"Gaudi is the last actual ‘Alan Parsons Project’ CD -- and true to form, they took on one last big theme. The CD is inspired by the life and work of Catalan architect Antonio Gaudi, whose Sagrada Familia Cathedral in Barcelona remains unfinished despite his death in 1926" (Egbert).
Unfortunately, the album "lack[s] the assertiveness or the instrumental endowments that usually occur within the Alan Parsons Project's work" (DeGagne). "The songs…have difficulty supporting any imagery or symbolism concerning the album's main character, which was done masterfully more than ten years earlier with Tales of Mystery and Imagination, a musical voyage through Edgar Allen Poe's work. Here, the songs stand up well individually, but Parsons is a conceptual virtuoso who usually ties together his main idea through the use of each separate song. Although Gaudi isn't without some minor merit, its lasting impression doesn't leave much regard for its central character" (DeGagne).
One plus: "unlike the previous two Project discs (Stereotomy and Vulture Culture), Gaudi has an orchestra again, arranged by Andrew Powell, and it grabs the center stage of the CD early and refuses to let go. This results in a disc that really sounds like Parsons again: rich, sweeping, cinematic, and really, really well produced" (Egbert).
"The usual lineup of Miles, Woolfson, Zakatek, and Rainbow share the singing duties, with Geoff Barradale taking over on Standing on Higher Ground” (Degagne). " With a leaner, edgier sound” (DeGagne), this “straight-ahead power rock piece [is] driving and upbeat” (Egbert) and the best representation of “the easiness and touch that should have enveloped this album" (DeGagne).
"La Sagrada Familia is a magnum opus with powerful vocals by John Miles” (Egbert). The song ranks as one of the Project’s best non-singles ever crafted.
"Too Late is an oddly bittersweet song about unfinished love" (Egbert).
Money Talks “is the closest to hard rock the Project ever got, and includes at least one amusing dig at the music industry (‘Billboard, Cashbox / Money talks...’)" (Egbert). Like “In the Real World” on 1986’s Stereotomy, this song has the feel of a shoulda-been-album-rock hit.
"The two Requisite Eric Woolfson-Voiced Attempts At American Soft Rock Chart Success (Closer to Heaven and Inside Looking Out) fall somewhat flat" (Egbert).
"The album does reveal some passion with the last track, Paseo de Gracia, a finely orchestrated instrumental done exquisitely in full Parsons style" (DeGagne) and featuring “a lovely piece of flamenco guitar” (Egbert).
"Gaudi would be the last heard from Alan Parsons…until 1993. It was an interesting way to go out, and leaves one wondering, once again, what would have happened if Arista Records had stopped meddling. Like Gaudi's cathedral, it's a work of art that has to be experienced to be enjoyed" (Egbert).