The London Symphony Orchestra Question

The London Symphony Orchestra Question

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Hi Aaron, my wife and I attended a concert a year ago when you performed the Rodgers and Hamerstein program with soloists, orchestra, and chorus. It was our first of many concerts that we have attended of yours. At the opening of the concert, you did a song and dance number very similar to an Awards show opening and I have a few questions regarding that. 1.) Who wrote the song and lyrics for that number It was very funny. 2.) Are you planning something like that again 3.) Being an avid ballroom dancer, I have to say you had some good moves. Do you dance Appreciate what you do for the community.

Hello Andrew. During the years you demostrated how much a complete musician you are: not just a great orchestra arranged/composer, but also bass/piano/keyboard player, as well as producer and composer in the rock/pop field. My question is: have you ever thought to release a rock/pop album under your name You co-wrote some of the best tracks on pop/rock album Try Anything Once by Alan Parsons, for example. Thank you in advance for your answer,

Very recently there haven been uploaded 2 videos on YouTube of a Spanish television program that were originally recorded in 1983 when you were promoting Andrew Powell and The Philharmonic Orchestra Play The Best Of The Alan Parsons Project album. They show you conducting the orchestra although it's a playback which is a bit of a shame. My question is, did you actually tour and play live during that time I read in a magazine published in the same year that you were planning to. If you'd like to watch these videos here are the links

I'm sorry if this evolving into a series of questions (I hope you can link it all and answer succintly if you want), but actually it's now that I'm getting on to what intrigues me the most, that is, whether with The Alan Parsons' Project your arrangements somehow involved the ones by the rock musicians or if in those albums you just worked with the orchestra and choir with finished backing tracks, with little or no involvement at all in the songs that didn't feature any 'classic' instrumentation I guess the 'Ladyhawk' soundtrack was fully arranged by you, or perhaps it included some ideas from other musicians in the studio...

Thank you for your question. I did quite a lot of work with Leonard early in my career. I spent some time in 1971 transcribing several songs which he had written, and then went into the studio with him and a rather good group of session musicians (including Mike Moran on piano, Paul Keogh on guitar, Barry de Souza on drums, and myself on bass) to do some demos of the songs. The session was, interestingly enough, produced by Nick Mason, the Pink Floyd's drummer, who was a friend of mine. I don't know what happened to the tapes. Leonard was later brought in to sing on the first Alan Parsons Project album \"Tales of Mystery and Imagination\" - on the song \"The Raven.\" This is the only recording which is available, so far as I know. I subsequently recorded the title song for the tour of a play called \"A Touch of Spring\" with Leonard on vocals and myself on Spanish Guitar. Also lost, I fear. After the APP sessions I went into AIR studios with Leonard to make some master tracks. We had some good songs, from David Courtney, Roger Cook, and Leonard himself. Unfortunately he fell out with Eric Woolfson, who was paying for the sessions, so nothing ever happened to the tapes - although they were almost finished - with quite a large orchestra and a good bunch of rhythm section players. I doubt whether they will ever see the light of day, which is a shame.

Carlos from Spain submitted the following enquiry: Hi from Madrid! It is a really pleasure to talk yo you. I have all APP albums(remastered). I would like to know the name of the orchestra used in Tales, Robot and Pyramid. The booklets dont mention it. The only thing I could read is that someone unidentified from the london philharmonia played an ancient woodwind instrument in song In the lap of God. Does it mean THE PHILHARMONIA ORCHESTRA In my opinion The APP is the best band mixing rock and orchestra. About one year ago I started to search for more groups in this genre. Somehow and because of your wonderful arrangements I discovered great new bands for my ears and masterpieces albums: Procol Harum And The Edmonton Symphonny Orchestra, Caravan and The New Symphonia, Atom Heart Mother(Pink Floyd), Barclay James Harvest(1st and 2nd album), Rick Wakeman (Journe to ...; The Myths....), Renaissance(scheherazade),The Enid (birmingham Orchestra), David Palmer (Genesis, YEs), Camel (Snow Goose), Eric Clapton with Michael Kamen,E.L.O.,The NIce (five bridges) , Frank Zappa,etc... Would you recommend any other artist

Thanks for your question. The orchestra used on the first three alan Parsons Project albums was not a named orchestra, but a contracted one: booked by a \"fixer\", in this case a man called David Katz, who would phone up the best musicians from any London-based orchestra who were free on that day. Some of the players would have done nothing but \"sessions\" - recordings for films and rock albums, and not been in any orchestra. I would always discuss with David which sort of player I needed for each instrument. I'm not sure where the credit about the wooden flute comes from - there is actually no such orchestra as the \"London Philharmonia\"!

