301:(1977). Phillips put the initial two pieces aside, and started work on one keyboard-based composition that he described as a "modern, short five minute piece" which he expanded upon to become the basis of the "1984" suite. As he went through his musical ideas for the track, he questioned whether the arrangements had any form to them, and whether they confirmed to a particular convention of compositional form, but he dismissed the idea and carried on writing as he saw fit. Creating a keyboard heavy album made Phillips improve his technique, as the technology available at the time of recording did not allow for corrections to be made afterwards using computer software. The ARP 2600 was a difficult keyboard for Phillips to play as the model would not play the next note if he had stumbled while playing a fast sequence, causing him to start again.
497:. She thought that despite being a "compact instrumental story", the album avoids falling into "any of the normal traps" and displays Phillips's "keyboard savvy" which results in a "lean and tidy effort". Ruppert continued: "'1984' moves from 'Prelude' to 'Anthem' without excessive drama; the themes don't make themselves particularly obvious. But you do travel from an energetic, mechanized, non-frantic ambience to a slow, emotionally thick resolution, a peaceful, yet somehow melancholy shift during the last few moments". She wondered what Phillips had in mind while writing the piece, but such "mystery adds much to the enjoyment". In a review published in
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feedback. The keyboards were recorded after, and the basic tracks had been put to tape by
January 1981. Phillips then decided that music needed further parts and overdubs, but there was insufficient space on the 8-track recording. The recorded parts were then transferred onto 24-track tape at Atmosphere Studios in London where recording engineer Chris David painstakingly reassembled the various sections of the piece by hand, cutting pieces of tape off when required. David then made a master tape, making more edits for
391:. Instead, the change in style of music is represented in the sleeve design, replacing the more detailed, fantasy-inspired, and hand drawn illustrations for a dark and more minimalist feel designed by Under the Stairs Productions. Phillips felt Cross's style would not have fit the musical direction of the album. The cover depicts an open small cage with a black background, a reference to the cage affixed to the head of
493:, writing: "It's about time that the ex-Genesis guitarist received the attention his undoubted talent warrants, and this release is surely the one to bring him to a wider audience". He went on to describe the track's "powerful" and "moody, spherical tones" which he could appreciate out of context to the rest of the album or the novel itself. In the US, Joan Tortorici Ruppert wrote a positive review in the
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271:. An album with both featured as the main instruments became attractive to him; looking back on the project, it "was actually a challenge". One reason was because of the difficulty of keeping the oscillator on the ARP 2600 in tune to produce a sound he desired, resulting in the instrument sounding "flat" in some sections.
330:(1949), Phillips clarified that the only real connection between the album and the story was that the book had "a nice title". He named the album late in the production stage, after the music had been recorded. He wanted a title that had a sense of drama behind it, as opposed to a more "dreamy" one. After deciding on
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published a review from
Dennishee Askew, who recognised Phillips's exploration outside the boundaries of progressive rock music. She praised "some brilliant ensemble movements that blend in and out of subtle melodies" and the "crispy produced" music, "arranged in a fashion that takes the monotony out
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and gave them the working titles "Instrumental Single" and "Strings & Drums". The basic parts of each were put down quickly; Phillips estimated no longer than three to four hours. After he had decided upon the album's direction, Phillips felt both tracks fitted the theme and became "Prelude '84"
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in 1979. During this time he was considering ideas for his next studio album; one that particularly interested him the most was a recording which would combine classical-influenced synthesizer sounds with mechanical rock rhythms. He wished to incorporate a rhythm throughout in an effort to avoid the
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than any other studio project he had worked on as
Phillips had recorded the album in sections between 20 and 60 seconds in length, "more or less in order which helped with the assembly", but he recalled mistakes made and a restart in the process. To track what parts were recorded onto which track,
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in June 2008. Both releases contained a bonus disc with a new stereo mix from the original 8-track masters. Dann had the original reels sent to FX in Acton, London for processing where they were baked and transferred onto digital format where a new mix was constructed. The set also contains music
503:, reviewer Marc English commented on the flow of the album, that "Basic themes are embellished and then transposed into other forms causing the album to literally flow from beginning to end". He noted the music is "far from Orwellian", it is "sprightly, almost happy music". English concluded that
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Ampex tape. The first parts put down were the drum machine and percussion tracks with assistance from
Phillips's friend Richard Scott, who is credited in the liner notes for helping with production and engineering. Scott also listened to rough mixes of the tracks that Phillips had completed for
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534:, pointing out that Phillips had undergone a change in musical direction, abandoning "the path of his initial five albums and journeys into percussive, electronic fantasy". He thought the album creates a "pseudo-cinematic effect", and rated it "the best electronic album to date".
