Before reading this review of an album you probably know inside out, you need to know where I’m coming from with it. The nature of a reissue review is heavily dependent on whether the author is familiar with it or not. As I was born in the 90s, most of my exploration into progressive music has been through reissues, and I’ve chronicled many of my experiences with them on The Progressive Aspect.
But you might expect me – a seasoned prog fan and reviewer – to be familiar with all the biggies, even if they could only tenuously be considered as prog; I’m here to let you know, I still have some very large gaps in my mental catalogue to fill.
The Alan Parsons Project represents one of those gaps. Back in my days of getting into 70s prog rock, the group came into my focus when I happened upon a 2-CD special edition of Tales of Mystery and Imagination, the band’s debut album. In short, I was transfixed by the prog-lite, accessible tunes on the album’s first side and weirded out by the disjointed Fall of the House of Usher suite on Side 2. Every track on Side 1 was great, and I would often frequent that Side when looking for something less complex and singable.
However, it really didn’t quench my thirst for ‘prog’, and judging by the scores on ProgArchives, the duo of Alan Parsons and Eric Woolfson had, in fact, peaked with their first album. If it didn’t get better from here, what was the point in looking further? I’m fairly sure I did give I Robot a tentative listen on YouTube at some point a decade ago to see if I was missing anything crucial, but it must have made no impact on me.
Cut to 2025, a mere 48 years after the album’s original release, and the news of a brand new deluxe edition featuring four CDs, a hefty booklet and Blu-ray was too tempting to turn down. Even if I’d closed off the Alan Parsons Project avenue in my mind before, it was never too late to reopen it. I was going to treat this like one of those YouTube “First time hearing X” videos, and I suppose you can too, if that’s exciting to you.
I have to say, this box set’s wealth of bonus material has some latent genius in its design. After my initial spin of the album proper, I had roughly the same feelings I had when I last gave it a try, namely that it wasn’t very ‘prog’, with short-ish songs and a distinct lack of odd time signatures. I could see why I didn’t get into it before, but with age had come a greater appreciation for good production, and the album’s hypnotic opener was a great start for me.
However, the genius began when I started listening to the bonus tracks, of which there are over three hours’ worth. I had been expecting the regular ‘demos, single versions, live versions’, but was in for a surprise. Discs 2, 3 and 4 are filled primarily with different versions of the studio tracks, showcasing early versions, isolated instruments and voices and experiments that would occasionally make it onto the record. As a result, there are 7 I Robots, 5 I Wouldn’t Want to Be Like Yous, 4 Some Other Times and so on. I was quite happy to listen to some of these tracks over and over, and it’s well-known that if you listen to music on repeat, it’s more likely to get stuck in your head. Well, over the course of a few days, almost the entire album got stuck in my head this way and pretty soon I was obsessed with it.
That’s where the 60-page booklet came in handy, to satiate some of my thirst for knowledge. Prolific music author and Bass Guitar magazine editor Joel McIver pens the story of the making of I Robot to introduce the album package to new listeners, and does a great job. For example, I wouldn’t have likely pieced together that this album was released the same month as the original Star Wars, the overwhelming hype of which incentivised many to go out and buy anything sci-fi related, including this album. As a lover of film, I also wasn’t aware until I read McIver’s scribblings that Star Wars’s debut in the UK came a full seven months after its release in America, something that seems unfathomable in today’s hyper-connected world. This, coupled with the robot-adorned sleeve designed by Hipgnosis (including a multitude of tubes photographed in Paris’s Charles de Gaulle airport, which had only opened three years earlier), probably boosted the album’s initial success in America before the Brits cottoned onto it too.
But as much as I heard about Eric Woolfson drawing from the famous Asimov stories, I found very little evidence of machinery in the lyrics to this album, especially in the catchy, disco-based single I Wouldn’t Want to Be Like You. Perhaps this was a blessing, as I could foresee literal lyrics about robots being extremely cheesy and daft. As it stands, each song is still applicable to the human condition, undeniably enhancing their emotional heft.
