Ask Andrew

This is the section of the website where you can submit questions to Andrew about his work. We will regularly post answers to questions submitted here that we feel are of interest to fans. Below are the most recent questions and answers. As we receive and answer more questions, we will archive them here also. Please use the form at the bottom of the page to submit your questions.

Question-Orchestra Players on Wuthering Heights

Samuel from the United Kingdom submitted the following enquiry:

Hi Andrew, is there any way I can find out who the orchestra players were who played on Kate Bush's song 'Wuthering Heights'? I watched a video about the recording of the song on youtube in which mentions that in the orchestra there were, I believe, 8 first violins, 6 second violins, 6 violas, 6 cellos, and also 3 French horns. I would love to find out who any of the orchestra members were by name. I also would love to find out the exact recording dates of the 'Wuthering Heights' sessions.

Samuel

Answer

Hello Samuel,

Thank you for your question - not one I’ve been asked before! As you will appreciate, these sessions were over 45 years ago, so memories have dimmed somewhat since then. You will obviously know who all of the members of the rhythm section were, as they are listed on the album. The numbers you give for the orchestra are almost correct - string numbers are right, but there were 4 French horns. I should be interested to know which youtube video you found this information on? The orchestra was booked by David Katz, who was one of the 1st violins. The leader was Jack Rothstein, Homi Kanga also played violin, George Turnlund and Kenneth Essex were among the viola section, and Tony Pleeth, Clive Anstee and Denis Vigay were in the cello section. I cannot remember any more than that unfortunately. I also do not remember which days we recorded the track, rhythm overdubs, orchestra and vocals - nor does Jon Kelly, whom I asked about those dates today.

Best wishes,

Andrew

Question-Clouds Over Aysgarth and Dusk over Tenby

Nicola from Italy submitted the following enquiry:

Hi Andrew. Could we know more about your little compositions like "Clouds over Aysgarth" and "Dusk over Tenby" which served as introductions to famous songs by Rice and Webber?

Best Wishes,

Nicola

Answer

Hello Nicola,

Thank you for your question. I was asked to work on several records with the producers Jeff Jarratt and Don Reedman, one of which was a collection of songs by Tim Rice and Andrew Lloyd Webber, as well as albums by the German Tenor Peter Hoffman, Michael Crawford, and a couple of other Classic Rock albums. The two titles you mention are introductions which I composed to a couple of songs on these albums - something I did on several of them. “Clouds over Aysgarth” actually has nothing to do with Rice and Lloyd Webber - it was the introduction to an orchestral version of Phil Collins’ song “In The Air Tonight.” The introduction is a mixture between a “spacey” and Baroque feel, also including a marimba pectacular, and, unusually for a “Classic Rock” album, the vocal parts are nearly all there - but performed by a large choir, all of which made the famous drum entry more surprising. The other introduction which i wrote “Dusk Over Tenby” was indeed to a Tim Rice song, (Can You Feel The Love Tonight) but the music for this was written by Elton John, not Andrew Lloyd Webber. My introduction was influenced by the great Venetian composer, Giovanni Gabrieli, whose style was the bridge between the Renaissance and Baroque periods in music.

Best wishes,

Andrew

Question-Clouds Over Aysgarth and What Goes Up

Francesco from Italy submitted the following enquiry:

Andrew, just recently I noticed a strong similitude between two strings arrangements you done for two different projects: your version of “What Goes Up…” included in the 1983 album “A.P.A.T.P.O.P.T.B.O.T.A.P.P.” and the track “Clouds Over Aysgarth/In The Air Tonight” (from the 1989 album “Classic Rock - The Living Years” by The London Symphony Orchestra). Listening from timing 04:37 to 04:56 of “What Goes Up…” and from 01:21 to 01:42 of “Clouds Over Aysgarth” the similarity seems very clear to me. Was it intentional? Also, could you tell me about the origin of the track “Clouds Over Aysgarth” you composed, arranged and conducted? What that title is referring to. Thank you in advance and, once more, thank you for your music and your precious time answering this questions.

Thanks,

Francesco

Answer

Dear Francesco,

Ciao Nicola.

It is true that I was approached by EMI Classics in 1995, when I was on tour in America with Alan Parsons, about arranging and producing a “crossover” record with the Scorpions and the Berlin Philharmonic Orchestra. I did arrange, and we did actually record, several titles (WInd of Change, Crossfire, Send Me an Angel, Still Loving You, Lovedrive, Is There Anybody There?) in Berlin with the BPO conducted by myself, and recorded many overdubs with the Scorpions in their own studio. I thought, as did EMI, that the results were rather good, so we mixed several of them at Abbey Road Studios. However, unfortunately, there was a problem between two record labels. The Scorpions were originally with EMI, but had signed to East West just before this idea arose. They originally suggested it to East West, who said they weren’t interested. So they went back to EMI, who said they were interested, and would fund the recordings - interestingly, it was the Classical division at EMI, in particular their excellent manager Peter Alward. The Berlin Philharmonic, which is of course one of the world’s top orchestras, is one of the most expensive orchestras in the world to record - they have high fees, and also ask for a percentage on every record! Once we had started work on this, and progressed quite a long way, East West began to imply that they had chenged their minds, and would be interested in the record after all. As a result of this, on one of the sessions we did in Berlin, EMI asked me to do a new version of John Miles’ classic song “Music”, as a “backup” in case the label problems increased, which I re-arranged for a much larger orchestra that the original. The Scorpions by then weren’t allowed to perform live on the sessions, or even to record backing tracks prior to my orchestral sessions, which meant that I had to do mock-ups of the backing tracks in my home studio.

We did the first sessions in Berlin with the orchestra, and John Miles performed live with them, again with myself conducting. He played piano, harpsichord, and sang live with the recording. I later went into a studio in London and added the rhythm section for this - with a top group including Laurie Cottle on bass, Paul Keogh on guitars, Ian Thomas on drums, and Nigel Hitchcock on sax.

