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Stereotomy
Studio album by
The Alan Parsons Project
Released19 December 1985[1]
RecordedOctober 1984 – August 1985
StudioMayfair Studios
Genre
Length41:58
LabelArista
ProducerAlan Parsons and Eric Woolfson
The Alan Parsons Project chronology
Vulture Culture
(1985) 		Stereotomy
(1985) 		Gaudi
(1987)
Alternate cover
Re-release cover
Singles from Stereotomy
  1. "Stereotomy"
    Released: 10 February 1986[2]

Stereotomy is the ninth studio album by the Alan Parsons Project, released in December 1985 by Arista Records.

Not as commercially successful as its predecessor Vulture Culture, the album is structured differently from earlier Project albums: containing three lengthy tracks ("Stereotomy" at over seven minutes, "Light of the World" at over six minutes, and the instrumental "Where's the Walrus?" running over seven and a half minutes) and two minute-long songs at the end. It is a full digital production and both the LP and CD releases were encoded using the two-channel Ambisonic UHJ format. Stereotomy earned a Grammy nomination in 1987 – for Best Rock Instrumental Performance: Orchestra, Group, or Soloist – for the track "Where's the Walrus?"[3]

Stereotomy marks the final appearance of David Paton on bass – he went on to join Elton John's touring band – and is the first Project release since Tales of Mystery and Imagination not to feature Lenny Zakatek.

Background

[edit]

The word "stereotomy" is taken from "The Murders in the Rue Morgue" by Edgar Allan Poe. It refers to the cutting of solid shapes into different forms, and is used as a metaphor for the way that famous people (singers, actors, etc.) are 'shaped' by the demands of fame.[4][5] The short track "Chinese Whispers" also references "Rue Morgue" in that although an instrumental, it features Eric Woolfson’s daughters Sally and Lorna reciting a sequence of words from the story.

Whereas previous Alan Parsons Project albums had been recorded on analog tape and mastered digitally, Stereotomy was recorded digitally from the onset. The two explained that they made this decision to retain the same level of fidelity throughout the recording process, regardless of how many overdubs and playbacks were conducted. Woolfson discussed this method with Dave Zimmer of BAM magazine in 1986.[4]

No matter how good the original tracks were, we discovered there was an actual physical deterioration of analog tapes. Just the physical process of running the tape across the heads caused a few molecules to get lost and we'd be left with something less than powerful. But with digital, we found the original excitement just never went away.[4]

— Eric Woolfson

Woolfson's role as a lead vocalist and keyboardist was also reduced on Stereotomy. He reckoned that his vocal contributions on the album spanned "about 30 seconds".[6] Richard Cottle, who first worked with the Alan Parsons project on Vulture Culture, reprised his role as the band's dedicated session synthesiser player.[7] Woolfson thought that Cottle's role was "more dominant" on Stereotomy due to the band's increasing reliance on a more synthesised sound rather than acoustic keyboards.[6]

Cottle's keyboard rig consisted of a PPG Wave 2.3, Emulator II, Fairlight CMI, Yamaha DX7, and two Sequential Prophet 5 synthesisers that were retrofitted with a MIDI interface.[7] Parsons believed that the strengths of the Fairlight paled in comparison to the Emulator and the Yamaha DX7, which were his preferred keyboards on the album.[6] Cottle commented that it was "time-consuming" to operate the Fairlight and achieve sounds that were compatible with other keyboards in his setup.[7]

Cottle primarily used the PPG Wave as his master keyboard and used the Prophet and DX7 for chordal pads. Parsons's TX Rack, which was positioned in the control room, also connected to some of Cottle's instruments, including the DX7. The Friend Chip SRC synchronizer was used to delay the feed to various instruments to overcome latency issues associated with MIDI. Cottle's keyboards mixes, which were treated with audio effects such as reverb, were sent directly to the mixing console.[7]

Inspirations

[edit]

The track "Chinese Whispers" is based on the game of Chinese whispers. It has some snippets of dialogue heavily overlaid on top of each other. The words are taken from Edgar Allan Poe's work Murders in the Rue Morgue:

"...The larger links of the chain run thus – Chantilly, Orion, Dr. Nichol, Epicurus, Stereotomy, the street stones, the fruiterer."

