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ALAN PARSONS
A background story plus an exclusive interview
by Bill Kornman for what is now Go2Music.net
Alan Parsons, the musician/producer/engineer,
has sold over 20 million albums, been nominated for 11 Grammys,
and worked with The Beatles (on Abbey Road) and Pink
Floyd (Dark Side Of The Moon).
THE STORY
As a young man growing up in England during the sixties, Alan
Parsons had the same dream as thousands of other young men of
that era: to become a rock guitarist in the vein of Eric Clapton,
and Jeff Beck. But this was of secondary importance to Parsons,
owing to the fact that he had a day job at EMI studios, just
outside London. His jobs were primarily researching vinyl sound
quality and copying master tapes. In 1967 he heard The Beatles
Sgt. Pepper album, and was so impressed with the technical
sound quality of the LP, he immediately decided to make sound
engineering his future. This led to his first job at Abbey Road
Studios in London, where he became assistant engineer, working
with Geoff Emerick and Beatles producer George Martin. Parsons
learned quickly and eventually went on to engineer on Paul McCartney's
Wild Life and Red
Rose Speedway albums. He also engineered records
during the early '70s for The Hollies, Steve Harley and Cockney
Rebel and the group, Pilot. Possibly his finest achievement,
however, was as sound engineer for Pink Floyd's Dark
Side of The Moon album. It was also during the mid-seventies
that Parsons began developing his skill as a producer, producing
records for Steve Harley, John Miles, The Hollies and Pilot
(their 1975 hit song "Magic" is still heard today).
It was quite rare during those days for someone to act as both
engineer and producer but the main reason for doing it was to have total control
over all aspects of a record's technical sound quality as well as the production.
It was during this period of the mid-seventies that a fellow Abbey Road associate,
Eric Woolfson, became Alan Parsons' business manager. Woolfson was a keyboardist
and songwriter at Abbey Road Studios, and in 1974 suggested to Parsons that
he do an album based on the works of Edgar Allan Poe. Work began on the album
in mid-1974 with Alan Parsons producing and Eric Woolfson acting, as he described,
"as the architect for the album". Woolfson and Parsons wrote all of the music
on the album which featured vocalists John Miles, Terry Slyvester, and Arthur
Brown. The album, Tales of Mystery And Imagination, recorded for 20th
Century Records, was released in 1976 and quickly won critical acclaim. Success
was only moderate, however, for the three singles from the album ("The System
of Doctor only moderate, however, for the three singles from the album ("Tarr"
and "Professor Fether" charted in the Top 40), though "The Raven" is still the
most popular track. Switching labels to Arista gave them a long-term contract
and the impetus for their next album I Robot. It is noteworthy to mention
here that it was 20th Century Records who suggested that Parsons' records needed
an identity and suggested The Alan Parsons Project. Originally, Parsons thought
his records would simply be called "Various Artists", but 20th Century thought
this title would sound tooo much like a compilation album.
I Robot, the second album from The Alan Parsons Project, was
released in the summer of 1977 and was instantly a critical success, not only
for the music, but for the technically brilliant sound quality. The album was
originally inspired by Isaac Asimov's theme of Man's control of technology,
but Parsons and Woolfson transformed this idea into a theme about mankind's
decline and the machines designed and built by man eventually taking over the
world. Interestingly, the credits in the album liner notes include an instrument
called the "Projectron" which feature the sound of wind instruments played by
a vacuum cleaner(!) - and "designed" by Alan Parsons. Vocalists for I Robot
included ex-Hollies member Allan Clarke, Steve Harley of Cockney Rebel, Peter
Straker, and Dave Townsend. Also featured were the English Chorale and The New
Philharmonia Chorus. As would be the case with all "Project " albums, Eric Woolfson
and Alan Parsons wrote all of the music and lyrics, with both adding keyboards,
guitars, and vocals.
Since The Alan Parsons Project did not tour nor do television
appearances, they lacked the strong commercial publicity that
usually goes along with touring. Indeed, many who bought Project
albums thought Alan Parsons was the lead singer on all the tracks
and were astonished at how he was able to sing all of the different
vocal parts. But the idea of using several vocalists on each
record was an intentional concept. Parsons and Woolfson both
felt listeners would tire from 40 minutes of the same lead singer.