Meanwhile, East West records had had a huge hit with Sarah Brightman and Andrea Bocelli’s “Time to Say Goodbye” (“Con Te Partiro”) and decided that the Scorpions idea may now be a good one. They originally decided to ask Michael Kamen to do the arrangments, but he later pulled out, and they went to Christian Kolonowitz to do the charts.

Several of the original titles were mixed and finished - as was the John Miles track - the results are probably still languishing in a vault somewhere owned by one of EMI’s successors…. A shame, as there were some good tracks there, and they cost EMI a lot of money!

Best wishes,

Andrew

Question-Crusader by Chris De Burgh

Leon from Ireland submitted the following enquiry:

Hi Andrew. I'm an absolutely huge fan of your work particularly with The Alan Parsons Project. But my question today is about another favourite of mine; Crusader by Chris De Burgh. As a musician myself I would love to hear how the odd time signature in the solo section of the title track came about. Who's idea was it and was there any opposition to it? Did anyone think a 4/4 signature would have worked better? Fantastic playing by Ian as usual. Thanks Andrew

Answer

Dear Leon,

Thank you for your question, and your comments about my work. As you correctly say, the instrumental section in the middle of the song “Crusader” is not in 4/4 - it’s actually a repeated pattern of 12 bars of 7/16, followed by a bar of 13/16. It was basically my idea, and there was no opposition to it from anyone. I don’t recall anyone saying thart they thought that a 4/4 signature would work better - the rhythmic pattern we have here is rather disturbing and disorientating, which was the whole idea, given what is happening in the storyline at this point in the song! Ian was indeed on good form on those sessions - as were all of the players involved, I feel.

Best wishes,

Andrew

Question-Remembering John Miles

Brian from the UK submitted the following enquiry:

We recently lost the great John Miles after a short illnes . The man was a genius and you worked with John an awful lot over the years on various projects. What are your memories of working with John especially on the orchestration for the classic Music song?

Answer

Thank you for your question. John is indeed a huge loss to the world of music.You ask about my memories of John. They are many: in my memory, he was indeed an extraordinary talent: a remarkable singer, guitarist and keyboard player, and also a great writer. I first worked with him on his single “High Fly”, and then of course on his album “Rebel” - arranging many of the tracks on the album, which was a real pleasure to work on. The tracks I arranged included, of course, “Music” - but others were special - “When You Lose Someone so Young” was a particular favourite of mine, and ilustrates his vocal range. There followed a couple of television shows, and then his work on the APP record “Tales of Mystery and Imagination” - to which he contributed some superb vocals. As you willl know, he was called upon to work on manyof the later APP albums - and also what started life as the last APP album - “Freudiana” - to all of which his vocal contributions were of excellent, if not unforgettable, quality. I also worked on a later album of John's, entitled “More Miles per Hour” - again, some great songs, beautifully played and with his own touch of magic in the vocals.

Apart from that work, he worked with me on a couple of albums which I was producing: in particular his contributions to the Telstar album “Performance - the Very Best of Tim Rice and Andrew Lloyd Webber” were amazing: he sang two songs on the record - the first being “Close Every Door” from Tim and Andrew’s musical "Joseph and the Amazing Technicolour Dreamcoat” - one of the few tracks I have ever mixed where we didn’t add any echo/reverb to the vocal at all - it didn’t need it! Most unusual, and a credit to his artistry and perfect intonation. The second song he sang on the album was “Pity the Child” - a phenomenally difficult song from the musical “Chess”, written by Tim Rice with Benny Andersson and Björn Ulvaeus from Abba. This song changes time signatures all over the place. He only did two takes in the studio - either of which I could have used - they were both brilliant. He told me after the session that he had only started to listen to the song that morning when he got on the train from Newcastle to London. I know very few singers who could have learned it - and performed it to that standard - in so short a time. The other track we recorded together was a new version of “Music”, to which I wrote an orchestral introduction. We recorded it live in Berlin with John singing and playing piano and harpsichord, and with me conducting the Berlin Philharmonic Orchestra. I later added drums (Ian Thomas), bass (Laurence Cottle) and guitar (Paul Keogh) and a saxophone solo in place of the original guitar solo (Nigel Hitchcock) back in London at Town House Studio. The sessions were paid for by EMI Classics, but unfortunately have never been released.

A rather special performance with John was at the first ever live concert given by Andrea Bocelli in Brussels. John had sung on a duet with Andrea on his album “Romanza" entitled “ Miserere”. I was brought in to spice up the arrangement of that, and also arrange another song for them as a duet “Per Amore", and to appear as guest conductor - conducting both of those titles and also a performance of "Music” with John - which was a particular favourite of Andrea’s. John also appeared for many years at the concert series called “The Night of the Proms”, which began in Antwerp, and eventually was travelling all over Europe - several weeks of shows in very large auditoriums. The concerts had a full symphony orchestra, and a large choir, and featured artists such as Toto, Al Stewart, Jo Cocker, Status Quo, Meat Loaf and The Alan Parsons Project (the only time the group ever performed live under that name), as well as a mixture of popular Classical titles. John was there, singing “Music” on virtually every show - with an updated arrangement for full orchestra which I had provided (as the original didn’t have any woodwind on it). He was also in charge of the rhythm section for the whole show… He gave some spectacular vocal performances apart from his own song “Music” - among those I particularly remember were “Bohemian Rhapsody”, “Born to Run”, and “All by Myself”. He always made it appear as though everything came easily to him.

John will be much missed by the world of music, and also by his many friends. I shall certainly miss his friendship, professionalism, his enjoyment of life (especially good food and wine), and his great sense of humour...

