Customer Reviews

Ammonia Avenue

5 star:		(28)
4 star:		(16)
3 star:		(6)
2 star:		(2)
1 star:		(2)

 

 

The Alan Parsons Project's 1984 release, "Ammonia Avenue," is definitely one of their best albums. Following the highly-successful "Eye In The Sky," "Ammonia Avenue" is yet another winning blend of this excellent studio group's progressive pop/rock, anchored by writer/producer Alan Parsons and his partner, singer/composer Eric Woolfson. Great songs are everywhere---the radio hits "Prime Time" & "Don't Answer Me," the catchy "One Good Reason," the excellent melodic rock of "Dancing On A Highwire," the dreamy instrumental "Pipeline," and the lovely title track that closes the album. The tunes are memorable, the vocals by such singers as Eric Woolfson himself, Lenny Zakatek, Chris Rainbow & Colin Blunstone are first-rate, the musicianship from such Project regulars as guitarist Ian Bairnson, drummer Stuart Elliot, et al, is tight, and Parsons' 80's polish to the production is sparkly. "Ammonia Avenue" is an excellent album from Alan Parsons & company. You can't go wrong purchasing this one. :-)

I enjoy this album. If the music moves you, it moves you, whether it's pop, opera, or whatever. This album helped me get out of a bad relationship, along with Vulture Culture. I enjoy the entire APP catalog. I also say OF COURSE Alan was influenced by the 80s culture. This album was released SMACK DAB in the middle of the 80s. I commend Alan, Eric, et al for producing this nice collection of thoughtful songs. These are enjoyable songs, each with a great message. ONE GOOD REASON is the ultimate break-up song, which every young naive guy needs at some point. Buy it, play it, enjoy it.

Update to my previous review: This is one of The Alan Parsons Project's greatest albums. It's difficult to choose among them; they are all fantastic. I bought this album in 1995 (in CD format) and it has never left my regular playing rotation. "Ammonia Avenue" was released in 1984, the same year as the following album "Vulture Culture." By this time, APP had sort of moved away from strictly them-based albums into a more pop friendly format. I know some fans prefer the earlier albums, and that is fine, but I enjoy all of them. These songs are fantastic individually, but they also work great together in this album.

Alan Parsons' music has been a very important part of my life ever since I discovered it, and this album is right up there. The music is both simple and complex at the same time. The melodies are catchy, and even the first time you hear them, they feel somehow familiar. At the same time, they are deep and complex enough to remain one of your favorites for years to come. Highly recommended.

After "I Robot", 'Ammonia Avenue' is definitely their finest. Mind you, it's a close second. This is a very consistant and rewarding album, with so many great tracks that I can't really cite any specifics without pointing out another that is just as good, or better! Contrary to what another reviewer has said, "Don't Answer Me" is a great track. It has kind of a Roy Orbison thing going on with the music. If you ever get an oppurtunity to see the music video for this song, it is amazing.

"One Good Reason" is another great track. I love the way that the drums pan from left to right in the speakers, really takes advantage of the two-speaker spectrum, something that not many bands have really utilized. As opposed to most groups, AAP has used the studio as an instrument.

"Ammonia Avenue" the title track, is probably the highlight of the album. Eric Woolfson provides his usual wonderful and gentle voice to this ballad-ey mini epic. This is also probably one of the most musically complex tunes that AAP did, up until "Gaudi". In fact, i'd go as far to say that it's near-flawless, if not for the fact that it is so similar to the song "Silence and I" from the 'Eye in the Sky' album.

"Prime Time" is another great tune. I love the way that it builds up from the beginning. Not much else to say but that it is very satisfying. Also, "Pipeline" is a very fine instrumental, something that the band never really did much of, after their debut album.

I could go on, but I think you probably have a good idea of what it's all about. Musically, it's 80's pop, and the songs do have a dated sound, but I can't complain. Music belongs to the era it was made. Besides, AAP was and is much more sonically interesting than many bands that are around. This, however, was probably one of their last truly flawless-as-a-whole recordings. Regardless, it's a fine recording, and definetly one of those essential albums for any collection.

Groups like Yes or Genesis or Pink Floyd or Moody Blues or ELO have two different musical "eras", an early progressive period, and a later more "radio friendly" period. You can find fans of either period and these fans can be quite "die-hard" in their preferences. The Alan Parson Project is no exception.
So...If you ONLY like the progressive edge of APP, this CD may not be for you.

However, if you simply want the pure guilty pleasure of
beautiful, well-crafted studio recordings, this album is a must have! It is a significant departure from the previous "Eye In The Sky" (also a 4 star release, in my opinion), but this album doesn't have a bad song on it.
Yes, it is more pop oriented. Yes, it does have more verse-chorus 4 minute song writing. Yes, "Don't Answer Me" was played on the radio way too much at the time, but from the
tick-tick-tick-tick of the high-hat cymbal at the beginning of
Prime Time to the last tracks final fade out, I am taken away to some other place.

If you aren't stuck in the 70's and think all rock after that sucks...find a comfortable chair and kick back for a tall, cool
glass of pure listening enjoyment.