They kept the music fresh by using different vocalists and,
in the course of their Project career, they've used no less
that 24 lead vocalists!
Following I Robot, Alan Parsons released eight more albums
between 1978 and 1988. Among them were Pyramid (1978) which dealt with
Pyramid Power and other mysteries of the Egyptian Pyramids, Eve (1979),
about the battle of the sexes; Turn of A Friendly Card (1980), about
gambling and the huge role fate can play in life; and one of the most popular
of all "Project" albums, Eye In The Sky (1982), which focused on the
"Big Brother is watching you" concept. Ironically, the most popular album in
England was 1984's Ammonia Avenue, which was also arguably their most
commercial release. Ammonia Avenue dealt with the despair of breaking up, loneliness,
and the walls often put up to protect oneself in a relationship.
The last album by The Alan Parsons Project was Gaudi.
Released in 1987, it dealt with the life of Antonio Gaudi, the nineteenth century
Catalan architect whose grand conception was to build the La Sagrada Famelia,
the tallest and largest cathedral in the world. The construction timetable covered
hundreds of years and Gaudi died shortly after construction had begun. The album
has some classic Parsons touches including lushly orchestrated ballads and classic
Art Rock tracks.
Through the course of the Project's career, Parsons and Woolfson
had total control of the concept or theme of each record. Given tremendous freedom
by Arista Records, they were allowed to develop their musical ideas and set
their own pace in the recording studio. Without pressure to produce hit records,
they could achieve their goals of technical perfection in terms of sound quality
and still make music commercially viable to the record buying public. Indeed,
the development of Album-Oriented Radio (AOR) in the mid-to-late seventies gave
them a tremendous boost - allowing stations to play several tracks off an album
or sometimes even to play the complete work. This achieved what Alan Parsons
wanted most: for people to listen to his entire album as an "experience". Still,
the singles were out there, and as with artists such as Pink Floyd and Fleetwood
Mac most of the sales came from albums and not singles.
It's important to remember that Alan Parsons and Eric Woolfson
originally got together not to write and record hit records, but to model themselves
after the great film producers and directors of that era. Like a director controlling
the flow of energy and creative expression on film, Parsons wanted to have creative
control of a record's sound quality while still putting all of the pieces together
as a producer. Woolfson would write the music and serve as the "musical architect"
of each album. As the "musical architect", Eric Woolfson would write each song
as a single element or building block of the records' theme. That is, with the
melodies and lyrics of each song -much the same way a building architect might
design various aspects of a building to fit a conception such as Gothic or Eastern,
etc. The Project used virtually the same core of musicians during the seventies
and eighties including Stuart Elliott (drums), Ian Bairnson (guitar), David
Paton (bass), Eric Woolfson (piano & keyboards), and Andrew Powell (orchestrations).
These musicians came to know what Parsons and Woolfson wanted and expected on
each recording.
In 1988 and 1989 Alan Parsons and Eric Woolfson wrote the music
and lyrics for the musical Freudiana. Production for this musical was by Brian
Brolly who also co-wrote the book with Woolfson. Brolly previously worked with
both Andrew Lloyd Webber and Paul McCartney. The show opened at the historic
Vienna Theater An Der Wien, where Beethoven's only opera "Fidelio" was first
staged. After Freudiana, Woolfson decided that he wanted to continue writing
for the theatre and the partnership between Parsons and Woolfson was dissolved.
For himself, Parsons wasn't convinced that writing music for
the theatre was to be his new focus so he began to develop new material and
ideas for his next rock recording. He wrote or co-wrote many of the songs on
his new album as well as playing keyboards, guitar, bass, flute, and providing
background vocals. The album, entitled Try Anything Once, is his first
solo album and first album of new rock material since 1987. The album maintains
the same feel and musical elements as earlier "Project" albums including strong
and prominent melodies, expressive lyrics, and features lead vocals by Chris
Thompson (Manfred Mann's "Blinded by the Light") and Eric Stewart . Parsons
is currently planning more albums as well as his U.S. tour. His only previous
concerts were in Europe back in 1990.
The current tour started in mid-July. This
is the first ever Parsons tour of the States features classic
Alan Parsons Project songs such as "Old And Wise", "Don't Answer
Me", features classic Alan Parsons Project sonand "The Raven"
plus songs frrom Try Anything Once. Performing are musicians
which have worked with Parsons from the beginning. Chris Thompson
and Gary Howard share the lead vocals. Thompson is known for
singing the "Blinded By The Light" classic and Howard, most
recently, as lead vocalist for the English band The Flying Pickets.