The titles of "Urbania" and "Where's the Walrus?" can be attributed to Lee Abrams, a radio programmer and friend of Parsons and Woolfson. Eric Woolfson remembers:

"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'..."

[8][better source needed]

Artwork

[edit]

The original vinyl packaging was different from all the reissues: it featured more elaborate artwork of the paper sleeve supplied with a special color-filter oversleeve. When inserted, the over-sleeve filtered some of the colors of the artwork, allowing four different variations.[9] In the reissues, only one variant remained. The artwork was nominated for Best Album Package at the 29th Annual Grammy Awards,[10] but lost to Miles Davis's album Tutu, designed by art director Eiko Ishioka.[11]

Release

[edit]

Arista Records established a release date of 19 December 1985 for Stereotomy, which was reported in the 2 November 1985 edition of Billboard magazine.[12] This date was established for the release of Stereotomy in the United Kingdom.[1] In the United States, CD copies of Stereotomy were still in the manufacturing stage by early February 1986.[13]

The band was involved in a dispute with Arista over royalties from CD sales. Woolfson said that the band had originally agreed to a royalty rate equivalent to that of vinyls during the nascent stages of CD marketing and that the royalty rate would increase once CDs were more established in the marketplace. Within the contract signed between the band and Arista on 5 December 1985, a 30-day negotiation period was established to allow for royalty restructuring. Once the 30 days lapsed, Woolfson maintained that the band's royalty rates would automatically increase. Woolfson told Billboard that Arista had threatened to cease production of the band's material if they did not agree to the concessionary rate, which the label denied, saying that "Eric Woolfson's statements are completely wrong and inaccurate. It is not appropriate for us to discuss each of the inaccurate points, except to emphasize that the Alan Parsons Project CDs are available in the marketplace."[14]

Critical reception

[edit]
Professional ratings
Review scores
SourceRating
AllMusicStarStar[15]

Stereotomy generally received negative reviews from music critics. Music Week wrote that with the exception of "Real World" and "Light of the World", the album failed to live up to the potential of the band's previous work, resulting in an album that they found to be "frustratingly commercial, meandering and sadly disappointing."[16] Writing for Sounds, Roger Holland called the album "dreadful" and a "monstrosity" and believed that the album's pre-programmed, computerized technique and self-professed sophistication" came at the expense of "any semblance of human emotion."[17] In his review of the album, J. D. Considine of Musician wrote simply: "Unnecessary surgery."[18]

The Canadian music trade publication RPM said that Stereotomy had "a unique blend of electronic pop and rock vocal styles with fine guitar work from Ian Bairnson."[19] AllMusic felt that the album "came up short" and was only partially salvaged by some of the instrumental compositions, which created "some musical buoyancy among the blandness of the other tracks."[15]

Track listing

[edit]

All songs written and composed by Alan Parsons and Eric Woolfson.

Side one
No.TitleLead VocalsLength
1."Stereotomy"John Miles up to 5:11, Eric Woolfson 5:11 to 5:507:18
2."Beaujolais"Chris Rainbow4:27
3."Urbania"(Instrumental)4:59
4."Limelight"Gary Brooker4:39
Side two
No.TitleLead VocalsLength
1."In the Real World"Miles4:20
2."Where's the Walrus?"(Instrumental)7:31
3."Light of the World"Graham Dye, backing vocal Steven Dye6:19
4."Chinese Whispers"(Instrumental, spoken word by Sally and Lorna Woolfson)1:01
5."Stereotomy Two"Miles1:21

Stereotomy was remastered and reissued in 2008 with the following bonus tracks:

  1. "Light of the World" (backing track) – 6:14
  2. "Rumour Goin' Round" (demo) – 5:01
  3. "Stereotomy" (Eric Woolfson guide vocal) – 6:37
  4. "Stereotomy Two" (backing rough mix) – 1:23

Personnel

[edit]
  • Eric Woolfson – DX7 Rhodes, piano, additional vocals on 1, scientist voices on 1
  • Alan Parsons – synth sequences on 3, scientist voices on 1, producer
  • Ian Bairnson – electric guitars, guitars synth, processed acoustic guitars
  • David Paton – bass
  • Stuart Elliott – drums and percussion
  • Richard Cottle – synths, sequencers, keyboards, sax
  • Tony Richards – scientist voices on 1, traffic FX on 3
  • Noel Rafferty – scientist voices
  • John Miles – vocals on 1, 5, 9
  • Chris Rainbow – vocals on 2
  • Gary Brooker – vocals on 4
  • Grahan Dye – vocals on 7
  • Sally and Lora Woolfson – voices on 8
  • The Philharmonia Orchestra, leader – Christoffer Warren-Green
  • Orchestra arranged and conducted by Andrew Powell