Best wishes,

Andrew

Question-The Sicilian Defence

Julian from Germany submitted the following enquiry:

Hi Andrew,

Hello Andrew. Just found this site almost by accident. I'm currently revisiting the Project albums and have long since thought your arrangements (especially those French horns) were one of the best things about the group.

Now I also listened a bit to "The Sicilian Defence" (as you probably know, it was finally released in 2014) and was surprised to hear two short tracks with a bit of orchestra (and choir). Given that Alan and Eric put this album together in three days (according to what I read), is it safe to assume that they simply recycled outtakes from other recordings? "Kt-B3" sounds like an early take on the "Lucifer" intro, and "Kt-QB3" reminds me strongly of "Total Eclipse".

As an aside, IMO the last two tracks on that record really have strong enough themes that I wish you wrote a score for them. I can hear it in my head... Those ideas put into a "finished" form would be a good angle for some kind of Project project (hehe), as proposed by Fernando above.

All the Best,

Julian

Answer

Dear Julian,

Thank you for your email and your kind comments about my work (and, yes, as you mention, I did always enjoy writing for French Horns - they became one of the “trademarks” of the Project sound.)

I’m not quite sure about the three day story, as I wasn’t there, but it certainly was done quickly, and was, so Eric told me, never intended for release. I can certainly confirm that I did no orchestral session for this album. I must admit that I had never listened to the album until trying to answer your question. Kt-B3 sounds to me very much like sections from the score I wrote for the Cockney Rebel song “Ritz”, which Alan produced. The other track you mention, …Kt-QB3 - I think consists of sections taken from various other APP tracks - I’m not sure I heard any of “Total Eclipse” in there - I think the vocals are backing vocals rather than a choir. I’m not really sure where all of these bits were found!

There are actually two tracks called Kt-QB3 on the album, and I thought you meant the one after Kt-B3, and listened all the way through it. I have to say I thought that it was extremely boring! I don’t think that I would be very interested in working on any of the tracks on this album, I‘m afraid; and in any case, no record company has ever asked me to do so!

Best wishes,

Andrew

Question-Shelleyan Orphan and Ail Symudiad

Nicola from Italy submitted the following enquiry:

Hello Andrew,

Could you tell me about your collaboration (specifically in which songs exactly did you participate) with "Shelleyan Orphan" and "Ail Symudiad"?

Regards,

Nicola

Answer

Ciao Nicola,

Well, that’s an puzzling one. I know that I did play on a track, or some tracks, by the group “Shelleyan Orphan” - I was asked to play on it by the producer, Haydn Bendall. However, I have absolutely no idea which tracks I played on. I see from discogs.com that I am supposed to have played piano and harpsichord on the album “Helleborine”, but more than that I’m afraid I can’t tell you.

You ask also about Ail Symudiad. This is a Welsh language group based in Cardigan . They have a studio there, in which I produced several tracks with the Welsh singer Robyn Lyn. Wyn Jones and his brother Richard were the two mainstays of the group: Wyn was also a recording engineer: they asked me if I would like to play on an album - a couple of tracks needed keyboard overdubs, and as soon as I listened to them I was happy to agree. THe two titles were: “Rifiera Cymreig” (the title track of the album), on which I played Hammond Organ, and "Grwfi Grwfi”. on which I played a Fender Rhodes electric piano. I did appear on several live TV shows with the group, playing general keyboards...

Best wishes,

Andrew

Question-Re Jigue Contribution

Javier from Spain/Bolivia submitted the following enquiry:

Hi Andrew,

How much of the wonderful track 'Re Jigue' was composed by Alan Parsons, and how much did you get involved in the creative process of writing the track? What's your favourite TAPP track regardless of your own work on it and the one in which you felt best with your own arranging work? Thanks and congratulations for great musicianship.

Thanks,

Javier

Answer

Dear Javier,

Thank you for your question, and I am pleased that you like the track. This isn’t always the case with co-writes, but I think that with this title it would be correct to say that it was an exactly 50/50 effort between Alan and myself. Obviously all of the orchestration was down to me, and a lot of the counter-melodies as well, but the main material was a 50/50 split. My favourite APP track (the track you mention, Re-Jigue, was not an APP track, as I’m sure you know - it was on Try Anything Once, the first album we did after Eric Woolfson had left the group) would probably be The Fall of the House of Usher. I still think the first album, Tales of Mystery and Imagination, is my favourite - Alan said the same the last time we spoke about this.

Best wishes,

Andrew

Question-Italian Artists

Nicola from Italy submitted the following enquiry:

Ciao Andrew,

Have you ever received job offers from Italian artists, especially during the 70s and 80s? Were there any of our artists / singers from those two decades that perhaps you esteemed?

Thanks,

Nicola

Answer

Hello Nicola. I don’t recall working with any Italian artists in the 1970s or 1980s. The only Italian artist I ever worked with was Andrea Bocelli. I did a couple of arrangements for him - and was guest conductor at his first ever live concert in Brussels in the mid 1990s. The other guest artist was John Miles. I conducted a performance of John's song “Music”, and also a duet with Andrea - “Miserere” - the Zucchero song: an amazing performance by two great singers. I also wrote a new arrangement of “Per Amore” for the show. On the Classical side, I worked with Luciano Berio on a couple of occasions - a concert with the London Symphony Orchestra and a recording of some of his music with the same orchestra. I am a big admirer of his work. There are several Italian artists whom I have liked: in particular Paolo Conte - both on record and live, but also Zucchero.

Best wishes,

Andrew

Question-Kate Bush Questions

Darrell from the USA submitted the following enquiry:

Dear Mr. Powell,

I hope this email finds you well, amid the unprecedented concerns of this pandemic. I have a few questions regarding your work with Kate Bush if at all possible. I have been a fan since I was a teenager. Your work as a conductor, arranger, composer and record producer, amongst other things, is iconic. Thank you! Here are my main Kate Bush questions:

1. Do you remember what the unreleased song 'Never For Ever' was about and sounded like? Was it upbeat or more ballad-like? Did you arrange the orchestration and conduct it?