Ian Bairnson, is one of the most talented session guitarists
in Europe and his credits include work on albums by Kate Bush
and Sting. Stewart Elliott, drums and percussion, started with
the group Cockney Rebel, before joining the Project. His list
of credits include Al Stewart's The Year of The Cat and
all of Kate Bush's albums to date. Andrew Powell plays keyboards
and does the orchestral arrangements and is another veteran
member of the Alan Parsons Project. His credits include playing
on albums by Donovan, Cliff Richard, and Al Stewart - as well
as having produced albums for Kate Bush, Kansas, and Judi Collins.
On keyboards and sax is Richard Cottle, who has performed with
artists such as Mick Jagger, Eric Clapton, and Rod Stewart.
He also has studio credits with The Cult and Wham. Rounding
off the line-up is Jeremy Meek on bass. And, of course, Alan
Parsons, the man who co-wrote all of The Alan Parsons Project
songs as well as engineered and produced them, also plays.
And now, the exclusive interview by Bill
Kornman
THE INTERVIEW
 Go2Music.net:
You were a blues guitarist, weren't you? Is that where your interest
in music began?
Alan: My musical beginnings were
actually in school. I took piano lessons at a very early age
and those lessons continued throughout my schooling. I later
took up the flute, but I had certain frustrations with classical
music and as one does in their early teens, I picked up a guitar
and crossed over into rock music. I used to play hits by the
Shadows and Chuck Berry in school bands and once I completed
my schooling, I became a little more serious. I guess I became
another guy trying to be Eric Clapton with a blues band and
although the band and I made an album, it was never released.
I've never dared to listen to that album since.
Go2Music.net: Once you began playing
rock music, who were your influences? Did the early "60's British
Invasion sound influence you at all?
Alan: Oh, sure. I was the biggest
Beatles fan around, but I was also into the blues music that
was prevalent in the sixties. Around the same time as the British
Invasion, you may recall that there was also a folk/blues and
folk/rock explosion at that time that also had an important
influence on me. These bands had quite a following in London
basement clubs known as "folk clubs" at the time. I did my fair
share of that type of music but I wasn't particularly suited
to that format because I was a better electric player than I
was an acoustic player.
All of this was all secondary to my "day job" at EMI where
I was not so much a sound man as I was a technical man. During
the time I was struggling to make some money as a musician,
I was also trying to cross over into more of the operational
areas of sound at EMI. Getting a job at Abbey Road was the culmination
of my efforts. I mean, I remember that when I heard "Sgt. Pepper"
for the first time I said to myself, 'Yes', This is for me.
I want to find out what's going on with this record."
I was already an audio engineer of sorts before I went to
Abbey Road because I was copying tapes and doing a bit of editing
here and there, assembling masters and the like. I wanted to
make the next leap, to get in on the recording side of the sound.
I was fortunate to get an interdepartmental transfer from Hayes,
where I was working, over to the Abbey Road studios - I just
happened to be in the right place at the right time as there
were some internal organizational changes going on at EMI then.
Go2Music.net: What did working
at Abbey Road and with George Martin and the Beatles do for
your own sound and production style? What were they doing "new"?
Alan: I think the Beatles music
and George's production influenced the entire universe, not
just me. That experience was a huge influence on what I produced
later, a lot of what we did rubbed off on me, as you might imagine.
I mean you can't have worked with the greatest pop band of all
time without it having some kind of effect on you.
Go2Music.net: Did you feel the
tension of the Beatles breakup during that time?
Alan: Not really. Quite frankly,
I think a lot of the tension was going on outside of the studio,
not in the musical sessions themselves. It was obvious there
were some problems because I rarely ever saw all four Beatles
together at the same time. The "Abbey Road" album became sort
of a compilation of solo Beatle efforts. The backing tracks
were recorded as a group but once they got into overdubs, the
Beatles were working as individuals. Paul would come in for
one day and work on his stuff, John would come in another day
and work on his, George the same and Ringo would come in everyday
just to see if he could help out in some way. He'd stay a few
hours and then leave.
Go2Music.net: What about Pink Floyd?
I've read that they pretty much let you go home at night and
do your thing with the session tapes.
