Alan Parsons Project – The Sicilian Defence
Some albums become legendary because they were never released, and then the fan clamoring begins until someone, sensing a good opportunity to pay the mortgage for a month or two, relents, and puts out some kind of unfinished, compromised, or finished-after-the-fact-many-years-later version of whatever it was going to be (but hey, enough about the various versions of Pete Townshend’s Lifehouse or Brian Wilson’s Smile out there). (Sometimes something remains unreleased permanently, unless someone just straight up raids the vaults.) The fact that it couldn’t be heard, the fact that the fans were being denied their prize, becomes the main vector of attraction.
The Sicilian Defence was never actually intended to be released, though. Recorded in 1979 between Alan Parsons and his songwriting collaborator in the Project, Eric Woolfson, it was always a negotiating tactic between the two principals of the Alan Parsons Project and their label at the time, Arista. In short, Parsons and Woolfson wanted to alter their deal, and delivered the all-instrumental Sicilian Defence to Arista almost simultaneously with the released 1979 album Eve to give them leverage: they’d delivered the last two albums of the Project’s contract. They were either done with Arista and free to go elsewhere, or Arista could give them more time and money to work on the next album. The Sicilian Defence was disposable. It was Alan and Eric screwing around on pianos and synthesizers in studio downtime. It was a ploy designed to freak out their handlers at the label, not the Project’s great unfinished symphony.
The inclusion of a piano instrumental track from the unreleased album on the 2008 remastered reissue of Eve seemed to portend a change of heart, even though Parsons was public in his desire for the entire unreleased album to stay that way permanently. (As Sony/Legacy was now controlling the band’s back catalog, the label insisted.) And then in 2014, it was included as a bonus disc in a pricey, career-spanning box set. But now The Sicilian Defence has finally become available on its own in digital form, and it’s not without its charms. As the album is named after an aggressive set of chess moves, the tracks are named after moves in that sequence. The track from which three minutes were excerpted for the “Elsie’s Theme” track on the Eve remaster is “P-Qb4”, and is twice the length of the previously released excerpt. It’s a lovely solo piano piece, and “P-Q4” and “KtxP” follow in a similar vein (the latter with a very chintzy late ’70s drum machine in the background). “Kt-QB3”, another piano piece, has a more aggressive pace and feels like it’s threatening to develop into a proper song, but as it noodles on for over eight minutes, it lands as a piece that wouldn’t been well off calling it a day at the four-and-a-half-minute mark.
But the really interesting stuff is a handful of lo-fi synthesizer jams. “P-K4”, “Kt-KB3”, and “PxP” have a percolating, vintage synth vibe that I can be describe with the following ludicrous phrase: “early ’80s Weather Channel local forecast”. That may seem like the most obscure possible descriptor, and yet I can’t think of a better one. They’re not light-years away from “Hyper-Gamma-Spaces” or “Mammagamma”, but they are at least 273,600 miles from them – they seem more like demos than anything close to a finished product. “…Kt-QB3” and “Kt-B3”, the two shortest tracks, have strings and choral vocals probably recorded as warm-ups or outtakes from previous albums’ sessions and edited together. “P-Q3” is a synth piece with a pastoral, classical feel. Rather than building to anything significant, the album – such as it is – just…ends.
None of it was ever developed further for use on later releases, and in some cases that’s a pity, because there are some promising starts – but only starts.
The part of me that loves new wave and analog synths doing analog synth things loves those tracks on this album, but let’s face it: this album should probably be recused from getting a rating because we were never meant to hear it, and wouldn’t have, except that the studio-owned master recordings changed hands and the new label decided that it would be heard regardless of Parsons’ wishes (Woolfson died in 2009). As a standalone listening experience, The Sicilian Defence really doesn’t work unless you know its backstory, even though the Project was renowned for its instrumental pieces. But if you’re looking for that circa-1983 local forecast vibe? I can give this a hearty recommendation.
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- P-K4 (5:06)
- P-Qb4 (6:22)
- Kt-KB3 (3:07)
- …Kt-QB3 (1:15)
- P-Q4 (3:55)
- PxP (3:28)
- KtxP (4:01)
- Kt-B3 (0:53)
- Kt-QB3 (8:16)
- P-Q3 (3:29)
Released by: Sony/Legacy/Arista
Release date: March 23, 2014
Total running time: 39:50
In the end, what makes Broughton’s scores stand out on this set is that he was consciously developing themes that recurred whenever he got a scoring assignment. Naturally, the other composers contracted for different episodes were under no obligation to refer to his material. But Broughton’s work brings this sometimes silliest of sci-fi series the weight and heft of an ongoing saga – the almost-nautical recurring theme Broughton employs makes the show sound, frankly, more important and epic than it ever actually was. It might just be that the music of season two of Buck Rogers was the best thing we got out of the show’s renewal. Well, that and some Crichton one-liners. Sadly, this set is now out of print, with no apparent digital distribution afterlife for the material; an unfortunate fate for music that was better than the show it was meant to accompany.
I have a long personal history with this soundtrack – namely, up until Intrada re-re-re-issued it earlier in 2014, I had managed miss every opportunity to obtain it. When the soundtrack was originally issued on LP at the time this all-star TV disaster flick was shown in 1979, I was living in the wrong country (it only came out in Japan). When La-La Land Records gave the Meteor soundtrack its first domestic pressing in 2008, I didn’t have the funds free to partake of it until it was too late (it was a limited edition of 1200 copies). Thankfully, Intrada seems to have turned “reissuing stuff that La-La Land previously released in very limited quantities” into its own lucrative sideline, and so here I am, 35 years after Meteor premiered, holding the soundtrack.
You may not know the name, but you do know the voice, at least if you’re of a certain age. Lenny Zakatek lent his distinctive, raw vocals to numerous 
Before A Mighty Wind, before This Is Spinal Tap, there was Lenny and the Squigtones.
Thank God! After years of waiting – literally years – the remastered Star Trek: The Motion Picture soundtrack is available. Up until the 11th hour in December 1998, this 2-CD set was intended to be released at the same time as Star Trek: Insurrection‘s soundtrack and Ron Jones’ original music from the CD-ROM game Star Trek: Starfleet Academy. But Paramount’s marketing wing blanched at the thought of three simultaneous Star Trek music releases, and demanded that this collection and the Starfleet Academy album be held back indefinitely. Alas, Sonic Images’ Starfleet Academy CD has yet to see the light of day, but after hearing this digitally remastered soundtrack with its wealth of previously unreleased material, I begin to see why the Paramount brass was so worried. The power, exotic beauty and timelessness of the first Trek film’s soundtrack – even though composed by the same man who scored Star Trek: Insurrection – easily outshines damn near any other Star Trek CD that could’ve been released at the same time.