2. I know 'Blow Away' was on the 'Never For Ever' album, but was this an earlier song that you also arranged? I noticed that you have conducted the London Symphony Orchestra, and wondered when Kate sang it for their 75th anniversary, whether you arranged the orchestration and conducted it then? This was in 1979 a year before it was released in 1980.

3. Is it right that you played the piano for 'Saxophone Song' on 'The Kick Inside'? I could go on of course, but those would be my main questions. Thank you for your time in reading this.

All the Best,

Darrell

Answer

Dear Darrell,

Thank you for your questions, and your generous comments about my work. To answer your three questions:

1. Yes I remember the song very well. It was probably my favourite song which we recorded for the “Lionheart” album, but, unfortunately, wasn’t included on the record in the end, because Kate wasn’t 100% happy with her vocal. It was a beautiful ballad - Kate sang it at the piano - and was just for Kate with her piano, (no rhythm section) and a large string orchestra. We recorded Kate at Superbear Studios in the South of France, and the orchestra parts at the original AIR studios in Oxford Circus, London. I think it may have been the best arrangement I ever did for Kate - Kate loved it too - so I wish it could be allowed to see the light of day sometime. It was a great, and very intimate, song.

2. No, I’m not sure that I had even heard “Blow Away” before that album was released; and, yes, I have conducted the London Symphony Orchestra on several occasions, but was not there with Kate at their 75th birthday celebrations.

3. Yes, it is right. I did play the piano with the rhythm section, and also played the electric piano part on the song afterwards as an overdub. This again was at the original AIR studios, with the late, great Geoff Emerick engineering.

Best,

Andrew

Question-Colm Wilkinson

Nicola from Italy submitted the following enquiry:

Ciao Andrew,

I would like to know something about this singer/composer Colm Wilkinson with whom you fleetingly collaborated in the 70s but which I think of most of your fans, they don't know.

Thanks,

Nicola

Answer

Hello Nicola.

I did work with the singer Colm Wilkinson - he became known as the original Jean Valjean in the London production of “Les Miserables”- and then went on to work on The Phantom of the Opera in Canada. I first did some concerts with him, in, I believe, 1984 - a charity show at the Hilton in London with Tim Rice and Elaine Paige: then we did the same concert in Hong Kong with the Hong Kong Philharmonic Orchestra, which I conducted. I later worked with him on a compilation album which I produced and arranged for the now defunct Telstar label with the APP rhythm section (including Richard Cottle), entitled “Performance: The Very Best of Tim Rice and Andrew Lloyd Webber” in 1986, on which Colm sang “The Least of my Troubles” from Tim and Stephen Oliver’s musical Blondel, and duetted with Jimmy Helms on “I am the Starlight” from Andrew’s musical Starlight Express. I also recorded some tracks with him, co-produced by Tim Rice and myself at Abbey Road Studios, - recording a version of “Anthem” from Chess, and a version of the Tim Rice/Elton John song “The Legal Boys”. He is a very fine singer - his version of the title track from “Jesus Christ Superstar” always brought the house down - and had the musicians applauding him, too.

Best,

Andrew

Question-Christmas Album

Ronnie from Canada submitted the following enquiry:

Hi Andrew!

First off I must say that your work on all the APP albums made the songs even more enjoyable, as did your work with Al Stewart. Have you ever done or thinking about doing a Christmas album...? Love your work, you are amazing musician.

Sincerely,

Ronnie

Hello Michael.

I would be quite happy to see a re-release of the album, on both CD and vinyl, but it’s not up to me: the masters were owned by EMI, so are now probably owned by Warner Music UK. I’m not sure whether they would consider re-reeasing the album, but I will try to find out!

Best,

Andrew

Question-Stomu Yamash'ta & Donovan

Nicola from Italy submitted the following enquiry:

Hello Andrew.

I wanted you to tell me about your very first record experiences with two very different characters such as: the virtuoso percussionist "Stomu Yamash'ta" and "Donovan" for the album "Essence to essence" where I consider your arrangement for the song "Sailing Homeward" as one of the most successful.

Regards,

Nicola

Answer

Ciao, Nicola.

Stomu Yamash’ta:

When I was at university, I was in a group called “Intermodulation” which worked with Stockhausen. among other composers. It was formed by the composers Roger Smalley and Tim Souster, who asked me to join (the group also played works by all three of us) and they also asked a keyboard and bassoon player called Robin Thompson to join. After I left Cambridge, we did a concert at the “Proms” in the Royal Albert Hall, which was my last performance wth the group. I then formed a group with Robin, and a brilliant percussion player and composer called Morris Pert, which was called “Come to the Edge”. We did several concerts, mainly in universities, and Morris mentioned that he had been working with the Japanese percussion virtuoso Stomu Yamash’ta. We did a rehearsal with Stomu, and got on really well. We played several festivals - the Paris Biennale, Royan, and Perigord among others, then did a concert at the Queen Elizabeth Hall, part of the South Bank Centre in London. The concert was recorded (the recording was produced by my friend Nick Mason), and was released by Island Records in Europe and the USA, and King Records in Japan.

Donovan:

Andrew

Question-Tour in support of Scrabble Album?

Julia from the UK submitted the following enquiry:

Dear Andrew

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

https://youtu.be/nkOP9y_eZto

https://youtu.be/n6WyJwLMKbs

Thanks in advance

Julia.