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magazine praised the "solid" album which he thought displayed elements of "the quasi-orchestral
Genesis mold", with "highly dramatic riffs" and "consistently excellent and sometimes spectacular" orchestration which maintains the listener's interest. Aikin suggested
212:. The album marks a change in musical style for Phillips as it is synthesiser-oriented compared to most of his previous albums which focused on more folk and acoustic music. After the music had been recorded, Phillips named the album after
403:. The album's liner notes includes the line: "Peter Cross is on holiday with Ralph Bernascone", part of a running joke in whereby "Ralph Bernascone" is mentioned in the liner notes of several of Phillips' albums.
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to Smith, he remembered Smith saying "It works", before leaving the room. Smith then approached management at RCA Records with the aim of the label releasing other material from
Phillips and presented
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to several
European markets, for which "Prelude '84" was released as the lead single in the UK and Spain. Phillips was surprised that such a major label agreed to release it.
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to them after, which it liked and agreed to put out with an advance, without which
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mixes, the latter on DVD, plus a disc of the bonus tracks included in the 2007 reissue. Also included is a poster and a 16-page booklet with photos and Dann's essay.
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that was also left off. He then considered using them to produce a "quick instrumental album", but the project grew after he persuaded his manager,
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to record the percussive sections, all of which were put down in one day. It was then mixed at
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was perhaps meant to be more optimistic in nature with electronic instruments of the day, which he then wrote: "Sounds good to me".
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was released in Japan by
Arcangelo Records with a limited edition mini vinyl sleeve. A standard jewel case version was released by
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was recorded from 14 August 1980 to January 1981 at Send Barns, Phillips's recording facility set up at his parents’ house in
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and "Anthem 1984", respectively. The latter half of "1984 Part 2" features Phillips's vocals fed through a
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in the formative stages of the album. It contains a booklet with extensive liner notes by Jonathan Dann.
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as the title, Phillips revisited the composition and "nastied the music up in one or two places".
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David recalled a "film-style cue sheet approach" to avoid losing place. David's efforts for
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album series, Phillips was still under contract with the US-based independent label
932:(Booklet essay). Anthony Phillips. Esoteric Recordings. pp. 7–11. ECLEC 32550.
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as three instrumental pieces, one of which was a Polymoog piece from the
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Though the album borrows the name, and artwork depicting imagery, from
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The album is the first of Phillips's albums not to feature artwork by
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Alan Coulthard gave a positive review of the "Prelude '84" single in
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required him to cut short his honeymoon in Kenya. Phillips used a
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1079:(Media notes). Anthony Phillips. RCA Records. 1981. RCA LP 5036.
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of their long journey from beginning to end". Ron Kress hailed
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recording sessions that was left unused. A second featured a
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The Music's All that Matters: A History of Progressive Rock
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is the sixth studio album by English musician and composer
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In May 1980, two months prior to recording material for
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drum machine, and borrowed percussion instruments from
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Private Parts & Pieces VII: Slow Waves, Soft Stars
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Richard Scott – basic percussion, effects, vocal ideas
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could have been named "something more original". The
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Richard Scott – production and engineering assistant
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Phillips recorded for the 1981 UK television series
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Private Parts & Pieces II: Back to the Pavilion
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Private Parts & Pieces II: Back to the Pavilion
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1549:Private Parts & Pieces IX: Dragonfly Dreams
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553:Rule Britannia: Pictures of a People Like Us
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1183:Ruppert, Joan Tortorici (November 1981).
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1211:"Anthony Phillips - 1984 (Passport, LP)"
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149:Private Parts & Pieces III: Antiques
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947:. Quartet Books Limited. p. 313.
1554:Missing Links Volume 3: Time and Tide
1159:"Anthony Phillips: Prelude '84 (RCA)"
1110:. The Waiting Room Online. April 2008
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1564:Private Parts & Pieces X: Soirée
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1289:"1984 - Anthony Phillips - Passport"
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1656:Music based on Nineteen Eighty-Four
1261:Askew, Dennishee (23 August 1981).
1185:"Anthony Phillips: 1984 (Passport)"
772:"1984 – Part Two" (Early Stage Mix)
730:"1984 – Part One" (Early Stage Mix)
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1302:– via AnthonyPhillips.co.uk.
1276:– via AnthonyPhillips.co.uk.
1250:– via AnthonyPhillips.co.uk.
1224:– via AnthonyPhillips.co.uk.
1198:– via AnthonyPhillips.co.uk.
1172:– via AnthonyPhillips.co.uk.
929:1984 [2016 Deluxe Edition]
853:Anita David – vocoder manipulation
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1209:English, Marc (5 November 1981).
563:and considered for inclusion for
1157:Coulthard, Alan (18 July 1981).
987:Hewitt, Alan (15 October 2016).
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1341:Interviews – Anthony Phillips 2
783:"Anthem 1984" (Early Stage Mix)
708:"Prelude '84" (Early Stage Mix)
1287:Kress, Ron (14 October 1981).