Don’t Let It Show is the song that feels the most impactful, opening with the sound of a church organ before blossoming into full symphonic splendour with a drum fill at the end of the chorus. Interestingly, the bonus tracks reveal that Don’t Let It Show originally had cellos instead of the organ, but Woolfson claimed it was a ‘disaster’; listening to the alternate version myself, I have no idea why he would think that, but I do prefer the organ just a smidge. The lyrics are relatable; we’ve all had times in our lives, whether at work or at home, when it’s vital not to be vulnerable and carry on. However, the morbid lyric, “Even if it’s taking the easy way out / Keep it inside of you,” suggests that Woolfson was quite aware of how the mantra in the song could push someone over their limits and wasn’t truly advocating for it. Perhaps even that mention of suicide would make people who were holding everything in realise just how much harm they were doing themselves. We’ve come a long way since 1977, but men and boys are still routinely told by society that they’re not allowed to have feelings, leading to systematic harm for everyone; it’s time we changed that, and this song is an interesting starting place for it. I will say, I don’t particularly appreciate the strangely upbeat instrumental section that concludes the song, and tend to skip it, as it feels completely disjointed from the rest of the song and its emotions.
Side 2, on the whole, is weaker than Side 1. There are just two songs with lyrics – The Voice and Day After Day (The Show Must Go On) – neither of which particularly hooked me, but there’s still time for that to change. While I was happy to sit through all the bonus tracks for some of the earlier songs, Day After Day was so flippin’ repetitive that I got fed up and refused to sit through eight different versions of it on CD 4. However, I do appreciate the classic-era Pink Floyd vibe that both these songs have; they feel like some Roger Waters offcuts.
More interesting are the instrumental numbers, including the experimental Nucleus – giving On the Run vibes (let’s not forget that Alan Parsons engineered The Dark Side of the Moon) – and the haunting Total Eclipse, featuring a terrifying discordant choir. The latter reminded me distinctly of the Star Gate sequence in 2001: A Space Odyssey, and I was gratified to read the booklet’s interview with Alan Parsons, where he revealed that film was precisely the inspiration.
I’ve read that some people love Genesis Ch. 1 V. 32, which closes this album, but I’ve yet to feel satisfied by it. For my tastes, it’s a little short and lacks the oomph to give this concept album a forceful conclusion, even with a choir two hundred strong. Compared to the opening I Robot, this instrumental barely registers with me.
The Blu-ray adds to the lore of this album by presenting footage of Woolfson speaking meaningfully about each track, filmed in 2009, the same year he passed away after a decade-long battle with cancer. There’s also an extremely awkward music video for I Wouldn’t Want to Be Like You, which shows that the polish which Alan Parsons was known for only extended to audio and not video. Parsons and Woolfson muck about outside the dystopian-looking National Theatre on London’s South Bank, Woolfson wearing a bizarre black mask and Parsons running away. While some of the shots have good framing, the execution is extremely amateur. I doubt they sold many records this way.
While it’s by no means a perfect record, I’m impressed by how much this one grew on me and I can see how it cemented its place in people’s hearts as a classic. I feel grateful to have been introduced to it by this ‘bells and whistles’ set which gives the listener all the background they could ever need and more to experience I Robot fully. It’s a shame that options like this don’t exist for more old albums; a group as famous as the Alan Parsons Project will undoubtedly have a plethora of literature around each release while magnificent albums like Pictures by the obscure Swiss group Island will forever remain shrouded in mystery… and possibly a bit of imagination too.
