The Alan Parsons Project
This album was originally released by Arista Records in 1986. The word Stereotomy comes from Poe's "The Murders in the Rue Morgue". Eric thought that the word itself had quite a rock 'n' roll sound. I'd have to agree.
The title "Where's The Walrus" was influenced by their old friend Mr. Laser Beam. He was commenting on their previous efforts "Ammonia Avenue" and "Vulture Culture" and accused the band as having gone flat. "Where's the Walrus?" he asked, meaning, where are the classic songs like The Beatles' "I am The Walrus". Where is it? On this album!
March 10, 2008 saw the release of a remastered version of this album, complete with bonus tracks and improved packaging
|AP: "Essentially this is concept-less, though the title relates to a word from Edgar Allen Poe's 'Murders In The Rue Morgue', meaning carvings in stone."|
|Stereotomy||vocal: John Miles||(7:17)|
|Beaujolais||vocal: Chris Rainbow||(4:27)|
|Limelight||vocal: Gary Brooker||(4:38)|
|In The Real World||vocal: John Miles||(4:21)|
|Where's The Walrus?||instrumental||(7:30)|
|Light Of The World||vocal: Graham Dye||(6:19)|
|Stereotomy Two||vocal: John Miles||(1:23)|
|Light Of The World (Backing Track)||instrumental||(6:14)|
|Rumour Goin Round (previously unreleased demo)||instrumental||(5:01)|
|Stereotomy (Eric Woolfson Guide Vocal)||vocal: Eric Woolfson||(6:37)|
|Stereotomy II (Backing Rough Mix)||instrumental||(1:23)|
Vocals John Miles Additional Vocals Eric Woolfson Synths and Sequencers Richard (Trix) Cottle Guitars and Guitar Synth Ian Bairnson Bass David Paton Drums and Percussion Stuart Elliott DX7 Rhodes Eric Woolfson Orchestra arranged and conducted by Andrew Powell Scientist Voices Alan Parsons, Eric Woolfson, Tony Richards, Noel Rafferty
Vocals Chris Rainbow Keyboards Richard (Trix) Cottle Guitars and Guitar Synth Ian Bairnson Bass David Paton Drums and Percussion Stuart Elliott Party FX The Mayfair Studio Gang
Synth Sequences Alan Parsons Synths and Sax Richard (Trix) Cottle Bass David Paton Guitars Ian Bairnson Traffic FX Tony Richards Bass David Paton Drums and Percussion Stuart Elliott
Vocal Gary Brooker Synths Richard (Trix) Cottle DX7 Rhodes Eric Woolfson Guitars Ian Bairnson Bass David Paton Drums and Percussion Stuart Elliott Backing Vocals Chris Rainbow
In The Real World
Vocal John Miles Guitars Ian Bairnson Bass David Paton Synths Richard (Trix) Cottle Drums Stuart Elliott
Where's The Walrus?
Synths, Sax and Sequencers Richard (Trix) Cottle Guitars Ian Bairnson Bass David Paton Drums and Percussion Stuart Elliott Orchestra arranged and conducted by Andrew Powell Vocal FX Chris Rainbow
Light Of The World
Vocal Graham Dye Backing Vocals Graham Dye, Steve Dye, Chris Rainbow Piano Eric Woolfson Guitars Ian Bairnson Bass David Paton Drums and Percussion Stuart Elliott Synths Richard (Trix) Cottle Orchestra arranged and conducted by Andrew Powell
Synths Richard (Trix) Cottle Processed Acoustic Guitars Ian Bairnson Bass David Paton Voices Sally and Lorna Woolfson
Vocals John Miles Synths Richard (Trix) Cottle Guitars and Guitar Synth Ian Bairnson Bass David Paton Drums and Percussion Stuart Elliott DX7 Rhodes Eric Woolfson Orchestra arranged and conducted by Andrew Powell
BONUS MATERIAL NOTES
by Eric Woolfson & Alan Parsons - 2008
The recording process contains many magical moments on the creative journey. The process is not unlike throwing a lump of clay on a potter's wheel and then shaping and re-shaping the material an infinite number of times until the potter is satisfied. A casual observer might say "but you had the pot within the first minute, why didn't you just leave it at that." The art of the potter is to know just how far to go. The record producer's skill is to know when that point has been reached as far as the recordings are concerned and the writer has to apply a similar process to his compositions. They say a poem is never finished, it is abandoned. The same could certainly be said of music, lyrics or any creative effort. The great advantage of the recording process is that as one keeps rough mixes as a guide, one can delve into stages before the point of abandonment and revisit some of the magic from earlier attempts or stages.
Whenever the core musicians compete a basic backing track, there is a sensation of having reached a plateau and although the eventual production may take the recording in a totally different direction, at that moment something rather special has been created which the music buyer is often unaware of.