Answer

Dear Julia,

I remember doing that programme - in Madrid. The sound on both videos does, unfortunately, leave a lot to be desired! The answer to your question is, no, I didn’t tour in the end - I was too busy on other projects (such as “Ladyhawke”, Al Stewart’s “Russians and Americans” and the APP’s “Ammonia Avenue") the year after the Scrabble album was done. Btw, it’s the Philharmonia orchestra, not the Philharmonic, although I often see it written that way...

Best,

Andrew

Question-Tales of Mystery and Imagination Score

José from Spain submitted the following enquiry:

Hello Andrew,

In some previous answers you stated that a 'Tales of Mystery and Imagination' book exists containing some excerpts of the orchestral works you were involved in. I was not aware of that book but (as you might expect) I am very interested in purchasing it. However, I have not been able to find how or where to buy it. Is the book still available for sale? In case it isn't, how could I get the full score of The Fall of the House of Usher (especially the Prelude). I am also a musician and love studying and analyzing Mahler, Holst, Ravel, Debussy or Richard Strauss scores, just to name a few. I think that your Prelude deserves a place among all of them.

Thank you in advance,

José

Answer

Dear José,

Thanks you for your email, and for your kind comments about my work. There was indeed a book published of the whole "Tales of Mystery” album, for which I did voice and piano arrangements of all the songs, and piano reductions of the “Usher” suite - together with a photocopy of the orchestral score of “The Fall.” However, I don’t believe it’s been available for years now. The book is 108 pages long and was published in the USA by Columbia Pictures Publications. Unfortunately, there is no published edition apart from that of any of this material so far as I know. Sorry I can’t be more help here... The book does show up on eBay from time to time. Below are some pics from the books.

Best,

Andrew

Question-Latest Projects

André from the Netherlands submitted the following enquiry:

Hi Andrew,

As a fan of The Alan Parsons Project, I am collecting all of the projects you are involved. Can you tell me your latest work?

Greetings André

Answer

Thank you for your question. I just had a look at the website, and realise that there are one or two areas which are overdue for updates. There have been three soundtrack albums released over the past 3 years, we just added to my discography. We are also working on an overhaul of the website which will include adding more information to the discography and fresh new look.

Regarding the soundtracks, the first was another version of the “Ladyhawke” soundtrack, which was put out by La-La-Land Records, a specialist film soundtrack company. This was a double CD released in 2014, which included all of the music from the film, and also bonus tracks - various pieces of music which weren’t used in the film, sometimes because scenes were cut or altered, and also several radio adverts which I edited for American radio for the film’s release. This release was limited to 3000 copies.

The next was a CD of the soundtrack which I wrote to the Columbia Pictures film “Rocket Gibraltar”, which was Burt Lancaster’s last film and Macaulay Culkin’s first (he was 6 or 7 years old when it was shot). This was strange and unusual - it was released 30 years after the release of the film! I was very pleased that Intrada Records (another specialist film-score company in Los Angeles) wanted to release this score, as I was extremely happy with my work on this film. The film has a kind of ”On Golden Pond” feel to it for me - it was a thoroughly enjoyable film to work on.

Finally, there was the release of the soundtrack to the short Italian film “Here we go again, Rubinot!” for which I had written the music, and recorded it in my home studio, with me playing all of the instruments, except for the vocals by Susanna Buffa, which were recorded in Rome. This was released by yet another specialist film soundtrack label, this time Kronos Records - who are based in Malta. The release was limited to 300 copies.

At the beginning of last year, I was phoned by the Belgian producer Wouter van Belle, with whom I had worked on Racoon, Helmut Lotti, Laïs and Delrue, who had an artist he was producing who he thought was really exciting. He sent me some tracks to listen to, and I completely agreed. Her name is Geike - a great voice and some really interesting and unusual songs. The budget was rather restricted, so I agreed (for the first time ever!) to write the arrangements, and then record them in my home studio with my wife Kirsten using a variety of high quality orchestral samples via midi,. The album is due to be released in October: there is a single out now in Belgium and Holland called “Offshore”. When we started working on the album Geike had a no. 1 record in Holland with the group Bløf called Zoutelande. I hope our one does as well!

As well as this, I have been writing some concert music - a new piece for John Wallace for two trumpets and piano, and also am at the moment working on another commission from the Welsh Arts Council and Ty Cerdd - a work for double brass quintet, which is due to have its first performance in November at the St. Andrew’s Arts Festival in Scotland. Further performances in New York and Cardiff are already scheduled.

Question-Close Circuit Soundtrack

Nicola from Italy submitted the following enquiry:

Andrew,

I wanted to ask you something more about a movie that is mentioned in your career but of which very little is known: "Closed Circuit". Thanks Nicola?

Thanks,
Nicola

Answer

Dear Nicola,

Thank you for your question. It is rather difficult to find any information about this film online. It was written by Nicholas Granby, who also directed it, and starred Keith Allen and Cheryl Prime. Keith Allen is quite well-known actor, with a long list of credits, and is also known as the father of the singer Lily Allen. It is basically a film about a robbery achieved by using closed circuit TV to observe when the area around the safe will be free. It was a short film, commissioned by Film 4, which was related to the UK TV Channel 4, and first shown on that channel in a series of short films they had commissioned. It was only about 15 minutes long; one reason I was interested in doing it (apart form the fact that I liked the film) was that there was no dialogue, so it was virtually “wall to wall” music, which meant that I had to move the drama forwards. I wrote it in my home studio, then went into Bray Studios, with Stuart Elliott on drums, Rob Rawlinson on bass, and a sax player whose name I forget. I played all f the many keyboard parts.

I quite like the score - I dug out my copy of it to listen to when I received your question. Maybe I should release it on an CD EP… The film won, among other prizes, the best short film prize at the Barcelona Film Festival in 1987.

Question-Soundtracks

Nicola from Italy submitted the following enquiry:

Ciao Andrew !

