The Alan Parsons Project: Ammonia Avenue CD Track Listing

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The Alan Parsons Project Ammonia Avenue (1984)
Originally Released February 1984\nCD Edition Released \nRemastered + Expanded CD Edition Released March 26, 2007\n\nAMG EXPERT REVIEW: One of the most interesting aspects about the Alan Parsons Project is the band's ability to forge a main theme with each of its songs, while at the same time sounding extremely sharp and polished. Much of this formula is used in Ammonia Avenue, only this time the songs rise above Parsons' overall message due to the sheer beauty of the lyrics partnered with the luster of the instruments. The album touches upon how the lines of communication between people are diminishing, and how we as a society grow more spiritually isolated and antisocial. But aside from the philosophical concepts prevalent in the lyrics, it is the music on this album that comes to the forefront. The enchanting saxophone of Mel Collins on "Don't Answer Me" adds to its lonely atmosphere, while the briskness of Eric Woolfson's wording throughout "Prime Time" makes it one of the Project's best singles. On "You Don't Believe," the seriousness of the lyrics works well with the song's energetic pace. The subtlety of the ballad comes to life on the elegant "Since the Last Goodbye," which focuses on a failed attempt at a relationship. With Ammonia Avenue, the sum of the parts is greater than the whole product, which can't be said for all of the Alan Parsons Project's albums. Vocalists Eric Woolfson, Chris Rainbow, Lenny Zakatek, and Colin Blunstone equally shine, placing their talents above and beyond the album's main idea. [The 2007 Sony BMG reissue included bonus tracks.] -- Mike DeGagne\n\n\nAMAZON.COM CUSTOMER REVIEW\nA solid album--more pop oriented than their others, March 19, 2006 \nBy Preston (nc)\nI liked Ammonia Avenue from 1984, especially Don't Answer Me. But my favorite song on here is Prime Time, and it deserved more airplay and attention than Answer got in summer 1984. I heard it in Conyers, Georgia during a road trip in summer '84 and loved it. Don't Answer Me is such wonderful acoustic guitar playing--sometimes the Beach Boys' 1988 Kokomo borrows from that song. I'd have to say that Ammonia was their most pop oriented album, as Alan Parsons and his band load this album with lots of pop hooks that's a far cry from their '70s progressive rock period. It was just as strong enough to compete with Lionel Richie, Cyndi Lauper, Tina Turner, Huey Lewis and the News and other artists that dominated the charts of '84. The rest of the album is just as strong and musically deep. I didn't think that they would top 1980's Eye in the Sky but they sure did with this one. This is just as much a classic as their other albums. \n\n\nAMAZON.COM CUSTOMER REVIEW\nMoving smartly along ..., April 8, 2005 \nBy rg61 (Boston, MA USA)\nWell, let's put it this way ... \n\nI bought this when the vinyl was first released. Went with all the other APP albums I had. My 700 or so vinyl discs have since been entrusted to an old friend. \n\nI've since purchased *almost* all the APP CDs that I once had on vinyl. Not this one. \n\nFor me, Pyramid was the pinnacle -- 5 stars. Love the rest of the first four, as well as Stereotomy and Gaudi -- 4 stars. I'd give 3 stars to Vulture Culture and Eye in the Sky. But this one and Eve just didn't do it for me. \n\nOn a tangentially related note ... if you haven't heard Godley & Creme's Goodbye Blue Sky, try to find yourself a copy. A rollicking good time. \n\n\nAMAZON.COM CUSTOMER REVIEW\nits funny...., April 27, 2004 \nReviewer: A music fan\nEvery time I see "Parsons Ammonia" in the grocery store I think of this album. Good ol' "Alan Parson's Pine Fresh Ammonia Avenue" - that's what we called it when it came out. The music stinks as bad as the chemical. Do yourself a favor - If you're a progressive rock fan, stop at Pyramid. Then start again at Stereotomy. Everything in between was sugar coated sickening pap. \n\n\nAMAZON.COM CUSTOMER REVIEW\nTheir most ambitious if not their best, January 27, 2004 \nBy Dave (Wales)\nI brought this album purely for "Don't Answer Me", one of only two hit singles in the UK for APP. The album inspired me to dig deeper into APP's back catalogue, and they've certainly released more memorable records than this.\nHowever, there is more to this album than "Don't Answer Me". "Prime Time" could easily have been a massive hit had it not been completely ignored by the radio. "Pipeline" is a classic APP instrumental, cinematic in an almost technicolour way. However, the real standout track on this album is "You Don't Believe", with Lenny Zakatek's passionate vocal, and a techno-esque feel.