Ammonia Avenue was the Project's seventh studio album. It peaked at #15 on the charts & was the last Project album that cracked the Top 20. It had more charting singles than any other Project album. The songs that charted: "You Don't Believe" (#54 Hot 100), "Ammonia Avenue" (#15 Top 200), "Don't Answer Me" (#15 Hot 100) & "Prime Time" (#34 Hot 100). Ammonia Avenue could be considered the last album of Parsons early or classic era or it could be considered the transitional album before the late era. It's certainly the dividing line for the Project's impact on album or singles charts. Most of the usual suspects are here as lead vocalists: Eric Woolfson, Lenny Zakatek, Chris Rainbow & Colin Blunstone. surprisingly, there isn't a lead vocal by the bassist, David Paton.

Ammonia Avenue has a lot of good tracks, comes close to being the equal of Eye in the Sky. The album opens with "Prime Time", a very good song. It was unusual for the Project to open an album with a song that wasn't an instrumental. This changed with Ammonia Avenue. "Let Me Go Home" is about as close as the Project came to rocking out on a song. It's not what one would call hard rock but for the Project it is. Ian Bairnson provides an excellent solo proving, once again, he's an underrated guitarist. "One Good Reason" is another very good song. "One Good Reason" is a song that hints at the future direction the Project would embark upon. "Since the Last Goodbye" is a nice ballad but it might be the weakest song on the original album. That's not saying it's a bad song, it's not, it's just surrounded by so many good songs. "Don't Answer Me" has a pop sound, it's typical Parsons but that isn't a bad thing. There's a great sax solo in it performed by Mel Collins. "Dancing On a Highwire" is an adventurous song. Bairnson performs a very tasteful solo. "You Don't Believe" is one of the two best songs on the album, it has one of the catchiest choruses I've ever heard. "Pipeline" is the only instrumental on the original album. It's not the same "Pipeline" recorded way back in the sixties but Parsons is acknowledging a group that has been largely forgotten. But as far as instrumentals go, this isn't on the level as "I Robot" or "Sirius" but it has another great sax solo by Collins. "Ammonia Avenue" is reminiscent of "Silence & I" from Eye in the Sky. Woolfson's voice is particularly suited to this type of song.

There are eight bonus tracks included in the remastered version of Ammonia Avenue. There's an early rough mix of "Don't Answer Me", there's even a false start included at the beginning of the track. Next is the demo version of "You Don't Believe" that's much shorter than the final version. This version is an instrumental & it would have worked well that way also. "Since the Last Goodbye" is only 29 seconds long & has only the vocal overdubs by Chris Rainbow. The rough mix of "Since the Last Goodbye" follows, this version has a guide vocal by Woolfson. This is a case that shows why Rainbow did the vocal for the final version. Woolfson has a fine voice for certain songs but this is a case where it isn't suitable. The next track is an instrumental version of "You Don't Believe". In the credits it's listed as an instrumental tribute to the Shadows (get it? "Pipeline"). This is another song that would have worked well as an instrumental. Parsons was never crazy about this version but I found it to be interesting. The next bonus track is "Dancing On a Highwire/Spotlight" which is listed as a work in progress & this version is definitely that. The vocal is very rough & incomplete, the drumming isn't even on time. There are parts where one can hear voice directions for the musicians. "Ammonia Avenue Part" is next & is a rough mix with a vocal by Woolfson which wasn't used. On this version Woolfson had yet to complete the lyrics so some of the vocals are only syllable phrasing. This is more typical of songs in their early stages than most people realize. The final bonus track is "Ammonia Avenue" that is only orchestral overdubs, kind of like the Naked versions on some of the remastered albums but without the length.

This is one of the Project's three best albums & the remastering is GREAT! The booklet has a lot of information but isn't deep. This one is really worth the money, even the early versions of songs are mostly interesting. I highly recommend that Project fans get this edition. The long wait is over!

First 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.

This is probably APP's most underappreciated album, even though back in 1984 "Don't Answer Me" was a top-40 hit, and the album enjoyed some commercial success with that song and with "You Don't Believe."

The usual APP themes of alienation, disbelief and loss play varying roles in most of the songs. Production values are, as usual, impeccable, and the instrumentation imparts a silken, surreal feel. This is a great album to play at night, when you're by yourself studying, or when you're with a person you care about and with whom you want to share some intimacy.

Prime time: A nice soft rock song, sung melodically by Eric Woolfson. Similar to 'eye in the sky; but in my opinion, even better. Excellent array of acoustic guitars with some electric in places. The melody is really catchy. One of my faves on the album, this is an extremely melodic song.

Let me go home: A rocker. Lenny Zakatek sings lead on most of the APP rockers. He has the kind of voice that either grates or excites. This is a fairly strong effort into rock, but not a standout.

One good reason: I love all of Eric's vocal contributions, except this one. I find this a totally unmelodic tune, without much direction and a very bland feel to the whole song. Probably the weakest here.