I’m pleased to see the news about Rocket Gibraltar: I have already ordered my copy that should arrive early next week; I cannot wait to hear it !!! As an old saying goes: "better late than never" I wanted to ask you, if possible, a question: why did you write so few soundtracks? Do you have any regrets about films that you were offered but then you refused?

Ciao
Nicola

Answer

Hello Nicola.

Thank you for your contact and question: I too am really happy that this film score is available on record at last. It took nearly 30 years!

The answer to your question is that I was offered some other films, but none of them grabbed me as much as Ladyhawke and Rocket Gibraltar - if I am going to spend weeks looking at a film while I’m writing the music for it, it’s essential to me that it’s a film I really want to watch that often and for that long. I did get offered some other films, a couple of them I turned down, others I couldn’t do because I was on tour or already working on an album, and one or two I quite liked but someone else got the job! There will, I think, be some more news on the film front fairly soon.

Andrew

Question-Alan Parsons and Antwerp concert

Marc from Belgium submitted the following enquiry:

Hi Andrew, thank you for all the music you've produced over the years. I have two questions:
1) Are you still in contact with Alan Parsons? He has announced to make a new "project" album coming in September next year. Hint hint !
2) I have aways thought that re-juige had an unsatisfying fade out. I always thought that it was cut short somehow. Am I right?
3) How do you look back on your first concert with Alan Parsons in Antwerp? (I was there!)

Thanks again!

Answer

Hello Marc.

That’s actually 3 questions!

I will answer them in order -

1. Yes, I am still in touch with Alan. He mentioned that to me as well...

2. I must admit that I couldn’t remember how much more I had written for this track, so I had to go into my storage and dig the score out. In fact the last bar you hear at the end of the fade is the last bar I wrote (it was originally supposed to finish, not fade) but what I had really forgotten is that there were some 16 bars cut in the middle, just after the first statement of the theme on the horns, which does slightly unbalance the piece. So the answer to your question is that it was cut short in the middle!

3. I think we all really enjoyed those 3 concerts. They had more of the original performers than any concerts since! Inevitably, and perhaps unfortunately, the set was quite short, as we were only a part of the show...

Andrew

Question-LSO Arrangement

Anthony from the UK submitted the following enquiry:

Dear Andrew,

Jorge from Bolivia submitted the following enquiry:

Hi Andrew!

First of all, I want to congratulate you, for everything you've gifted to the universe of music. I can't imagine a world without your work. I'm curious about the way you recorded this amazing album. In some places, it's shown as a 100% digital recording. I went to your Q&A secction, and noticed that you used a 24-track analog tape. Can you tell me about the recording process? I would be glad if you are detailed :) Also, do you know if the MFSL LP - or any other vinyl editions of this masterpiece of yours - were mastered from analog sources?

Answer

Dear Jorge,

Thank you for your question and for your kind comments about my work.

The Philharmonia/APP album was indeed recorded on analogue 24 track tape machines (two of them locked together) and was mixed onto the Sony 1610 digital system and simultaneously onto a 1/2 inch ATR analogue tape machine. I much preferred the results on the analogue machine, as did Jon Kelly - the sound was much richer and warmer. So, if there are any versions out there claiming the recording as “DDD” - they are completely wrong! I was not consulted about the MFSL release, which does seem rather odd to me, so I have no idea what happened with it.

I still much prefer to use analogue tape for all of my orchestra sessions - and it is interesting to note that the members of the Philharmonia Orchestra, with whom I mainly work, also prefer the analogue sound.

Andrew

Question-Orchestra used for First Live APP Concert

Cecilia from the USA submitted the following enquiry:

Hello,

I've followed Alan Parsons Project music for years and even listen to most of their songs. One of my favorites is Games People Play. That said, on the Alan Parsons first concert ever, part 5 on YouTube.com, Alan Parsons starts to introduce the rest of the band, then he introduced you and lastly, he introduced the orchestra. What is or was, the name of that orchestra that you were conducting??

Answer

Hello Cecilia.

The Orchestra was the Symphony Orchestra of the Flemish Opera.

Andrew

Question-Arrangement Approach

Balaclava from Spain submitted the following enquiry:

Dear Andrew,

Most of your work is related to orchestrations but I'd like to know if, when working on a rock album you are (usually) just in charge of writing orchestral arrangements and conducting classical instruments or if you are also asked to arrange the 'rock musicians' too (singers included) when there's a band plus an orchestra.

I guess it must depend on the artist and the album, but could you please give some detail about the general process of your work? I mean if usually the band is/was given a few days/hours to prepare some arrangements so you would later help them polish or add/change things, then prepare any music scores for the band (does that ever happen?), work out the orchestral arrangements once the basic track is laid down or nearly since the very moment a demo for a song is approved for recording, etc.

It seems to me that with artists like Al Stewart, Kansas, Ambrosia, Chris de Burgh or John Miles, the 'rock' arrangements were made by the respective bands (or backing band), so you added the orchestral arrangements later on and that was all, more ore less, while others such as The Hollies, Leo Sayer, Elaine Page or Kate Bush may have hired you to overally arrange the full thing from scratch.

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...

Maybe is your participation in the arrangements one of the things that make The Alan Parsons' Project sound so different to Pilot despite having some core musicians (and producer) in common? I don't expect an answer in detail to these sub-questions (except if you feel like giving it), I'm rather asking about your own methodology, process and approach to arranging for an album, and a bit of general advice about good working methodologies and attitudes, perhaps dos and donts you may have experienced yourself...

Being a musician myself I feel that once you know the song is good, arrangements are essential to make it great, but dealing with the arrangements can be one of those sensitive matters that can make musicians' egos gel together or come apart, so I'd just like to know a bit about how you work it all out. Sorry if I went on too long but I've been wondering about this for years.

