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The Dark Side of the Moon is a fine album with a textural and conceptual richness that not only invites, but demands involvement. There is a certain grandeur.

Alan Parsons

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Alan Parsons
Age: 76
Born: 1948
Born: December 20
Audio Engineer
Composer
Guitarist
Keyboardist
Musician
Record Producer
Singer
Songwriter
London
England
Moon
Richness
Fine
Grandeur
Side
Involvement
Sides
Invites
Dark
Demands
Certain
Album
Albums
Demand
Conceptual

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That Beatle euphoria has always been there, and it's hard to be in a room with a Beatle and try to be totally natural. You never shake that off.
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In Russia we had to have special visas in our passports, and when we had to show our passports at the Kremlin gates, we realized that, Oh my God, we're actually playing in THE Kremlin!
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I was 17 and just learning what high fidelity was, what good sound was, and learning the mechanics of tape machines. It was a real education, going right from the consumer end to the record factory.
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I try to find a way that the other guy hasn't thought of using a sound or a sample.
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I had the honor of speaking with Asimov. The album ended up being something not directly related to Asimov, but related instead to the concept of the power of robotics.
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Audiophiles don't use their equipment to listen to your music. Audiophiles use your music to listen to their equipment.
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In France, you can sell a lot, but nobody outside of France ever hears of it.
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I'm delighted about the track's success in the sports world, but the frustrating thing is, I don't think I got rich on it. The labels and publishers did very cheap deals on our songs.
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I started in a research lab for TV cameras, then I worked at a tape duplication facility. That was the first introduction for me to recorded music and hi-fi.
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Any effects created before 1975 were done with either tape or echo chambers or some kind of acoustic treatment. No magic black boxes!
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Folk rock was my real roots. I did a few gigs as a folk artist, in the style of Fairport Convention.
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