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Three tracks were released as singles but the album induces multiple playing in a day. In fact, the album scored much higher on charts over here than at home. Hence, at times I Robot sounds a bit too well-mannered and conjures up a time that bore witness to the musical scene after the British Invasion. But there lies a demonstration of instrumentation master class in the forty-one minutes of play time from beginning to end.
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Works like track 4, “Breakdown,” feels more rooted in the imperial, seventies social consciousness to me, thus less avant-garde than the rest of the album and then there is “Don’t let it show,” the very next track that begins with a melancholic organ and carries on with a bit of calculated sense of haste and zeal, which I think is a classic. British rock of the time carried a different set of methods and sound not used by our American rock stars. The man in his younger years could play and then some. There are elements of skill-flaunting at times than musical innovation and that’s ok. The playing feels more inspired than crafted in execution and that bodes very well with my ears. Between Hollywood’s need to constantly show films of more shocking effects and our craving for a modicum of normalcy came visionaries like Alan Parsons, who took us to a more manageable, transient reality via his music. But then, cars were fewer and pace of life was more leisurely while life felt no less hectic just the same. Young people actually sat still and listened to a whole forty-some minutes of pure sound through a needle-based home stereo system, having to use their imagination to relate to the message being conveyed. It was the days of showmanship even for Alan Parsons back in the seventies, albeit late seventies, and those days of pre-videotapes welcomed more indulgent musical and sonic creativity archived to the vinyl. So, I Robot is not to captivate its audience with words of contemplated political outcries but with sheer musical force. Then again, how else can a Hollywood producer make us relate to a mechanical antagonist? In the end, those films fell short by making the robot more human-like and thus less believable. Hollywood writers impose human values and fallacies into the machines and then make them genocidal. As the conceptualization of the album was based on the Robot Trilogy novel series of the Grand Master of the genre himself, Issac Asimov, it was perhaps sheer providence when both Alan Parsons and George Lucas were making their way in the science fiction world, producing their masterpieces.īut this is music from the seventies, whether any of us really find the lyrics as compelling as say “Sheep” by Pink Floyd is debatable. The very prolific and talented Grammy favorite Alan Parsons produced I Robot as his own second album in 1977, the same year Star Wars was unleashed upon our collective psyche.
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