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One of the most interesting aspects about the Alan Parsons Project is the band's ability to forge a main theme with each of its songs, while at the same time sounding extremely sharp and polished. Much of this formula is used in Ammonia Avenue, only this time the songs rise above Parsons' overall message due to the sheer beauty of the lyrics partnered with the luster of the instruments. The album touches upon how the lines of communication between people are diminishing, and how we as a society grow more spiritually isolated and antisocial. But aside from the philosophical concepts prevalent in the lyrics, it is the music on this album that comes to the forefront. The enchanting saxophone of Mel Collins on "Don't Answer Me" adds to its lonely atmosphere, while the briskness of Eric Woolfson's wording throughout "Prime Time" makes it one of the Project's best singles. On "You Don't Believe," the seriousness of the lyrics works well with the song's energetic pace. The subtlety of the ballad comes to life on the elegant "Since the Last Goodbye," which focuses on a failed attempt at a relationship. With Ammonia Avenue, the sum of the parts is greater than the whole product, which can't be said for all of the Alan Parsons Project's albums. Vocalists Eric Woolfson, Chris Rainbow, Lenny Zakatek, and Colin Blunstone equally shine, placing their talents above and beyond the album's main idea. ~ Mike DeGagne
Additional Tracks; Special Edition
Recorded at Abbey Road Studios, London.
The Alan Parsons Project: Eric Woolfson (vocals, keyboards); Chris Rainbow, Lenny Zakatek, Colin Blunstone (vocals); Ian Bairnson (guitar); Mel Collins (saxophone); David Paton (bass); Stuart Elliot (drums, percussion); Alan Parsons (Fairlight programming). Alan Parsons Ammonia Avenue Songs Ammonia Avenue Music Review Average Rating: (4.5 out of 5 stars)   A first class project!
The Alan Parsons Project released a number of well crafted albums that revolutionised the whole concept of a 'concept album', but by far there 2 most accomplished works are "I Robot" and "Ammonia Avenue". I first heard "Ammonia Avenue" as a young teenager and back then I enjoyed the more rock-like numbers on the album like "Prime time", "Dancing on a highwire" and "Let me go home". Now with a more a matured outlook on music and this album in general, I can review it and say that Parsons, Woolfson and the rest of the 'Project' crew have grouped together to provide a musical narrative concerning the alienating effects of technology and the disillusionment that one may find if they place all their hopes and beliefs in the 'progress' of science.....but that's just the concept of the album! The whole CD is just ambrosia for the ears with a perfect mix of rock instruments, synthesisers and orchestra. The title track is both whimsical and melancholy; always brings tears to my eyes (you can't help but be moved by the music and the poignant lyrics). And then there's "Pipeline", one of the finest instrumentals ever written - I can listen to that track again and again and again (in fact, I have and still do!). This new expanded edition gives the album even better digital sound quality and the bonus tracks are a joy for any Parsons fan; a real stand out is "Dancing on a highwire/Spotlight" which is a unique blend of 2 entirely different songs - and dig this, you hear the Project imitating The Shadows! In summary, "Ammonia Avenue" is quintessential Alan Parsons Project material and is one of the greatest concept albums ever produced.
Submitted by James Richardson (Elizabeth, South Australia) 
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 Ammonia Avenue
Great remaster, great sound, definately worth having in your collection.
Submitted by flaviopitanga (Nashville, Tn)
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Purchase Ammonia Avenue CD To buy, Click on price to add to cart | Alan Parsons Pyramid CD (1978) Bonus Tracks; Remastered
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The Alan Parsons Project/Alan Parsons: Alan Parsons (keyboards); Elmer Gantry (vocals); Ian Bairnson (guitars); Haydn Bendall (keyboards); David Paton (bass instrument); Stuart Elliot (drums); Lenny Zakatek, Eric Woolfson, Chris Rainbow (background vocals).
Released in 1982, EYE IN THE SKY marks the commercial peak of the Alan Parsons Project, and easily stands out as one of the British pop act's best albums. Like other Project records, EYE is tied together by a unifying concept--in this case, technology and surveillance--and the sterling production ...
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Alan Parsons delivered a detailed blueprint for his Project on their 1975 debut, Tales of Mystery and Imagination, but it was on its 1977 follow-up, I Robot, that the outfit reached its true potential. Borrowing not just its title but concept from Isaac Asimov's classic sci-fi Robot trilogy, this album explores many of the philosophies regarding artificial intelligence -- will it overtake man, what does it mean to be man, what responsibilities do mechanical beings have to their creators, and so on and so forth -- with enough knotty intelligence to make it a seminal text of late-'70s geeks, and while it is also true that appreciating I Robot does require a love of either sci-fi or art rock, it is also true that sci-fi art rock never came any better than this. Compare it to Jeff Wayne's War of the Worlds, released just a year after this and ...
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Castle Music deserves some kind of an award for their Beat, Beat, Beat series -- and even more honor because it's unique; no other label, including EMI and English Decca, would have the courage or ambition to go up through three years of the British beat and British Invasion booms, single by single, and B-sides, focused on a single label. There are about 150 minutes of eminently enjoyable, delightfully danceable British Invasion-style music on this two-CD set, filling it to overflowing, and don't let the fact that most listeners have only heard of maybe three of the three dozen acts featured put you off. Usually, with a compilation like this, covering the complete generic output of a particular label -- in this case, England's Pye Records -- for a specific period, there are lots of apologies to be made and explanations to be given about why various tracks should be tolerated. Not so here -- every track on this set has value precisely as what it was in 1962-1963: eminently listenable, usually exciting and diverting rock & roll. For starters, any Dave Clark Five fans worthy of the name are probably going to have to own this set because of the two early tracks by the group, "That's What I Said" and "I Knew It All the Time," which open these two CDs -- they're about as good as anything else the band ever recorded, and very catchy. A pair of early dance cuts by the Roulettes at the outset of their career are no less compelling. Erky Grant & the Earwigs may have been a less-compelling talent, but even they had a rhythm section that could pound out a solid dance beat, and generated one solidly memorable song in "I'm a Hog for You Baby." Nelson Keene, Bobby Shafto, and Dickie Pride, all late-'50s ...
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Black 'N Blue were never a huge name in '80s hair metal; they never achieved the level of stardom that Poison, Mötley Crüe, Def Leppard, Warrant, or Bon Jovi achieved in their day. But the Los Angeles-based outfit (originally from Portland, OR) did have their hardcore followers, and those diehards are the obvious target of Rarities. This 43-minute CD is accurately titled because it is, in fact, a collection of rarities. Much of the disc is devoted to demos from 1982-1986, and diehard Black 'N Blue fans will enjoy hearing what "Wicked Bitch" and "Hold on to 18" sounded like ...
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George Thorogood & The Destroyers: George Thorogood (vocals, guitar); Hank Carter (vocals, saxophone, keyboards); Jim Suhler (guitar); Bill Blough (bass); Jeff Simon (drums, percussion).
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