I'm a huge fan of yours since an early age. Your orchestral and choral arrangements have always been an enormous inspiration for me, and in a time when most musicians are more obsessed with recording than interested in arranging I'd love to know a bit more about the scope of your work. Thank you very much for your music and keep on going, Mr Powell!

Answer

Thanks for your very long questions, Balaclava!

Yes, I often do also write parts for the rock players and singers - with the list you give, I was presented with finished backing tracks by John Miles, Al Stewart and Ambrosia, but with both Kansas and Chris de Burgh I was very much involved in the band’s arrangements (I was also the producer on those two albums.) The Hollies and Leo Sayer also gave me finished tracks, but with both Kate and Elaine I was heavily involved in the band parts.

With the APP, I was usually only involved in the tracks with orchestra, although there were some tracks I played on as well. I was much more involved with the group arrangements for the Alan Parsons records post-Woolfson; and yes, many of the musical; cues for "Ladyhawke” had fully written out band parts. One reason that Pilot sound different from the APP tracks is that their songs were written variously by David, Billy and Ian, not Alan and Eric!

As far as a “methodology” is concerned - I don’t really have one. Every song and artist is different, and needs a different approach. I have been asked before how I get my ideas for arrangements, and I can’t really explain it - it just happens when I absorb myself in the song - there is no set or pre-conceived method.

Andrew

Question-Unreleased Kate Bush Track

Karen from Canada submitted the following enquiry:

Hello,

I read somewhere that you worked with Kate Bush on an unreleased title track from the album Never for Ever. What happened to the song 'Never for Ever'? Will you ever release it?

Karen

Answer

Dear Karen,

Yes, you are right to say that I did work on a song called "Never for Ever" with Kate, but not on the album of that name. We recorded the song during the sessions for the album "Lionheart." It was a beautiful song - and one of my favourite orchestral arrangements of any that I did for Kate - but she was never really happy with her vocal performance on the song. A great shame. So it was never released. She obviously liked the title, as she used it for the next album! It's not up to me to release it - you would have to ask Kate or her record company about that.

Andrew

Question-Working with Geoff Emerick

Nicola from Italy submitted the following enquiry:

In the your long and renowned career at first sight there are at least three people who have appeared repeatedly in your work: Geoff Emerick; Tim Rice and especially Jon Kelly. Could you tell me something about these three characters and your relationship with them ? There is some evidence audio or video of the TIM RICE'S CONCERT SPECTACULAR where you are arranger and orchestral conductor?
Ciao

Answer

Ciao, Nicola.

This is in fact three questions, each of which which could take a long time to answer! So I'm just going to talk about Geoff Emerick first, and I'll get on to Tim Rice next week. After that I will talk about Jon Kelly.

Thank you for your question - and, no, it’s not a stupid one! The answer is - yes, I was in Tokyo in March 1984 with Limahl - and Queen were there at the same time promoting their single “Radio Ga-ga.” I had been to Japan several times before (and since!) - the first time was with Kate Bush, also for the Tokyo Music Festival in 1978.

Question-John Miles' Music Score

Fiona from the UK submitted the following enquiry:

Hi there! I help to run a Music Camp for young people to develop their music abilities and perform together as groups. We run an orchestra session, and I would absolutely love to play John Miles "Music" - it brings back such fond memories for me, as I used to play it with a youth orchestra when I was 9 (about 30 years ago!). I am really struggling to find a full score online, and have limited access to music shops in my area. I was wondering if such a score existed, and if you had any ideas where I might be able to purchase please? It is such an amazing piece of music, and when played in an orchestra with vocals, guitars, drums etc. is just a joy!

Answer

Dear Fiona, Thank you for your email. I'm afraid that you will struggle to find a score online - or in any music stores. As far as I know, the music was never printed (or if it was, it would have been done only in the form of a voice and piano arrangement). So, I'm sorry but I can't really help you with this one. I don't have a digitised copy of it either. I wish you luck!

Question-Ladyhawke Score

Jackie from the UK submitted the following enquiry:

I've recently obtained the Ladyhawke CD and it's brought back amazing memories from my teens when I first fell in love with the film, the music and Rutger Hauer. Where can I get the score from please as I'd love to be able to play it on my piano? Thank you.

Kym from Austrailia submitted a similar quesion:

I have loved Ladyhawke since it was first released and have a copy of the soundtrack.I would love to get a copy of sheet music either for the main theme or the Renunion/end title tracks. Are the sheets available?? Would love to be able to play.

Answer

Hello Jackie and Kym,

I'm glad to hear that you enjoyed the new Ladyhawke CD - it took a while to track down all of the old tapes, but I thought it was worth it for the end result. As far as a printed score is concerned, there was only ever one "cue" from the film actually printed - and I never saw a copy! It was in an album, published I believe by Warner/Chappell (but I'm not 100% sure about this) of "20 (or 25) Movie Themes. They printed the Main Titles. Apart from this, I'm afraid that I can't help you. Sorry...

Andrew

Question-Arrangements

Eduardo from the USA submitted the following enquiry:

Dear Andrew,

Since my teenage years, my favorite hobby has been to listen to good music. My favorite songs include Music (John Miles), Year of the Cat & Time Passages (Al Stewart), the Turn of a Friendly Card Part II & Silence and I (The Alan Parsons Project), and The Air that I Breathe (The Hollies). The kernel of the love I have for such songs lies in the magical instrumental work they have. I already listened thousands of times to the French horn, cello, and sax in those songs, I never get tired! Thousands of times more to come... As I learned over the years, you are the "magician" behind such instrumental works. I could try to described the joy I have when listen to instrumental portion of the "Year of the Cat" when you combine cello, guitar, sax, and many cellos, violins and violas in the background, but probably I will not match what you felt when you made such arrangement. The song "The Turn of a Friendly Card Part 2" is my favorite of them all: The instrumental work with the guitar, French horn, and violins is "from heaven." I just mentioned a few songs, and they all are from many years ago: Still, no other songs (older or newer) come close. I just would like you to know that your work has been an inspiration for many years in my life, and also to thank you for your hard and inspired work!
Eduardo

Answer

Dear Eduardo,

thank you for your kind words - it's very good to hear that the work one does really means that much to people. I'm glad that you enjoy the records you mention. However, I must point out that I did not do the arrangement for The Hollies' record "The Air that I Breathe". I did do one record with them - a song called "Boulder to Birmingham", but not this one. I agree with you, however, that it's a very good record!