Alan: Well, this is a very sensitive
area. There are disagreements as to what my contributions was.
David Gilmore has slugged me off with the press by saying any
engineer could have worked on the record and gotten the same
results. I still maintain there's and element of me in the record.
I mean, I have no pretense about being involved with the production
side of the recording but I was the engineer and as such I made
a contribution toward the final product. "Dark Side of The Moon"
is one of those albums that everybody knows every note on it.
I'm grateful that I'm credited as the engineer on the record
because it helped launch me on a very successful career as a
producer, but there is a degree of conflict between Pink Floyd
and myself.
Go2Music.net: The melodies were
well crafted and orchestrated on all your recordings. How do
you approach keeping the melody in the front of your "Project"
sessions?
Alan: I think that's sort of an
automatic process. As writers, we didn't really set out and
say: "We have to keep this melody out front and we have to orchestrate
this way and that way." It was more a fortunate combination
of competent composition and adequate production techniques
and I can't say there was any particular secret formula for
achieving that. What amazes me over the years is how people
tell me (who is someone that is not really a performing artist
but more the one who oversees the engineering and production
for the most part, with a certain contribution as a composer)
that my music has an identify. I never hear that identify myself
when I heat my recordings-I don't really associate what I do
with having any particular identify of sound. I just do it the
way that I feel is right and people somehow recognize it and
say, "Oh, that's Alan Parsons' work".
Go2Music.net: It's amazing that
songs can be so textured and full and yet the melodies remain
so sharp - songs like "Don't Answer Me", "Time", "Wouldn't Want
To Be Like You", and "Let's Talk About Me"...
Alan: Well, I'm pleased that you
picked songs that are all going to be in our show. It's interesting
that "Don't Answer Me" is so popular because it was designed
to be a parody of a Phil Spector production - it has a very
"Poppy" melody and then it's smothered in echo and percussion
- sort of a record that Phil Spector might have made.
Go2Music.net: How do you choose
the vocalists for your songs? Did you have someone in mind as
you prepared the material?
Alan: It's a combination of convenience
and circumstances on the one side and a longing to have a particular
talent on the other. Very rarely did we ever say on the "Project"
records that such-and-such a song is going to suit this particular
vocalist. We usually got to the point of getting the track down,
getting the structure sorted out, doing the orchestration and
then, at that point, saying now we need to get a singer. David
Payton was around because he had been playing bass and had done
Procol harmonies we'd ask David to take a whack at it and we'd
find it would work out brilliantly. On other occasions, we'd
say the only voice for this is John Mave and we'd give him a
call and he would come. There were no hard and fast rules but
I must say that on the "Project" records we built up a stable
of really good singers.
Go2Music.net: And of course Eric
sang lead on a lot of songs.
Alan: Yes, Eric became more and
more of a dominant figure as a vocalist. With each successive
album he seemed to be singing more. I always maintained that
one of our strengths wax having the flexibility to use different
lead singers, from album to album and even from song to song
on an album. There are many albums in my collection and I only
listen to two or three tracks on them because you tire of the
same vocal sound. That's why I'm hoping to have as many as three
different vocalists on our upcoming tour.
Go2Music.net: People for whom I've
played your material often think you are the singer.
Alan: (Laughing) That's a common
misconception. In fact, I was voted 13th best make vocalist
in 1978 by Cashbox Magazine, which shows you how much the media
knows. I mean, I've done some harmonies and backing vocals,
bits and pieces, but not the lead vocal. On the first album
I guess I technically did some lead vocals if you consider a
line here and a line there as a lead vocal.
Go2Music.net: After you went from
"Dark Side" to "Tales of Mystery", did you envision yourself
continuing to do concept music?
Alan: "Tales of Mystery" was intended
to be my statement, my "Dark Side of the Moon". It was my proof
to the world that an engineer and producer could make a record.
In that respect, it was ground breaking and very fulfilling
for me. To this day I still feel it is one of my best pieces
of work. I always thought the title "Alan Parsons Project" represented
that record, that "Project", and I didn't expect that title
to evolve into the identity of an artist, per se. I thought
the title for the next album was going to be "The Second Alan
Parsons Project", and so on and I did not expect that "Alan
Parsons Project" would become the name on the act. I've never
really been pleased with the identity we had thrust upon us.
