“The album was rejected by Arista, not surprisingly, and we then renegotiated our deal for the future and the next album,”

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.

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

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.

I started in a research lab for TV cameras, then I worked at a tape duplication facility.

If I have anything to do with it. I have not heard it since it was finished. I hope the tapes no longer exist.

The Dark Side of the Moon is a fine album with a textural and conceptual richness that not only invites, but demands involvement.

Everyone gets that second album syndrome.

My guitar style was developed during that 10-year period. That’s me. That’s the way I play, and I don’t wish to play any other way. Our own individual identities are firmly stamped on this album.

A good producer brings out the best in the artist he’s working with. You shouldn’t be able to listen to something and say, ‘So-and-so produced this album.

I always felt if we were going in to do an album, there should already be a lot of structure already made up so we could get on with that and see what else happened.

Everything that came later… the roots are all there in the first album.

I want to sell out arenas and make an album and work with some of the best artists in the world.

If I have a collection of songs for an EP or mixtape, I create the narrative afterwards; but usually with an album, I have a concept and the name first.

I’ve always felt like I was observing everything, like I’m just looking out of the window, peeping how everybody is living and just penning about it, so I made the album about that concept.