Parsons described I, Robot in basically the same terms, but the difference in interpretation can be distilled to hope. “The machine could eventually take over. I, Robot offers a view of the future, but I think that even now machines are be- coming very much part of our lives. Computers control bank statements, traffic signals, credit. Computers know more about us than we know about ourselves, almost.
“I’ve always in a way associated what we’ve done musically with a visual, a picture,” Parsons continues. “Films naturally come to mina; in I, Robot, 1984 was one of them, and Metropolis was the other. People just milling around. humans and machines all being controlled by each other.”
Whether you think technomania is now or later, this album is the kind of statement that needs to be made until humans are back in control.
SESSION NOTES: Cheap Trick just finished its second Cheap Trick at Kendum, with Tom Werman (Ted Nugent) producing; one of the tunes is “Southern Girls,” an ode to Dixie Chickens. The album has Britrock overtones and not as much manic jamming around as the first. Werman swears Cheap Trick is “the horniest band I’ve ever worked with. Nugent is a vegetarian compared to these guys.” Sources say the band’s lead singer was a gigolo before becoming a Trick.
Meanwhile, at Brother Studios in Santa Monica, Earle Mankey got on the line with us. “What am I doing? Getting ready to cut Brian Wilson doing ‘Shortnin’ Bread.’ ” You don’t mean … “Yep, that’s the one.” But Brian’s prolific again, and writing stuff like “It’s Trying To Say To You,” “Everybody Wants To Live,” “It’s Over Now,” and “Lines” for the next Beach Boys album. There won’t be any shortage of material to choose for said album, tentatively titled “No Working Title.”
Carl Wilson just finished producing an album by Ricky Martin, Dean’s kid and the one that was too young to join Dino,