Charts

[edit]
Chart (1985–1986) Peak
position
Australian Albums (Kent Music Report)[20] 50
Austrian Albums (Ö3 Austria)[21] 15
Canada Top Albums/CDs (RPM)[22] 32
Dutch Albums (Album Top 100)[23] 13
Finnish Albums (The Official Finnish Charts)[24] 16
German Albums (Offizielle Top 100)[25] 15
Italian Albums (Musica e Dischi)[26] 17
New Zealand Albums (RMNZ)[27] 49
Spanish Albums (AFYVE)[28] 5
Swedish Albums (Sverigetopplistan)[29] 21
Swiss Albums (Schweizer Hitparade)[30] 13
US Billboard 200[31] 43

References

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Stereotomy

View on Grokipedia
from Grokipedia
Stereotomy is the ninth studio album by the British group , released in 1985 by . The album's title and concept draw from Edgar Allan Poe's "The Murders in the Rue Morgue", using "stereotomy" as a for how fame and media "cut" and shape celebrities into public personas. Recorded from October 1984 to August 1985 at in , it was the first album to be produced entirely digitally, resulting in a crisp, modern sound.

Album overview

Concept and themes

Stereotomy explores the psychological toll of fame and , presenting these pressures through a detective-like that examines how public dissects personal lives. The album portrays the music industry and as an unforgiving force, akin to a forensic investigation that exposes vulnerabilities, with tracks like "" directly addressing the isolation and faced by performers. This overarching theme reflects the modern world's impact on individuality, using to convey the relentless carving away of under media glare. The primary literary inspiration for the album stems from Edgar Allan Poe's short story "The Murders in the Rue Morgue," widely regarded as the first , which infuses Stereotomy with a tone of mystery and intellectual pursuit. , the project's chief conceptualist, rediscovered the term "stereotomy" while rereading the tale—a word denoting the precise cutting of solids into intricate forms—and adapted it to symbolize the analytical breakdown of celebrity personas. Woolfson, a longtime admirer of Poe's unconventional style, sought to evoke the author's enigmatic spirit in a contemporary rock context, blending suspenseful storytelling with sonic experimentation. Woolfson coined the "stereotomy" framework as a for dissecting fame, envisioning the album as a series of vignettes that slice into the facades of , much like a surgeon or uncovering hidden truths. To inject whimsy into this serious exploration, radio programmer and friend Lee Abrams suggested playful titles for instrumental tracks, such as "Where’s ?"—a nod to ' —and "Urbania," adding a lighthearted contrast to the album's probing themes. These elements underscore Woolfson's intent to balance intellectual depth with accessible, enigmatic allure.

Release information

Stereotomy was released in December 1985 by Arista Records internationally, including in the United Kingdom. Although some early listings erroneously placed the release in 1986, the album's launch occurred in late 1985, marking the ninth studio effort by The Alan Parsons Project. The album was issued in multiple formats, including vinyl LP featuring a distinctive red-and-blue color-filter oversleeve, cassette, and compact disc. The original vinyl and CD editions were encoded in the two-channel Ambisonic UHJ format, a promotional innovation aimed at hi-fi audio enthusiasts seeking enhanced spatial sound reproduction. In 2008, Arista released a digitally remastered expanded edition on CD, incorporating bonus tracks such as the backing track for "Light of the World," a demo of "Rumour Goin' Round," an Eric Woolfson guide vocal for "Stereotomy," and an early studio session rough mix of "La Sagrada Familia." The title track "Stereotomy" was released as a single in February 1986, backed with "Urbania."

