”The fusion of Parsons' thematic intentions and exquisitely textured music comes to fruition on 1982's Eye in the Sky” (DeGagne), an album which ”returned in some ways to [Parsons’] more progressive, art-rock past” (Gdula), but also serves as “the transition between the seventies’ Project art rock sound and the more clinical, Fairlight-laden eighties sound” (Egbert). “Parsons's approach was a synthesis of studio wizardry with a symphonic, spacey interplay between keyboards, synthesizers and basic rock instrumentation” (Gdula). ”With a powdery feel and pristine sound, Eye in the Sky is worthy of both amiable songs and conceptual substance, something not found on all of the Alan Parsons Project’s albums” (DeGagne). “On no other album by this group is there such a tight amalgamation of music, lyrics, and ideas, all combining to create songs that are accessible to a vast audience” (DeGagne).
”The album deals with the futuristic outlook of how our lives will be constantly monitored by ‘Big Brother’ and the manner in which man's right for freedom and choice may someday be thwarted by the government, or the powers that be. Aside from Parsons' intriguing concept, the individual songs serve a dual purpose by carrying out the album's message while at the same being perfect examples of well-crafted rock” (DeGagne).
”The up-and-down flow of the instrumental Sirius is astonishing, and is used wisely as the opening track” (DeGagne). The song is “perhaps best known as the Chicago Bulls theme and featured at countless NBA games. P.Diddy (Puff Daddy) also chose [it] as the backbone for the title track of his most platinum-selling CD, The Saga Continues. In 2000, ‘Sirius’ was featured in an IMAX documentary movie about Michael Jordan” (AlanParsonsMusic.com).
Of course, that opening instrumental then leads into the Project’s biggest hit of their career, Eye in the Sky. While the Project has a fair amount of album rock favorites, this was their only top ten hit on the pop charts. It ”is a prime example of a fabulous rock song, highlighted by the harmonic beauty of Eric Woolfson” (DeGagne).
Along with the instrumental “Sirius,” the next two songs, Children of the Moon and Gemini “all have Parsons's love of the esoteric” (Gdula). The latter “is an astonishing piece of vocal harmony” (Egbert).
Next up is Silence and I, “a rich, multi-layered vocal and orchestral piece” (Egbert) followed by You’re Gonna Get Your Fingers Burned, which “ is a surprisingly straight-ahead rock number” (Egbert).
”Psychobabble is a cerebral rock song that best represents the album's concept” (DeGagne) and, “though never a hit…remains a favorite of fans” (Gdula).
”Mammagamma is another instrumental that brandishes the group's trademarked mysteriousness, wrapped in an ominous science fiction-type glow” (DeGagne). It “allowed Parsons to fully indulge his fondness for orchestration with its instrumental structure” (Gdula).
”The softness of Old and Wise sums up the threatening result that may someday evolve, with a hint of promise for a favorable outcome” (DeGagne). The song begs to be played at funerals with its simultaneously heart-wrenching and uplifting statement “to those I leave behind/ I want you all to know/ you’ve always shared my darkest hours/ I’ll miss you when I go.”
”What you have here is a seriously tasty piece of symphonic pop/rock, music for grownups” (Egbert). ”Eye in the Sky is, quite simply, the Project’s finest hour” (Egbert).