{"id":38050,"date":"2004-08-10T00:00:00","date_gmt":"2004-08-10T00:00:00","guid":{"rendered":"https:\/\/dailyvault.adishjain.in\/index.php\/reviews\/i-robot\/"},"modified":"2004-08-10T00:00:00","modified_gmt":"2004-08-10T00:00:00","slug":"i-robot","status":"publish","type":"review","link":"https:\/\/dailyvault.adishjain.in\/index.php\/reviews\/i-robot\/","title":{"rendered":"I, Robot"},"content":{"rendered":"<p>You know, it has to just be a real downer to have your critical<br \/>\nbenchmark come on your second release.<\/p>\n<p>In 1977, The Alan Parsons Project released<br \/>\n<i>I, Robot<\/i>; and it&#8217;s probably not too hyperbole-laced to say<br \/>\nthat progressive rock was never quite the same. A stark and<br \/>\nthoughtful tale of man versus machine, the vision of<br \/>\n<i>I, Robo<\/i>t was a world where man attempts to create in his own<br \/>\nimage, and thusly falls from his pinnacle. (And this, folks, was<br \/>\nyears before Terminator.) Big topic, big risk, big vision &#8212; and<br \/>\nquite often, visions this big fail because they&#8217;re too big.<br \/>\nThankfully, Parsons managed to avoid this trap, and turned in what<br \/>\nis certainly one of the highlights of his long career.<\/p>\n<p>\n<i>I, Robot<\/i> is a study in contrasts. The album&#8217;s vocals are,<br \/>\nfor the most part, lush and melodic &#8212; but the instrumentation is<br \/>\nalternately stately and serious (with liberal use of Andrew<br \/>\nPowell&#8217;s orchestral arranging skills) or electronic and impersonal.<br \/>\nThis develops a powerful dynamic of the organic versus the<br \/>\nmechanical that contributes to the vaguely unsettling nature of the<br \/>\nCD.<br \/>\n<i>I, Robot<\/i> is not casual listening; it rather demands you pay<br \/>\nattention to it. Thankfully, Parsons&#8217; flawless production and<br \/>\nengineering, along with Eric Woolfson&#8217;s stellar songwriting, makes<br \/>\nthat attention a pleasant thing to pay.<\/p>\n<p>There are a couple of AOR radio staples on<br \/>\n<i>I, Robot<\/i>, and they&#8217;re both quite acceptable &#8212; the<br \/>\nguitar-driven, almost funky &#8220;I Wouldn&#8217;t Want To Be Like You&#8221; and<br \/>\nthe driving, intense &#8220;Breakdown,&#8221; with its triumphant choral<br \/>\nending. But the real gems are the tracks you probably haven&#8217;t<br \/>\nheard. &#8220;Some Other Time&#8221; is elegant, breathtaking, a massive rise<br \/>\nand fall of sheer energy. The instrumentals are excellent,<br \/>\nespecially the almost trance of &#8220;Genesis Ch.1 V.32.&#8221; My favorite,<br \/>\nhowever, is the simple, heartfelt, and beautiful &#8220;Day After Day<br \/>\n(The Show Must Go On)&#8221; &#8212; the best song on the topic of just moving<br \/>\non with your life until Queen&#8217;s song of the same name. There are a<br \/>\ncouple of slight miscues on the CD &#8212; I admit to never quite<br \/>\nwarming to &#8220;The Voice,&#8221; and I think its vocoder-laden vocals sound<br \/>\ndated as hell &#8212; but overall, this is the first sign of true<br \/>\nbrilliance from Parsons and Woolfson, and it is &#8212; or should be &#8212;<br \/>\nrequired listening for anyone who is at all interested in<br \/>\nprogressive rock. Far from being the latest Will Smith movie,<br \/>\n<i>I, Robot<\/i> is much, much more complex.<\/p>\n","protected":false},"author":18,"featured_media":26778,"comment_status":"open","ping_status":"closed","template":"","meta":{"_acf_changed":false,"footnotes":""},"artist":[5840],"rating":[5646],"class_list":["post-38050","review","type-review","status-publish","has-post-thumbnail","artist-the-alan-parsons-project","rating-rating-a"],"acf":[],"_links":{"self":[{"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/review\/38050","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/review"}],"about":[{"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/types\/review"}],"author":[{"embeddable":true,"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/users\/18"}],"replies":[{"embeddable":true,"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/comments?post=38050"}],"version-history":[{"count":0,"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/review\/38050\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/media\/26778"}],"wp:attachment":[{"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/media?parent=38050"}],"wp:term":[{"taxonomy":"artist","embeddable":true,"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/artist?post=38050"},{"taxonomy":"rating","embeddable":true,"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/rating?post=38050"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}