Production

Development and recording

Following the completion of their previous album Vulture Culture in mid-1984, The Alan Parsons Project began conceptualizing Stereotomy later that year, building on the momentum from their ongoing exploration of conceptual rock themes. The project marked a transitional phase for the duo of Alan Parsons and Eric Woolfson, as they assembled a core team of collaborators for what would become their ninth studio album. Recording sessions commenced in October 1984 and extended through August 1985, primarily at in , with orchestral elements captured at . This extended timeline reflected the meticulous studio workflow typical of Parsons' production style, where backing tracks were laid down first, allowing for iterative refinements before vocal integration. contributed guide and additional vocals across several tracks, stepping into a more prominent role amid shifting personnel dynamics. Notably, bassist , a longtime collaborator, featured on all tracks, making Stereotomy his final contribution to the project before departing for other endeavors, such as joining Elton John's band. The album also saw the absence of vocalist , a staple on prior releases, leading to lead vocal duties shared among John Miles, , , and Graham Dye. A key element of the sessions involved the integration of orchestral arrangements by , featuring on tracks like "Stereotomy," "Where's the Walrus?," "Light of the World," and "Stereotomy Two" to enhance the album's dramatic scope. This collaboration added symphonic depth, contrasting with the project's electronic leanings. One challenge during production was streamlining the overall structure, resulting in a more concise runtime of 41:58—shorter than the expansive lengths of earlier works like Eye in the Sky (42:28)—to maintain focus and accessibility.

Technical innovations

Stereotomy represented a milestone in audio production as the first album by to be recorded entirely digitally, from initial tracking through to final mix. This process took place at in between October 1984 and August 1985, utilizing PCM3324 digital multitrack recorders, which provided 24 tracks of synchronized via . The shift to full digital capture eliminated the noise and degradation associated with analog tape, resulting in a notably crisper and more transparent sound while streamlining workflow through reduced need for multiple tape generations. A key innovation was the integration of Ambisonic technology, supplied by recording engineer Richard Elen, to achieve immersive spatial audio within a framework. The album's mixes were encoded in the two-channel UHJ (Upper Hemisphere Joint) format, compatible with standard vinyl and playback, allowing listeners to experience enhanced three-dimensional soundstaging when decoded appropriately. This approach aimed to transcend traditional limitations, offering a more enveloping auditory environment that highlighted the album's layered instrumentation. Mixing occurred on Solid State Logic (SSL) consoles at Mayfair Studios, facilitating meticulous "stereotomy"—the precise sculpting and positioning of sonic elements across the stereo field, a technique that inspired the album's title drawn from Allan Poe's reference to fine-cutting processes. The SSL's capabilities and parametric EQ enabled intricate balancing of orchestral and synthetic elements, contributing to the record's and clarity. Digital post-production, including mastering, further amplified its high-fidelity qualities, earning acclaim for sonic precision. These technical advancements established Stereotomy as a pioneer in digital production, influencing subsequent releases in the genre by demonstrating the viability of all-digital workflows for complex, multi-layered compositions. The album's innovations in spatial audio and noise-free recording helped pave the way for broader adoption of digital technologies in the late .

Artwork

Design and variants

The 's cover art was designed by Andrew Ellis and Colin Chambers, featuring a surreal, fragmented depiction of a humanoid face composed of interlocking geometric shapes, symbolizing the and reconstruction of fame and identity in the modern world. This visual approach ties directly into the album's conceptual theme, portraying as a carefully cut and assembled construct, much like the architectural of stereotomy itself. The original 1985 vinyl edition employed an innovative die-cut oversleeve constructed from translucent PVC in red and blue hues, functioning as interchangeable color filters over the inner cardboard . When placed over the artwork, these filters altered the color palette and created optical illusions akin to holographic effects, producing four distinct variations by rotating or flipping the outer to emphasize different segments of the fragmented face. The inner included printed lyrics and production credits, while the record labels bore standard Arista designs with matrix etchings noting the (DMM) process used in production. Subsequent reissues modified the packaging for practical reasons. The 2008 digitally remastered and expanded CD edition, released by , utilized a single static version of the without the color filters, as the physical oversleeve was incompatible with the jewel case format. Later vinyl reissues, such as the 2012 Music on Vinyl pressing, replicated the dual-colored inner but omitted the original translucent outer sleeve. The packaging's creative elements earned a nomination for Best Album Package at the .

