The music of only a few rock acts is so predestined for a symphonic realization as that of the Alan Parsons Project. Here rock sounds, electronic components and orchestral music merge to form an art rock jewel. Andrew Powell, who has worked with avant-garde composers such as Karlheinz Stockhausen and György Ligeti, took on the role of arranger and conductor on the albums. His work comes fully to bear in the live implementation. Alan Parsons (67) reports how it came to "Live In Colombia".
eclipsed: Your music has always had an orchestral touch. How did the Alan Parsons Symphonic Project come about?
Alan Parsons: There was this opportunity to do a live television show in Colombia with the Medellin Philharmonic Orchestra. In addition, there was the option of recording the whole thing visually appealing with several cameras using the multitrack method. We didn't want to miss this opportunity. Surely after the normal live releases with band this is also a dream for me.
eclipsed: How did the implementation with orchestra go?
Parsons: Andrew Powell's original arrangements are very ambitious, a challenge. But we only made a minimal change to it. We had a single rehearsal with orchestra and choir. When we wanted to start the show, the sound engineer stopped us because the PA was over. Only twenty-five minutes later, the show had to start. I have no idea how they solved the problem so quickly.
eclipsed: How did you choose the songs?
Parsons: Well, we have well embedded the pieces that people usually want to hear live. We could never play "Silence And I" live without an orchestra. Also "The Turn Of A Friendly Card" in complete length and with full orchestra was a real pleasure.