Question-Orchestra's on first 3 APP albums

Larry from the USA submitted the following enquiry:

The Mel Collins ?? sax solo at the end of Old and Wise is one of those special pieces that you wish would just never end...and no other rendition seems to match it. When I listen to it, I'm always turning up the volume louder and louder as the music fades in hopes of eeking out every bit of it! How much longer did the solo go beyond what can be heard on the album and where can one find the longest version available.... I would love to hear where that sax leads to as the music went on! Thank You for this very informative and entertaining site.

Answer

The answer is that it definitely did go on longer than the fade on the album, but I can no longer remember exactly how long. It was a very good solo...

Andrew

Question-Orchestras on first 3 APP albums

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?

Many, many thanks. Your music has been with me since 1986.
Best wishes,
Carlos

Answer

Dear Carlos,

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"!

I think that your list of bands who work with orchestras is very thorough. I'm not sure I can think of many more!

Andrew

Question-Al Stewart's Peter On The White Sea

I'm not sure about the old group re-uniting - some of us have moved on from our days with the APP: don't forget that all of us were also doing other things at the same time as the Project records. I wonder if the songs aren't best left alone now? Also I'm not sure how many people would actually buy a record like this? Don't forget that Stuart, Ian, Alan and I have already recorded most of the "best of" the APP catalogue twice - the first time was the original version, the second was the "Alan Parsons - Live" album.

Question-Advice Needed

Pilbeam McBride from Scotland submitted the following enquiry:

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?

Answer

Practise

Question-Bass used on Wuthering Heights

Jonas Solberg from Norway submitted the following enquiry:

Do you remember what type of bass you used on the "Wuthering heights"? I just love the bass sound. Could it be a Rickenbacker?

Answer

No, it wasn't a Rickenbacker - it was a Fender Jazz. Best Wishes.

Question-Availability of Ladyhawke on CD

Antonia Grey from the UK submitted the following enquiry:

As teenager, I loved the film LadyHawke, which was made by the music - it was just perfect. I confess I recorded the music on to a tape and I have played the tape to death. I have ridden imaginary horses to it, danced to it and even exercised to it. It is guaranteed to make me happy. When the tape died, I was desolate. So, I decided that since I was nearly 45, I should invest in a CD and pay you for the joy I have had. But, the thing is, I can't seem to find a CD - not even a version of the 1995 edition. I have seen copies on ebay for £45+ but I don't know if they are real or not.

So, long story aside, can you advise me where I can buy a copy of this disc? I am getting withdrawal symptoms.

Answer

Thank you for your email. I'm pleased to hear that you enjoyed my music for the film "Ladyhawke", and also pleased to hear that you now want to buy a copy! My advice would be - don't buy anything on ebay - wait until early next year, when La-La Land Records will be putting out a new deluxe edition of the "Ladyhawke" score - a 2 CD set which will contain almost all of the music from the film, and a large number of bonus tracks. Keep a watch on the News page for more information.

Question-Best of Orchestrial Arrangements & Redoing Arrangements

Nicola Masinelli from Italy submitted the following enquiry:

In the near future, we could hear an your orchestral cd with the best of your production? Maybe you could sell it only through your website. in your long and renowned career, there is some arrangement that today you want to correct because it does not satisfy you?

Answer

Well, these are a very interesting pair of questions. The answer to the first one is that it would mean getting permission from 10 or 12 different record companies, which could be complicated. But it's worth investigating, so I shall look into it.

You then asked if there was one arrangement from my whole career which I wanted to correct. My first instinct was simply to say "No." Then I thought - if I sat down today to write Sebastian, The Man With the Child in His Eyes, The Year of the Cat, Ladyhawke, or Plasmogeny II, I would probably write them quite differently. So why don't I want to change the originals? I think that the answer is - these were my ideas at the time, and they worked at the time both for me and for the artists who had commissioned them. Now I know that there are composers in the classical world (Pierre Boulez is famous for this) who are constantly re-working old pieces. There is also the trend in rock and pop music for multiple re-mixes of records. Some people even re-mix no. 1 records. I just don't feel motivated to do this myself.

The piece of music, or record, I'm most interested in is always the one I'm working on at the time - or the next one. Once I have finished a piece or a record, it's gone. I'm still interested in whether people want to perform it, or play it on the radio, but no longer interested in working on it.

Question-Availability of Triumphs of a Man Called Horse

Matthias Weber from Germany submitted the following enquiry:

Dear Mr Powell. Let me begin with saying that your music has brought me much joy over the last decades. Thank you for providing me many hours of active listening pleasure. What I am missing in my collection is the soundtrack to the underrated movie called Triumphs of a Man Called Horse. To my knowledge, this wonderful soundtrack has not been released on CD. Do you know if it will be in the near future or a download will be made available?

Answer

Thank you for your email. I'm pleased to hear that my music has brought you so much joy - thank you for your comments.

As far as the film "Triumphs of a Man Called Horse" is concerned, I am not aware of any CD release of this score, nor of any plans to release it, I'm afraid. It was released on VHS (and possibly Betamax?) but these may be hard to get hold of by now. If a release does lok likely, I'll make sure it goes into the "News" page of the website.

Question-Steve Harley & Cockney Rebel Birmingham Symphony Hall Show