
| The Turn of a Friendly Card | 1980 | 13 | 38 |
| Eye in the Sky | 1982 | 7 | 27 |
| Ammonia Avenue | 1984 | 15 | 24 |
| Vulture Culture | 1985 | 46 | 40 |
| Stereotomy | 1986 | 43 | - |
| Gaudi | 1987 | 57 | 66 |
| Freudiana | 1990 | - | - |