Awards recognition

The artwork for Stereotomy's vinyl edition earned a nomination for Best Album Package at the 29th Annual Grammy Awards in 1987, crediting art directors Andrew Ellis and Colin Chambers for their design. The nomination recognized the packaging's innovative approach to visual elements in rock album design, featuring bold geometric patterns and thematic illustrations that complemented the album's conceptual themes. Ultimately, the award went to Eiko Ishioka for Miles Davis's Tutu, but the recognition underscored Stereotomy's contribution to elevated packaging standards in the genre during the 1980s. This accolade helped raise the 's visibility within communities, positioning its cover as a notable example of experimental art direction amid varying critical responses to the music itself. In retrospective analyses of trends, the Grammy nod for Stereotomy has been cited as a highlight of creative boundary-pushing in the pre-digital era of vinyl production.

Music and tracks

Composition and style

Stereotomy exemplifies The Alan Parsons Project's signature blend of , , , and orchestral elements, marking a shift toward a more electronic and pop-infused sound in the mid-1980s. Unlike the longer, more expansive compositions on earlier s, the tracks here are notably concise, averaging between 4 and 7 minutes in length, which contributes to a tighter, more accessible structure overall. Central to the album's stylistic features is the prominent use of synthesizers, including the , Emulator II, and , which create rich, layered textures and drive the melodic and rhythmic foundations. Layered vocals, often multi-tracked for harmonic depth, interplay with these electronic elements, while stereophonic panning and spatial mixing techniques enhance the sense of depth and immersion, a hallmark of ' production approach. Instrumental sections further highlight this experimentation, as seen in extended passages that blend jazz-inflected synth lines with progressive flourishes. The album draws its title from the term "stereotomy" in Edgar Allan Poe's "The Murders in the Rue Morgue," used as a for how fame and media shape celebrities, with some tracks referencing elements of the story. In evolution from previous works like , Stereotomy adopts a more concise and radio-friendly format, incorporating stronger pop influences while retaining progressive underpinnings, resulting in shorter song forms and heightened synth prominence over orchestral sprawl. A unique aspect of the album is the short instrumental "Chinese Whispers," featuring layered spoken phrases from Poe's story recited by 's daughters, evoking the game of the same name (also known as ).

Track listing

All tracks on Stereotomy were written by and .
No.TitleDurationLead vocals
1Stereotomy7:15John Miles
2Beaujolais4:27
3Urbania (instrumental)4:34Instrumental
4Limelight4:39
5In the Real World4:17John Miles
6Where's ? (instrumental)7:34Instrumental
76:22Graham Dye
8Chinese Whispers (instrumental)1:02Instrumental
9Stereotomy Two1:18John Miles
Total length: 41:28. The 2008 expanded edition includes four bonus tracks: "Light of the World (Backing Track)" (6:14), "Rumour Goin' Round (Demo)" (5:01), "Stereotomy (Eric Woolfson Guide Vocal)" (6:37), and "Stereotomy Two (Eric Woolfson Guide Vocal)" (1:30).

Reception

Critical reviews

Upon its release in late 1985, Stereotomy received mixed to negative reviews from contemporary critics, who often viewed it as a step down from the project's earlier conceptual works. The initial reception in 1985-86 was mixed to negative, with critics pointing to an overly commercial shift from the project's progressive roots, a lack of memorable hooks, and Eric Woolfson's vocals as relatively weak compared to guest singers on previous albums. Some reviewers, however, highlighted positive aspects such as the creativity in instrumentals like "Where’s the Walrus?," which later praised in its retrospective review for its imaginative arrangement. The album's stereophonic sound was also lauded by some for demonstrating ' engineering prowess. In later years, views on Stereotomy became more favorable, particularly following the remaster release, which included bonus content like demos and rough mixes that reviewers appreciated for providing into the album's development. The remaster was commended for its bright, enhanced audio quality, making the material more enjoyable than the original version. Prog Archives users rate the album 3.11/5 on average, appreciating its experimental edges in tracks like the instrumentals despite the commercial leanings. The track "Where’s the Walrus?" earned a Grammy nomination in 1987 for Best Rock Instrumental Performance (Orchestra, Group or Soloist), though it lost to Art of Noise's "Peter Gunn" featuring .