\n\nNot in the same class as "I, Robot", "Eye In The Sky" or "The Turn of a Friendly Card" perhaps, but, all the same, this is still well worth a listen. \n\n\nAMAZON.COM CUSTOMER REVIEW\nMy favorite Alan Parsons Project lyric...?, October 8, 2002 \nBy Rich Edmunds (Jenks, Oklahoma United States)\nFrom the title track: "...and those who came, at first, to scoff remain behind to pray." It somehow strikes a cord with my "conspiracy theory" dominated view of the world at large. For once you step through that door and BELIEVE that things are not as they seem, there is no turning back. \n\n\nAMAZON.COM CUSTOMER REVIEW\nA considerable shift to the right, but still great!, January 29, 2001 \nBy Jon "tesura" (BC, Canada)\nFirst off, if this wasn't an APP album it'd get a definite 5, but since APP's previous stuff is THAT GOOD I gave it a 4. This album is a reassuring preview of what's to come from the Project, so fans of the old albums needn't be afraid. "Prime Time" is in the same vein as "Eye In The Sky", and "Let Me Go Home" is at the same high par as all other Lenny Zakatek tracks. "Don't Answer Me" quite easily has to the best track on the album. "Pipeline" is the only instrumental but it is very good. The album's only weak spots are perhaps "Since The Last Good-bye" and "Dancing On A Highwire". It has been suggested that if you consider Ammonia Avenue as NH3 AVE and move the N to the back you get an approximation of the word HEAVEN. Keep that in mind as you listen to the final track of the album. \n\n\nAMAZON.COM CUSTOMER REVIEW\nDeath of a Supergroup, August 15, 2000 \nBy Patrick Sullivan (Louisville, Kentucky United States)\nThis was the last APP album to feature 4 or 5 good APP songs. Let's face it, APP reached their peak with "The Turn of a Friendly Card." Sure, "Eye in the Sky" had a few (4) great songs. Excluding all the work before "AA," I haven't found another APP, AP or any other APP-related work I can enjoy listening to in its entirety (ok, "Eve" is a little difficult). On "AA," tracks 5-9 shine! "Pipeline" is definitely one of my all-time favorite APP instrumentals - classic, clean and crisp. "Don't Answer Me" is such a melancholy (although fantastic) song because it reminds me of the Project's last dying breath; don't worry Eric, we can't answer you now. "Prime Time" sounds like the Project was trying too hard to capitalize on the "Eye on the Sky" sound - it's a carbon copy! Yes, this album belongs in every APP collection, but stop here. All work past this point is a waste of your time. (Well, you might want to check out some of the "Ladyhawke" soundtrack.) I guess I'm just old school. Eric is surely missed on the recent AP solo stuff, too. \n\n\nAMAZON.COM CUSTOMER REVIEW\nConstruction time again, June 27, 2000 \nBy XS (Regensburg)\n"Ammonia Avenue" is the first in a string of pop-oriented mid-'80s albums, and it shows that APP decided to abandon art-rock and to produce music primarily serviceable for clubs and the charts. Lyrically, "AA" has quite a concept, it deals with the alienation of modern society and the difficulty of relationships. These are fairly familiar topics for early-'80s music, and the lyrics are not as thoughtful as those of earlier APP albums. Musically, I think this is APP's most unfocused and bland effort, partly due to APP's frequent and cursory use of dance rhythms and slick synth sounds. "Don't answer me", APP's signature hit, still receives a lot of radio airplay and can be considered a classic. "One good reason", "You don't believe", and "Pipeline" are somewhat sterile tracks, recorded with the aid of drum machines and sequencers. The ballads and calmer songs like "Prime time", "Since..", and the title cut continue the "Eye in the sky"- formula without noticeable change. Eventually, the ponderous pseudo-hard rock of "Let me go home" confirms that "AA" is rather a jumble of various elements than a consistent album. Not a complete failure, but compared with APP's '70s-work, it's a calculated and lackluster affair. \n\n\nAMAZON.COM CUSTOMER REVIEW\nGood, but not the best..., January 14, 1999 \nReviewer: A music fan\nAfter the success of Eye in the Sky, the Project started to try to become a hit factory. There is no doubt that songs like, "Don't Answer Me" (A glockenspiel never sounded so good in a pop song), "Since the Last Goodbye", "Ammonia Avenue", and "Pipeline" (possibly the best APP instrumental track of all time) helped define this excellent APP album. \nHOWEVER, be warned, this is not a 'concept' album in a real Project sense. Lesser tracks get in the way of the better ones - almost sounding like they don't belong there. Thankfully there's only two that come to mind. \n\nOverall, a good showing by the Master. \n\n\nHalf.com Details \nProducer: Alan Parsons \n\nAlbum Notes\nThe Alan Parsons Project: Eric Woolfson (vocals, keyboards); Chris Rainbow, Lenny Zakatek, Colin Blunstone (vocals); Ian Bairnson (guitar); Mel Collins (saxophone); David Paton (bass); Stuart Elliot (drums, percussion); Alan Parsons (Fairlight programming).\n\nRecorded at Abbey Road Studios, London.\n\n\nROLLING STONE REVIEW\nYou would expect a record that is the brainchild of a pair of producers to succeed more on technical grounds than creative ones. True to form, the latest "concept" album by the Alan Parsons Project founders miserably in its own overearnest art-rock poetasting. It sounds a lot better than it scans: "Producer" Parsons and his "executive producer," Eric Woolfson, have crafted a set of songs, in their overseer role, that are texturally attractive and sonically impeccable (recall, Parsons engineered Pink Floyd's Dark Side of the Moon). But it's merely a sonic souffl

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