Ciao Andrew, More questions for you. Throughout the \"Project\" period, you have been involved mostly in the choir and orchestral parts in the songs or your contribution to these was larger For example: you gave advice to Eric and Alan You have composed pieces of music that you do not then have been credited etc etc. After \"the Project\", as Stuart Elliott and Ian Bairnson you followed a solo career of Alan: maybe you would find it more interesting What do you consider to be the best work of Alan Post Project and why Have you heard \"A valid path\" what do you think If you had to come back to produce a record with which artist would you like to do today What music do you usually listen to ...and finally, when you open the \"shop\" of your site Thanks in advance for your answers. Regards.

This may seem like a daft question but how do you manage to hold your arms up during a performance for so long swinging that Baton I noticed that you had them up for almost 2 hours at the Birmingham symphony hall.. I am studying orchestration and need to conduct from time to time but when I try to hold my arms up they tire and fall limp at my side within minutes! How can I overcome this terrible malady

I just would like to say thanks for your inspiring work. I first heard your arrangements through the APP. Actually I think they are the ones giving the APP the \"magical\" quality those songs have, and their \"timeless\" quality. A brilliant work for sure !! So my question is........Have the APP orchestral scores ever been published anywhere and are they available to buy I am attempting to replicate the \"Silence and I\" arrangement by ear, but there's so much going on that I can't hear everything...........

Two-part question here. We were absolutely thrilled to see you playing keyboards on the early Alan Parsons Live Project tour. First, as a keyboard/synth aficionado, I'd love to know what keyboard set-up you used to recreate a portion of the orchestral sound of the APP. Second, is there a chance we will see you share the stage with Mr. Parsons again at some point

It's often difficult to work out exactly which parts in a collaboration were done by whom: obviously a lot of the orchestral sections were down to me, but there were contributions from the others. With regards to your question about a similarity between the opening melody of \"Prelude\" and \"Stereotomy\", I should point out that as \"Usher\" pre-dates \"Stereotomy\" by some 10 years the former could have influenced the latter, but not vice versa. Incidentally, the opening of \"Stereotomy\" was sequenced and played by Richard Cottle, not Eric; also, the opening theme of the \"Prelude\" is played by a cor anglais, (a sort of alto oboe with a range down to the E below the oboe's bottom Bb) not an oboe. I think I showed Alan the line in the story which says that Roderick Usher could bear almost no music except for \"peculiar sounds, and these from stringed instruments\". Alan and I decided (not because it's specifically stated in the text, but it is said that Roderick Usher plays the guitar) to use only plucked string instruments -acoustic guitars, mandolin, string bass, kantele, harp and harpsichord - and cimbalom (technically a percussion instrument, but it has a lot of strings.) The \"Pavane\" was mainly written by Alan, with a few changes and additions from me - I don't think Eric contributed to this piece at all.

Well, this question contains two often-repeated wrong facts: I didn't discover Kate Bush, nor did David - a friend of David's called Ricky Hopper did - and David did not produce her: he paid for the first sessions (he is therefore listed as \"executive producer\" on the records) but was on tour with Pink Floyd in America when I produced the first sessions in London. David Gilmour phoned me one day, and invited me for lunch at the Pink Floyd's office in Bond Street, London. When I arrived there, he introduced me to Kate Bush (or Cathy, as she was then known.) She was a very quiet, but obviously thoughtful, young girl. He played me some of her songs, and I was impressed by her vivid musical and lyrical imagination. We talked about which songs to do - I took a tape away, and we had a further discussion a few days later: we agreed on 3 songs to record, and David handed the project over to me. I booked some time at AIR London Studios in Oxford Circus with the renowned Geoff Emerick as engineer (who, to my great embarrassment, wasn't credited on the album), and booked a rhythm section consisting of Barry de Souza on drums, Bruce Lynch on bass, and Alan Parker and Paul Keogh on guitars. Kate would play piano (