Commercial performance

Stereotomy achieved moderate commercial success upon its release, peaking at number 43 on the Billboard 200 chart in January 1986. The album also performed respectably in several international markets, reaching number 13 in both the and , number 34 in the , and number 49 in during 1985 and 1986.
CountryPeak PositionYear
United States (Billboard 200)431986
Netherlands131986
Switzerland131986
United Kingdom341985
Germany491986
The lead single, "Stereotomy," reached number 82 on the US Billboard Hot 100, contributing to the album's visibility on radio. This release came during a transitional period for , as the band shifted toward more polished production amid evolving music industry trends favoring visual media like , which may have influenced its overall market reception.

Personnel

Musicians

The core instrumental lineup for Stereotomy consisted of on guitars and across all tracks, on —marking his final contribution to before Laurie Cottle took over on the subsequent album Gaudi—and Stuart Elliott on drums and percussion. Vocal duties were primarily handled by guest lead singers, with Eric Woolfson taking an expanded role through additional vocals on "Stereotomy," piano, keyboards such as DX7 Rhodes, and a guide vocal version of the title track. John Miles provided lead vocals on "Stereotomy," "In the Real World," and "Stereotomy Two"; Chris Rainbow delivered the lead on "Beaujolais" and contributed backing vocals on multiple tracks; Gary Brooker sang lead on "Limelight"; and Graham Dye handled lead and backing vocals on "Light of the World," joined by his brother Steve Dye on backing. The , conducted and arranged by , supplied strings and horns on "Stereotomy," "Where's the Walrus?," "Light of the World," and "Stereotomy Two." Additional session contributions included Richard Cottle on synthesizers, saxophones, and sequencers throughout the album, as well as vocal effects by and voices by Sally and Lorna Woolfson on "Chinese Whispers."

Production credits

Stereotomy was produced primarily by , who also served as the lead engineer, with acting as executive producer and co-writing the album's songs alongside Parsons. Engineering support was provided by Tony Richards, with additional assistance from Noel Rafferty. Parsons oversaw the mixing process at in . Art direction and design were managed by Andrew Ellis and Colin Chambers, whose work on the packaging earned a nomination for Best Album Package at the 29th Annual Grammy Awards. Andrew Powell handled the orchestration and conduction for the album's orchestral elements, recorded at Abbey Road Studios.

Legacy

Cultural impact

Stereotomy represented a pioneering effort in digital audio production, as it was the first album by The Alan Parsons Project to be recorded entirely using digital equipment from the initial tracking sessions through to mixing and mastering. This fully digital workflow, implemented at Mayfair Studios in London between 1984 and 1985, streamlined studio processes by minimizing the reliance on analog tape duplication and preserving audio fidelity without generational loss. Such techniques exemplified the shift toward digital recording in the 1980s music industry, influencing subsequent productions in progressive and pop genres. The album's encoding in the two-channel Ambisonic UHJ format for both vinyl and releases highlighted advanced stereophonic techniques, allowing for enhanced spatial imaging compatible with standard stereo systems while supporting surround decoding. This approach contributed to the hi-fi community's interest in immersive audio, inspiring experiments with multi-channel systems throughout the as gained traction in professional and consumer applications. In the realm of progressive rock, Stereotomy bridged the intricate, conceptual elements of art rock with the polished synth-pop sensibilities emerging in the mid-1980s, reflecting a transitional phase for bands navigating electronic production innovations. Its emphasis on sonic experimentation influenced production aesthetics in later works by groups like Yes and Genesis, who adopted similar digital and synthesized approaches to blend prog complexity with accessible pop structures. Retrospective appreciation for Stereotomy has grown in the , with the album featured in discussions of ' career trajectory across interviews and video documentaries exploring his legacy and the Project's . On music database , it holds an average rating of 2.89 out of 5 from 946 user reviews, underscoring its status as a favorite among progressive pop enthusiasts. Additionally, the album's artwork, featuring a translucent red-and-blue PVC slipcover that alters color when rotated—mirroring the stereotomy theme of precise cutting and the design—earned a for Best Album Package at the in 1987, promoting innovative visual-audio synergy in album packaging.

Media appearances

The track "Limelight" from Stereotomy featured in the closing credits of the broadcast by , accompanying a highlight montage of the ' victory over the Red Sox. Similarly, "Limelight" was used in the closing montage of the 1992 broadcast by , marking the ' win against the . In film, "Limelight" appeared in the 2025 biographical drama The Smashing Machine, directed by and starring as MMA fighter Mark Kerr; the song underscores key emotional sequences in the narrative. The album's innovative use of Ambisonic UHJ encoding for both LP and formats positioned it as a demonstration piece for advanced hi-fi technology in the late , often showcased in promotions to highlight spatial audio capabilities.