TRACK LISTING
CD 1
01. I Robot (6:02)
02. I Wouldn’t Want to Be Like You (3:23)
03. Some Other Time (4:05)
04. Breakdown (3:53)
05. Don’t Let It Show (4:25)
06. The Voice (5:23)
07. Nucleus (3:33)
08. Day After Day (The Show Must Go On) (3:47)
09. Total Eclipse (3:12)
10. Genesis Ch. 1 V. 32 (3:20)
~ Bonus tracks:
11. US Radio Commercial for I Robot (1:04)
12. I Robot (Boules Experiment) (2:02)
13. I Robot (Hilary Western Soprano Vocal Rehearsal) (1:35)
14. Extract 1 from the Alan Parsons Project Audio Guide (1:07)
15. Extract 2 from the Alan Parsons Project Audio Guide (1:01)
16. I Wouldn’t Want to Be Like You (Backing Track Rough Mix) (3:31)
17. Some Other Time (Complete Vocal by Jaki Whitren) (3:47)
18. Breakdown (Early Demo of Backing Riff) (2:11)
19. Extract 3 from the Alan Parsons Project Audio Guide (0:35)
20. Breakdown (The Choir) (1:53)
21. Don’t Let It Show (Eric Woolfson Demo) (3:29)
22. Day After Day (Early Stage Rough Mix) (3:41)
23. Genesis Ch. 1 V. 32 (Choir Session) (2:21)
24. The Naked Robot (10:20)
Time – 79:30
CD 2
01. I Robot (Outtake and Rough Mix) (10:22)
02. I Robot (Experimental Lead Guitar Part with Guide Count) (3:54)
03. I Robot (John Leach Kantele Takes) (1:16)
04. I Robot (Ian Bairnson Rhythm Electric Guitar) (3:09)
05. I Robot (Choir Takes) (3:22)
06. I Robot (Early Mix Before Choir) (5:16)
07. I Robot (Single Edit) (4:10)
08. I Wouldn’t Want to Be Like You (Slower Backing Outtake) (3:00)
09. I Wouldn’t Want to Be Like You (Eric Woolfson Keyboard Take) (3:21)
10. I Wouldn’t Want to Be Like You (Ian Bairnson Electric Rhythm Guitar) (2:35)
11. I Wouldn’t Want to Be Like You (Early Mix of Backing Track) (3:22)
12. I Wouldn’t Want to Be Like You (Lenny Zakatek Alternative Vocal) (3:23)
13. Some Other Time (Eric Woolfson Piano Take) (3:34)
14. Some Other Time (Ian Bairnson Acoustic Guitar Takes) (3:26)
15. Some Other Time (Ian Bairnson Lead Electric Guitar Takes) (1:17)
16. Some Other Time (Rough Mix with Jaki Whitren Alternative Lyrics and Ad libs) (4:23)
Time – 59:46
CD 3
01. Breakdown (Eric Woolfson Keyboard Part) (2:51)
02. Breakdown (Projectron and Bass) (1:18)
03. Breakdown (Ian Bairnson Acoustic Guitar Takes) (2:13)
04. Breakdown (Ian Bairnson Electric Guitar Harmony Solo) (0:27)
05. Breakdown (Strings, Brass & Horns Take) (1:39)
06. Breakdown (Rough Mix and Alternative Backing Track Outtake) (7:52)
07. Breakdown (Rough Mix of Backing Track) (4:07)
08. Don’t Let It Show (Eric Woolfson Piano Takes) (3:18)
09. Don’t Let It Show (Eric Woolfson Organ Take) (1:47)
10. Don’t Let It Show (Recorder & Horns Outtake in Key of D) (1:00)
11. Don’t Let It Show (String Section Take) (3:10)
12. Don’t Let It Show (Woodwind Take in Key of D) (1:36)
13. Don’t Let It Show (Backing Track Early Rough Mix) (4:09)
14. Don’t Let It Show (Rough Mix with Alternative Orchestra Score) (4:52)
15. Don’t Let It Show (Extended End Section) (1:36)
16. The Voice (Rough Mix with Extra Strings and Alan Parsons Vocoder) (6:13)
17. The Voice (Backing Track Rough Mix) (4:09)
18. Nucleus (Experimenting with Sound Effects) (4:37)
19. Nucleus (Talking Sound Effects) (1:06)
20. Nucleus (Stuart Tosh Drum Take with Delay) (1:10)
21. Nucleus (Projectron Only) (4:04)
Time – 63:03
CD 4
01. Day After Day (The Show Must Go On) (BJ Cole Steel Outtake) (4:28)
02. Day After Day (The Show Must Go On) (Synth Experiments) (4:04)