Since the last goodbye: A beautiful ballad with Chris Rainbow on lead vocals. His voice is exceptional and pure. If you like beautiful, precise and pure ballads that have a soaring melody, this is for you. He also sings beautiful harmonies. Another stand out, I can't praise this song emough.

Don't tell me: Another beautiful song, crossing the path between melodic ballad and pop song. Again, Eric handles lead vocals, and excels. I find the backing music to be beautiful and the percussive effects make me feel this is almost Christmassy in feel. Don't let that put you off, it is subtle. This just oozes melody. Exceptional, with good backing vocals.

Dancing on a nightwire: Colin Blunstone also has an exceptional and extremely pure voice. Prominent bass features here, with nice acoustic guitars. If you like colin's solo work, this sounds like a lot of his work. Again, this toys the line between ballad and pop song, with a bit more of a funky feel than the former track.
Also a really strong song.

You don't believe: Again Lenny Zakatek on lead. This sounds just like something off 'Eve'. Listen to 'Lie down with dogs'. I don't like the verse at all. Repetitive and tuneless. The chorus is slightly better. I was amazed a reviewer thought this was the strongest track. I just don't see it. 'Let me go home' rocked well. This falls flat on its face...but it is still listenable...just.

Pipeline: A beautiful instrumental. Listen to the excellent bass at the beginning. Very atmospheric and good change of chords. This is one of those instrumentals that begins with a good chord sequence, which builds and builds with loads of instruments and the orchestra. It also has enough parts to keep one interested. The saxophone parts are very soothing, played in tandem with the orchestra. Outstandingly mellow.

Ammonia avenue: The big progressive ballad. Eric sings beautifully and with much feeling. The lyrics are also first rate, but the melody just cannot be beaten. There is also a superb extended middle eight, as in 'silence and i', but this time, with acoustic (It may be spanish) guitar, then the build up of orchestra. Excellent piano playing also.

Primarily an album for those who like melodic ballads and well constructed pop songs. There is no 'I robot' here. But this album should not be criticised for not being prog. It is still a damn fine piece of writing.

Ammonia Avenue is not only my favorite APP album (and I have all of the Project's albums save for Freudiana), it is my favorite album period!! This is the most solid album I've ever heard! There is absolutely not one weak song in the bunch! It is Eric Woolfson at his best! If you like the hit singles "Prime Time" and "Don't Answer Me," purchase this album with confidence. It will not disappoint!

Along with Gaudi and Eve, Ammonia Avenue benefits from a dynamic range that caters more to the audiophile than the casual listener content with the mp3 quality from an iPod. In hindsight, I wonder if it might have been more prudent to master compilations of hits with music downloaders in mind while mastering the complete concept albums of The Alan Parsons Project with the wider dynamic range that most audiophiles demand. Afterall, if ever there was an artist to whom audiophiles were drawn, it would be The Alan Parsons Project.

Ammonia Avenue is probably the single most difficult "Project" for me to review. On the one hand, there is no shortage of truly good music in the forms of Prime Time, Don't Answer Me, and Ammonia Avenue. But on the other, the album as a whole is the single least cohesive "Project" that Eric Woolfson and Alan Parsons ever produced. (Even Alan Parsons, himself, called it "just a collection of songs.") Pipeline is a fantastic instrumental, but, sadly, it is the only instrumental and doesn't exactly blend all that seamlessly into its surroundings the way so many other Parsonic instrumentals managed to do. Eric Woolfson's gentle voice has such a unique timbre that makes it almost irresistable, but he sings most of the vocals himself leaving Project standards Lenny Zakatek, Chris Rainbow, and Colin Blunstone only a single lead vocal each.

It is at this point that I have to wonder if I'm just knit-picking. Would I ever apply this same standard to ANY other recording act? The obvious answer is "No, I would not," but it just goes to show how high Woolfson, Parsons, and company set the bar for themselves by the release of this seventh Project. Rating Ammonia Avenue, the remaster, with five stars comes down to two criteria: The stellar sound quality and the fact that five, four, three, two, and one stars directly corresponds to the letter grades of A, B, C, D, or F. Was Ammonia Avenue my favorite Project? Not by a long shot! But there are some undeniable strengths throughout, so I can thoroughly understand why someone else might hold it in very high esteem. I just tend to favor innovation even if it fails as opposed to convention that consistently succeeds.

All that said, I almost cannot heap enough praise on the epic closing track itself. From the core of the song to its charged bridge to the lush orchestrations of Andrew Powell, there was still plenty of innovation amidst the convention to make this album more than a little memorable. The song itself seems to address the struggle to reconcile the aspirations of faith with the confines of understanding. A truly great song musically, but also a truly elusive song in strictly lyrical terms.

The bonus material didn't seem nearly as strong as that from Eye in the Sky or Vulture Culture, but will still certainly intrigue the ardent fan who wishes to glimpse behind the curtain to see into the creative process. My personal favorites were the humorous You Don't Believe (Instrumental Tribute To The Shadows) for its spaghetti western feel and Ammonia Ave (Orchestral Overdub). Although the latter is far too short, it was nice to hear a small homage to Andrew Powell's unique contributions to the finished products know as The Alan Parsons Project.