Now that Eric and I have split up, I feel much more comfortable
that the "Project" tag is gone forever and I am Alan Parsons
again.
Go2Music.net: What recordings of
yours are you most proud of and what might you have done differently
on them?
Alan: In a way, I've already had
the opportunity to do something different with "Tales of Mystery"
because it was remixed and rereleased in 1987, adding the Orson
Welles narration. I'm proud of most of the work I've done. Of
course, everyone does good work and not-so-good work but I think
the strongest albums were "Tales of Mystery", "Tale of a Friendly
Card". "Stereotomy" was strong too. Everything else sort of
falls into the middle ground. I have to say, and this truly
is not because it is my current effort, but I am also very proud
of my latest, too.
Go2Music.net: Did you have any
input on which songs would be released as singles?
Alan: Companies know what they're
doing. Singles and radio play are really just glorified forms
of advertising. That's not my area - I just make a record that
I believe sounds good and is pleasing. I've done my bit by making
the album and the record company does its bit by releasing singles
and promoting them. I didn't make these records to be made in
3-minute sections between commercials on a radio station but
I accept the fact that that's the way the music reaches the
people - record companies market what I do. The record company
is sort of an intermediary between me and the public.
Go2Music.net: Three platinum albums,
four gold...that's quite an accomplishment considering not that
many singles were released, no concert or TV appearances, etc.
Alan: Yes, I am very proud of that.
Because I've been out of the limelight for about six years now,
I'm only too aware that our audience has probably grown up with
us and probably forgotten about us and are wondering where we
are and may not be reading the kind of press of eve listening
to the kind of radio stations that are playing the new music.
We've got to so everything we can to recapture our audience.
That's one of the reasons we are doing this concert tour.
Go2Music.net: "Turn It Up" and
Wine From The Water" seem to be good candidates for singles
from the new album.
Alan: Yes, the band felt that as
we were making the album. Clive Davis, head of Arista, had made
perhaps a slightly unexpected choice for our next single: the
last track on the album, "Oh Life, There Must Be More". It's
almost suicidal as a single because in its current form it's
over six minutes long. We've cut it down to a more sensible
four and a half minutes. Clive's a great song man and he certainly
knows a hit song when he hears it and we trust his judgment
on this one - he believes very strong in that tune and so that's
what we're going with in America. "Wine From The Water" is going
to be the next single in Europe. "Turn It Up" got a lot of play
but it was limited to album oriented rock stations which is
good but to really make a substantial impact, you've got to
get onto "Top 40" stations. I've always been an album maker
but the marketing people think they can bring this one home.
I'm very hopeful.
"Mister Time" is a good track too but there's a bit of a problem
getting it as a single because of the sheer length of it. Jacqui
Copland is a very talented young lady and she's a newcomer.
She toured with Duran Duran as a backup singer. She did an entire
album with our drummer, Stuart Elliott. The album has yet to
see the light of day but one of the tracks on it was "Mister
Time" and I just felt that it was the king of song we wanted
to do. So she became a member of the team for this album. It's
interesting to note that we have not had a female singer on
our album for a very long time. An interesting breaking of tradition.
Go2Music.net: You've been quoted
as saying the whole thing about rock is a trick and that the
whole basis of the music unnatural in a sonic sense? Why?
Alan: Ever since the electric guitar
and amplifier came along, the entire basis of guitar-based music
became artificial. An electronic guitar does not have any sound
in and of itself. It just produces electronic impulses that
feed the amplifier and produce that sound - sound that's a "fake"
in itself. Another reason for saying what I do is that you can
turn the amplifier and guitar up beyond the dynamic range of
any human voice. Drum kits are also beyond the dynamics of any
human voice. So you've got this series of backing instruments
capable of generating extreme high decibel levels that in real
terms could never really compete with the human voice. That's
was makes it a fake, that's what makes it a sham. And rock music
relies so heavily on effects: vocal effects, delays, reverbs
and a totally sort of unreal balance - something that could
not be achieved in real life. What is real, by way of contrast,
is what's achieved with a symphony orchestra in a concert hall.
That's real. That's acoustic instruments being played now, real
time, real sound. Rock music, especially recorded rock music,
is not only a distortion of sound balances but also of time
- every track you hear has been recorded in several different
performances by the same person. So the whole thing, the final
song or final album, is totally fake - now I'm not saying that
makes it an invalid musical statement - it's just that rock
music is nothing other than a representation of a series of
events.