03. Day After Day (The Show Must Go On) (Eric Woolfson Celeste Take) (4:06)
04. Day After Day (The Show Must Go On) (Ian Bairnson Acoustic Guitar Take) (4:00)
05. Day After Day (The Show Must Go On) (BJ Cole Pedal Steel Take) (3:59)
06. Day After Day (The Show Must Go On) (Backing Vocals) (1:47)
07. Day After Day (The Show Must Go On) (Backing Track) (4:11)
08. Day After Day (The Show Must Go On) (Single Edit) (3:43)
09. Total Eclipse & Nucleus (Choral Experiments) (1:45)
10. Total Eclipse (Choir Only) (4:15)
11. Genesis Ch. 1 V.32 (Alan Parsons Demo) (1:59)
12. Genesis Ch. 1 V.32 (Everything But the Choir) (2:41)
13. Genesis Ch. 1 V.32 (Ian Bairnson Acoustic Guitars) (1:36)
14. Genesis Ch. 1 V.32 (Strings Only) (1:53)
15. Genesis Ch. 1 V.32 (Backing Singers & Choir Take) (2:20)
16. Alan Parsons Spacey Vibraphone (1:38)
17. Eric’s Jupiter (Start of Gemini Idea) (2:52)
18. Taking It All Away (Eric Woolfson Songwriting Diary First Version) (3:26)
19. I Robot Radio Adverts (1:47)
Time – 56:20
Total Time – 4:18:39
2LP vinyl (45RPM)
Side 1
01. I Robot
02. I Wouldn’t Want to Be Like You
Side 2
01. Some Other Time
02. Breakdown
03. Don’t Let It Show
Side 3
01. The Voice
02. Nucleus
03. Day After Day (The Show Must Go On)
Side 4
01. Total Eclipse
02. Genesis Ch. 1 V.32
Blu-ray
2025 – Dolby Atmos Mix
01. I Robot
02. I Wouldn’t Want To Be Like You
03. Some Other Time
04. Breakdown
05. Don’t Let It Show
06. The Voice
07. Nucleus
08. Day After Day (The Show Must Go On)
09. Total Eclipse
10. Genesis Ch. 1 V.32
2025 – 5.1 Mix
01. I Robot
02. I Wouldn’t Want To Be Like You
03. Some Other Time
04. Breakdown
05. Don’t Let It Show
06. The Voice
07. Nucleus
08. Day After Day (The Show Must Go On)
09. Total Eclipse
10. Genesis Ch. 1 V.32
HD 96/24 Stereo Remaster
01. I Robot
02. I Wouldn’t Want To Be Like You
03. Some Other Time
04. Breakdown
05. Don’t Let It Show
06. The Voice
07. Nucleus
08. Day After Day (The Show Must Go On)
09. Total Eclipse
10. Genesis Ch. 1 V.32
Video Content
01. I Wouldn’t Want To Be Like You (Promo Video)
02. Eric Woolfson Interview
MUSICIANS
David Paton – Bass (1–8 & 10), Acoustic Guitar (3 & 10), Backing Vocals (8)
Stuart Tosh – Drums (1–8 & 10), Percussion (5 & 6), Water Gongs (7)
Ian Bairnson – Electric & Acoustic Guitars (1–8 & 10), Backing Vocals (8)
Eric Woolfson – Clavinet (1 & 3), Fender Rhodes (2), Wurlitzer (2,4 & 6), Piano (3,5 & 8), Organ (5), keyboards (7 & 10), Backing Vocals (8)
Alan Parsons – Projectron (1, 3–4 & 6–7), Synthi-A Sequencer Programming (1 & 8), Acoustic Guitar (5), Vocoder (6), Tape Loops & effects (7), Backing Vocals (8)
Duncan Mackay – Keyboards (1,4,7 & 10)
B.J. Cole – Steel Guitar (8)
Andrew Powell – Hammond B-3 Organ (8)
John Leach – Cimbalom, Kantele (1 & 3)
Lenny Zakatek – Vocals
Allan Clarke – Vocals
Steve Harley – Vocals
Jack Harris – Vocals
Peter Straker – Vocals
Jaki Whitren – Vocals
Dave Townsend – Vocals
The English Chorale – Vocals
The New Philharmonia Chorus – Vocals
Hilary Western – Soprano Vocals (1)
Tony Rivers – Backing Vocals (3 & 10)
John Perry – Backing Vocals (3 & 10)
Stu Calver – Backing Vocals (3 & 10)
Orchestra & Choir arranged and conducted by Andrew Powell
ADDITIONAL INFO
Record Label: Cooking Vinyl
Country of Origin: UK
Date of Release: 17th October 2025
LINKS
Alan Parsons – Website | Facebook | YouTube (APP) | YouTube | X | Instagram | Super Deluxe Edition Info