Amongst this collection of bonus material, there are several examples of the magical early takes and in this re-mastered version of Stereotomy, for those interested in the process, there is a unique opportunity to glimpse behind the curtain of the recording process.
Stereotomy was the first Project album that was recorded entirely digitally and as a result, there was a greater economy of master tapes in the studio. For analogue recordings there were often many reels recorded, surplus to requirements, quite simply because to constantly go over out-takes was too time consuming and disruptive to the recording process. However, with digital, the equipment responded more quickly and it was relatively simple to roll back and record again. This simply means that there is less bonus material to draw on for this album.
From a personal point of view, it has been a fascinating experience to re-live these early stages, much of which were kept in archives and tape libraries and which might have well been forgotten with the passage of time but for the initiative of Tim Fraser-Harding at SONY BMG. We are also grateful to Haydn Bendall for his untiring patience and skill in assisting us in our trawl through the archives to complete this material.
Light Of The World (Backing Track) This was a reminder of how differently studio recordings could develop before the vocals were added. Many of the nuances of this atmospheric backing were inevitably lost when vocals were complete and final mixes were done. This backing has a particularly distinctive feel which can only really be appreciated being heard in this form. Rumour Goin Round (previously unreleased demo) On many albums we could record more than we needed and this was an example of a track that could and should have developed into an outstanding contribution to the album. However, as some of the tracks rather over-ran and there was enough material to deliver the album without including this track, it was left by the way side. At this stage, Eric hadnt completed the lyrics. Stereotomy (Eric Woolfson Guide Vocal) This is another example of an early rough mix with a guide vocal which had a particular sound appeal in the studio and where the final mix once John Miles lead vocal had been added, created a recognizable but distinctly different feel. The rawness and hard edge of the original tracks can be heard to advantage in this bonus track. Stereotomy II (Backing Rough Mix) Similarly for this track, an early rough mix conveys a different aspect of the recording.
Produced by Alan Parsons
Executive Producer - Eric Woolfson
Orchestra Arranged and Conducted by Andrew Powell
Engineered by Alan Parsons with Tony Richards
Assistant Engineer Noel Rafferty
Vocals: John Miles, Chris Rainbow, Gary Brooker, Graham Dye, Steve Dye, Eric Woolfson
Bass: David Paton
Drums and Percussion: Stuart Elliott
Guitars: Ian Bairnson
Synths and Saxes: Richard Cottle
Pianos and Keyboards: Eric Woolfson
The Philharmonia Orchestra: Leader Christopher Warren-Green
The album was recorded at Mayfair Studios London between October 1984 and August 1985
The orchestra was recorded at Abbey Road Studios
The album was recorded entirely on digital equipment
Special Thanks to Wim Schiffer, Richard Elen for the use of his ambisonic equipment, John Timms of Audio Rents, Terry Finn and Neumann for their help with the dummy head, Chris Bishop, Eric Prince, Werner Stambach, David Rockberger, John Branca, Nick Kanaar, Smokey, Hazel, Sally and Lorna, John and Kate Hudson and their team at Mayfair and of course, the one and only Mr. Laser Beam
Design and art direction Andrew Ellis and Colin Chambers
Sleeve copyright 1985 Icon Ltd.
Compiled for reissue by Eric Woolfson & Haydn Bendall (for Woolfsongs Ltd.), Tim Fraser-Harding & Jeff Magid (for SONY BMG) and Alan Parsons.
Expanded Edition Mastered by Dave Donnelly and Alan Parsons at DNA Mastering, Studio City, California.
Special thanks to Tim Fraser-Harding, Haydn Bendall and Sally Seddon
Reissue design by Mainartery Design, London (www.mainartery.co.uk)
Memorablia - With thanks to Steve Martin, Sally Seddon and Mainartery
Published by Woolfsongs Ltd./Careers Music Inc. (BMI), Administered by Universal Music
Except 'Rumour Goin' Round' published by Woolfsongs Ltd. (MCPS)
Bonus tracks licensed by Woolfsongs Ltd
All tracks written by Eric Woolfson/Alan Parsons except 'Rumour Goin' Round' written by Eric Woolfson
Lyrics used by permission, all rights reserved
All bonus tracks patent 2008, licensed courtesy of Woolfsongs Ltd.
One of the benefits of the Expanded Edition of the classic APP albums is the improved bookelets and extra artwork. Early in the remastering project Tim Fraser-Harding contacted Steve Martin at The Avenue about artwork and rarities.
Many of the images submitted were used within the booklet, but just like "Rumour Goin' Round", some things got left on the cutting room floor. In spirit of the Extended Editions, here are three of the images that didn't make the cut.
Left: Custom label from original LP; Middle: "Stereotomy" press kit cover; Right: "Stereotomy" 12" promo sleeve (reverse side).
Click on any image to enlarge.
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