Go2Music.net: Do you see a parallel
between performance and production of music?
Alan: Yes, the production is intended
to represent as best as possible the performance of music. That's
what you are trying to achieve but the fact of the matter is
that very often you have to cheat in order to get the best impression.
Go2Music.net: How do you feel about
your upcoming tour of the states in 1995?
Alan: With a degree of trepidation,
quite honestly. I'm not rally sure that the audience is there
but I'm hopeful that they are. We're playing it safe to start
off with as we are not playing the mega-stadiums but small theaters
- at least to start. As a result of that we will get a better
sound and a much better technical level of sonic purity. It's
probably going to be a three week tour spread over twelve cities.
Of course, if a city appears to be particularly strong, we can
do second night. We'll add gigs at the beginning or the end
if things go well. If things go badly, that we're only playing
to two-thirds full houses, we're covering our asses, basically.
It cost money to put a show on and more money is lost from a
half-full 10,000 seater than a half-full 5,000 seater. We want
to make it the best show possible with the budget we have available.
Every moment of every day now is being spent on getting the
best people, choosing the best songs, getting the production,
the lights, everything right. I'm terrified and excited at the
same time.
Go2Music.net: Assuming the tour
goes well, do you have plans for future albums and tours in
the states?
Alan: Yes.
Go2Music.net: How did you get to
know Adrian Kerridge?
Alan: There's a certain sort of
fraternity among sound engineers in London. It's been rather
enhanced lately by the formation of a body known as REPRO, the
British Record Producers Guild, that is now known as the guild
of Recording Directors, Producers, and Engineers - a bit of
a mouthful, isn't it? I've known Adrian for sometime and I've
worked a Landsdowne and CTS on several occasions. I've always
respected his work. I think he is one of the main persons responsible
for changing the fact of independent studios in this country.
Engineers were sort of the unsung heroes of the '60's and early
'70's. It was only through what the Beatles did for the industry
that engineers got the recognition that they deserve. If it
hadn't been for them, I think engineers would still be wearing
white coats. I have a lot of respect for Adrian and he's very
active in the APRS, the association of professional recording
studios, which is the parent body of REPRO. He's one of those
people who is very devoted to the industry. He's grown up through
being an engineer and making lots of hit records. He paved the
way for the younger breed of engineers. In fact, I do lectures
and write articles as my part in the process. I'm only to happy
to impart my experience to other people - I recognize that you
can't teach talent but there are certain things that you can
pass on that will be absorbed by those who are talented.
Go2Music.net: It seems that the
best engineers were actually musicians, people who started out
playing music.
Alan: Well, there's really no rules
on that. Geoff Emerick, one of the greatest engineers of all,
is a passable piano player but he wouldn't call himself a musician.
I wouldn't consider myself one either. I can get by as a guitarist
and keyboard player but I don't look upon my musical abilities
as a major part of what I do. My ears control more of what I
do than does my playing ability.
Go2Music.net: You said, "I'm responsible
for the atmosphere in the grooves - that's all mine."
Alan: A bit of ego there, I guess.
I wouldn't maintain that the sound is all totally from my own
ability. I recognize in a big way that a record is a team effort
- I couldn't do it without the help of the people with whom
I surround myself. I am even more cognizant of that now since
the new album is really more of a band thing. Since Eric's departure
it's now a new set of circumstances.
Go2Music.net: You've lived through
decades of changing sound: The British Invasion, Disco, Rap
- all of which to some extent distorted the natural sound of
the instrument. How important is it to keep the instruments
sounding as close to their natural sound as possible?
Alan: At the end of the day, you
have to ask yourself if the composition is successful as a composition.
If it is, then you can begin nursing it, experimenting with
it. But there's no way you can make a dud song sound good through
clever production techniques. If the melodic content and the
overall structure on the song doesn't work, there's no way you
can put it together and make it work by being clever in the
studio. I mean, there's a place for machine music. In fact,
I'm actually very keen of some of the techno dance music being
done now, and the trans music, I think known as hard core techno
material--a new area undergoing expansion and interestingly
so - in the same way that the Floyd had a certain something
in the late '60's and early '70's that others weren't doing
repetitive figures and spacey sort of sounds.
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