“Audiophiles don’t use their equipment to listen to your music.”

It was a real education, going right from the consumer end to the record factory.

I try to find a way that the other guy hasn’t thought of using a sound or a sample.

The Sicilian Defence was our attempt at quickly fulfilling our contractual obligation after I Robot, Pyramid and Eve had been delivered.

Folk rock was my real roots. I did a few gigs as a folk artist, in the style of Fairport Convention.

Any effects created before 1975 were done with either tape or echo chambers or some kind of acoustic treatment. No magic black boxes!

That Beatle euphoria has always been there, and it’s hard to be in a room with a Beatle and try to be totally natural. You never shake that off.

I’m delighted about the track’s success in the sports world, but the frustrating thing is,

In France, you can sell a lot, but nobody outside of France ever hears of it.

Audiophiles use your music to listen to their equipment.

I was 17 and just learning what high fidelity was, what good sound was, and learning the mechanics of tape machines.

In Russia we had to have special visas in our passports, and when we had to show our passports at the Kremlin gates.

I don’t think I got rich on it. The labels and publishers did very cheap deals on our songs.

There is a certain grandeur.

We realized that, Oh my God, we’re actually playing in THE Kremlin!.

The album ended up being something not directly related to Asimov, but related instead to the concept of the power of robotics.

That was the first introduction for me to recorded music and hi-fi.