References

  1. https://www.the-alan-parsons-project.com/stereotomy
  2. https://www.chicagotribune.com/1986/02/09/parsons-project-leaders-gain-fame-the-unorthodox-way-they-spurn/
  3. https://musicbrainz.org/release-group/0d55c0d5-3877-3dc3-80a3-1ca054636727
  4. https://www.allmusic.com/album/stereotomy-mw0000191228
  5. https://www.discogs.com/master/92211-The-Alan-Parsons-Project-Stereotomy
  6. https://www.discogs.com/release/7406664-The-Alan-Parsons-Project-Stereotomy
  7. https://www.discogs.com/master/183082-The-Alan-Parsons-Project-Stereotomy
  8. https://www.allmusic.com/album/vulture-culture-mw0000195221
  9. https://www.progarchives.com/album.asp?id=1099
  10. http://www.theavenueonline.info/site1/discog/2008-Ster.htm
  11. https://open.spotify.com/album/1oOpgQgD2qvw7ZWiH55hvs
  12. https://www.muzines.co.uk/articles/the-alan-parsons-project/1565
  13. https://www.ambisonic.net/BadRap.html
  14. https://musicfans.stackexchange.com/questions/5460/what-is-stereotomy-by-the-alan-parsons-project-about
  15. https://www.discogs.com/release/1129879-The-Alan-Parsons-Project-Stereotomy
  16. https://www.thecollegecrowddigsme.com/2021/05/tccdm-pulls-one-outstereotomy-alan.html
  17. https://www.amazon.com/Stereotomy-Expanded-Alan-Parsons-Project/dp/B000IOM1YQ
  18. https://www.musiconvinyl.com/products/stereotomy
  19. https://www.grammy.com/awards/29th-annual-grammy-awards
  20. https://www.grammydatabase.com/2025/06/1987-All-Grammy-Winners-and-Nominees.html
  21. https://www.the-alan-parsons-project.com/timeline
  22. https://albumcoverhalloffame.wordpress.com/2024/05/01/album-cover-hall-of-fame-news-update-and-link-summary-for-may-2024/
  23. https://rateyourmusic.com/release/album/the-alan-parsons-project/stereotomy/
  24. https://www.thelogbook.com/alan-parsons-project-stereotomy/
  25. https://rateyourmusic.com/release/album/the-alan-parsons-project/ammonia-avenue/
  26. https://genius.com/albums/The-alan-parsons-project/Stereotomy
  27. https://www.discogs.com/release/9865638-The-Alan-Parsons-Project-Stereotomy
  28. https://davesmusicdatabase.blogspot.com/1986/02/alan-parsons-project-stereotomy-released.html
  29. https://www.seaoftranquility.org/reviews.php?op=showcontent&id=7592
  30. https://musicchartsarchive.com/artists/alan-parsons-project
  31. https://dutchcharts.nl/showitem.asp?interpret=The+Alan+Parsons+Project&titel=Stereotomy&cat=a
  32. https://hitparade.ch/album/The-Alan-Parsons-Project/Stereotomy-349
  33. https://www.musicvf.com/song.php?title=Stereotomy%2Bby%2BThe%2BAlan%2BParsons%2BProject&id=1580
  34. https://www.connollyco.com/discography/alan_parsons/stereotomy.html
  35. https://www.discogs.com/release/3096927-The-Alan-Parsons-Project-Gaudi
  36. https://musicbrainz.org/release/069b9a59-4a98-3b93-9ad4-4f7e7f0041ec
  37. https://www.theparsonsday.altervista.org/creditsstereo.html
  38. https://grammy.com/awards/29th-annual-grammy-awards
  39. https://www.ambisonic.net/ambi_AM91.html
  40. https://www.youtube.com/watch?v=xrS6LWHz-dk
  41. https://www.youtube.com/watch?v=VRJd2ZWplNs
  42. https://www.nme.com/news/film/every-song-on-the-smashing-machine-soundtrack-3896696
  43. https://www.imdb.com/title/tt11214558/soundtrack/
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