866:Hit & Run Music Publishing
747:ii) "Science & Technology"
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687:2007 and 2016 reissue bonus CD
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411:When Phillips first presented
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375:. He arranged a session with
1575:Archive Collection Volume II
1559:Archive Collection Volume I
1235:Aikin, Jim (October 1981).
859:Ray Staff – disc cutter at
208:, released in June 1981 on
182:"Prelude '84"/"Anthem 1984"
62:14 August 1980–January 1981
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1433:Private Parts & Pieces
1237:"Anthony Phillips, "1984""
238:Private Parts & Pieces
70:Send Barns, Woking, Surrey
1666:Voiceprint Records albums
1661:1980s instrumental albums
1419:The Geese & the Ghost
1314:"1984 – Anthony Phillips"
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991:The Waiting Room Online
926:Dann, Jonathan (1981).
759:vi) "Power in the Land"
741:"Rule Britannia Suite"
1021:Parkin, Geoff (1982).
590:All tracks written by
255:composition having a "
185:Released: 10 July 1981
1338:Powell, Mark (2014).
1027:AnthonyPhillips.co.uk
395:, the protagonist in
353:. It was put down on
1651:1980s concept albums
1426:Wise After the Event
1189:Illinois Entertainer
1140:Thompson, Dave.
943:Stump, Paul (1997).
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495:Illinois Entertainer
432:Professional ratings
399:when he is taken to
397:Nineteen Eighty-Four
327:Nineteen Eighty-Four
236:, the second in his
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1293:Princetown Spectrum
1085:cite AV media notes
1023:"1984 and all that"
794:"Poly Piece" (Demo)
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324:'s dystopian novel
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570:On 24 June 2016,
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744:i) "Sally Theme"
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756:v) "Military"
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675:"Anthem 1984"
674:
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664:"1984 Part 2"
663:
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631:"1984 Part 1"
630:
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622:
620:"Prelude '84"
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586:Track listing
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437:Review scores
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393:Winston Smith
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1346:. Retrieved
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1318:. Retrieved
1308:
1296:. Retrieved
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1282:
1270:. Retrieved
1266:
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1244:. Retrieved
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1218:. Retrieved
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1192:. Retrieved
1188:
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1166:. Retrieved
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1112:. Retrieved
1075:
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1030:. Retrieved
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993:. Retrieved
963:
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868:– publishing
838:
837:
823:Roland CR-78
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753:iv) "Church"
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373:Phil Collins
369:Roland CR-78
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310:drum machine
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39:Studio album
15:
1636:1981 albums
1569:Radio Clyde
1534:Gypsy Suite
1411:Solo albums
1215:Boston Rock
832:Morris Pert
719:"Ascension"
500:Boston Rock
389:Peter Cross
377:Morris Pert
210:RCA Records
1630:Categories
1511:Slow Dance
873:References
839:Production
293:Tony Smith
226:Background
120:chronology
1582:Field Day
805:Personnel
427:Reception
338:Recording
54:June 1981
1589:Wildlife
1348:23 April
1320:23 April
1298:24 April
1272:24 April
1246:24 April
1241:Keyboard
1220:24 April
1194:23 April
1168:23 April
1146:AllMusic
1114:5 August
1032:22 April
995:5 August
643:Side two
599:Side one
538:Reissues
512:Keyboard
451:AllMusic
401:Room 101
265:ARP 2600
261:Polymoog
222:(1949).
108:Producer
59:Recorded
51:Released
41: by
1402:Genesis
1332:Sources
530:in the
407:Release
383:Artwork
355:8-track
315:vocoder
275:Writing
167:Singles
153:(1982)
144:(1981)
135:(1980)
951:
700:Length
656:Length
612:Length
445:Rating
442:Source
351:Surrey
347:Woking
90:41.26
87:Length
67:Studio
1500:Tarka
1440:Sides
1395:Bands
813:Music
797:16:39
733:12:49
697:Title
667:15:28
653:Title
634:19:06
609:Title
561:Sides
285:Sides
269:Sides
251:Sides
171:1984
169:from
96:Label
76:Genre
1454:1984
1350:2018
1322:2018
1300:2018
1274:2018
1248:2018
1222:2018
1196:2018
1170:2018
1142:1984
1116:2018
1091:link
1076:1984
1034:2018
997:2018
949:ISBN
786:2:08
775:4:25
764:7:41
722:5:16
711:4:26
678:2:27
623:4:19
576:1984
565:1984
557:1984
544:1984
528:1984
517:1984
505:1984
421:1984
417:1984
413:1984
365:1984
360:1984
343:1984
332:1984
306:1984
281:1984
263:and
201:1984
140:1984
24:1984
1144:at
693:No.
649:No.
605:No.
101:RCA
1632::
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1099:^
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1083:{{
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349:,
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888:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
