Eric Woolfson Freudiana released

Freudiana Alan Parsons

Released: October 11, 1990 Peak: 13 DF Sales (in millions): -- Genre: progressive rock lite

Tracks: Song Title (Writers) [time] (date of single release, chart peaks) Click for codes to singles charts. The Nirvana Principle (instrumental) [3:45] Freudiana [6:21] v: Eric Woolfson I Am a Mirror [4:07] v: Leo Sayer Little Hans [3:13] v: Graham Dye Dora [3:51] v: Eric Woolfson Funny You Should Say That [4:36] v: The Flying Pickets You're on Your Own [3:54] v: Kiki Dee Far Away From Home [3:12] v: The Flying Pickets Let Yourself Go [5:26] v: Eric Woolfson Beyond the Pleasure Principle (instrumental) (Parsons/Woolfson) [3:14] The Ring [4:23] v: Eric Stewart Sects Therapy [3:40] v: Frankie Howerd No One Can Love You Better Than Me [5:41] v: Kiki Dee, Marti Webb, Gary Howard, Eric Woolfson Don't Let the Moment Pass [3:41] v: Marti Webb Upper Me [5:16] v: Eric Stewart Freudiana (instrumental) [3:43] Destiny [:51] v: Chris Rainbow There But for the Grace of God [5:56] v: John Miles All songs written by Eric Woolfson unless otherwise noted. The ‘v’ after the song listing indicates who does lead vocals. Total Running Time: 74:30 The Players: Eric Woolfson (vocals, keyboards, executive producer) Alan Parsons (engineer, producer, additional keyboards) Andrew Powell (orchestra leader, arrangements) Ian Bairnson (guitar) Stuart Elliott (drums, percussion) Laurie Cottle (bass) Richard Cottle (synthesizer, saxophone)

Rating: 3.668 out of 5.00 (average of 15 ratings) Awards: (Click on award to learn more).

About the Album: The Alan Parsons Project launched in 1976 with Tales of Mystery and Imagination, an album devoted to musical interpretation of the works of Edgar Allan Poe. Originally intended as a one-time project, the work led to nine more studio albums in just over a decade’s time. ”Between 1975 and 1987, ten Alan Parsons project albums…sold over 45 million copies worldwide.” PC The Project was helmed by its namesake alongside singer, keyboardist and co-writer Eric Woolfson and backed by a slew of rotating vocalists and other session musicians. When the Project split in 1987, “Woolfson was eager to write for musical theatre, and in 1990, a new career began when his first musical Freudiana, was premiered in Vienna.” PC Freudiana “offers…various interpretations of [psychiatrist Sigmund] Freud's works, studying all his most famous cases (Wolfman, Ratman, Dora, Little Hans, Schreber and the Judge).” AMG Much of the Project’s work suffered from songs with an eye for radio that were loosely tied to vague themes studying the nature of man. Woolfson’s single-minded purpose to craft a musical freed him from the burden of crafting songs that had to stand alone out of context while also tying the songs more closely to an overall theme. The result is the most focused work on Woolfson’s resume since the Project’s Tales of Mystery and Imagination. The music here also works in that it is a Project album in all but name. Not only does Woolfson enlist longtime Project players Stuart Elliot and Ian Bairnson on drums and guitar respectively, but vocalists Chris Rainbow, John Miles, and Graham Dye, all of whom had worked with the Project. Of course, the most important connection is the presence of Alan Parsons himself. While the Project albums were fairly collaborative efforts between Woolfson and Parsons, this album is the brainchild of Woolfson. Parsons, however, still produces and engineers the album and even wrote one instrumental (Beyond the Pleasure Principle). As a result, it is no surprise how much the album serves up “obvious reminders of the Alan Parsons Project (most noticeably Dora)” AMG on which Woolfson handles the lead vocals, as he did on Project songs such as “Eye in the Sky,” “Time,” “Don’t’ Answer Me,” and “Prime Time.” The title cut, also voiced by Woolfson, is the ultimate conclusion of the Project’s years of attempting to merge a great song with a big concept. The song would have been the logical choice as a leadoff single, but in its unwavering commitment to songs that all sound the same, radio would have never given it a chance. Where this album veers most from the Project is through some more diverse vocal performances. Woolfson enlists well known singers such as Leo Sayer and Kiki Dee alongside the aforementioned Project alumni as well as singers Eric Stewart, Frankie Howerd, Marti Webb, Gary Howard, and the quirky vocals of The Flying Pickets. With such a cast, the album can’t help but have a more varied sound than anything the Project released, and this proves to be a good thing. "The strongest performances are by Leo Sayer (I Am a Mirror) and the Flying Pickets (on the strange, yet incredibly powerful, Funny You Should Say That).” AMG The latter song, along with No One Can Love You Better Than Me, show that “the rest can be progressive at times…and the whole is very creative and intelligent.” AMG "Some songs (like Little Hans) are reminiscent of the Beatles — which shouldn’t be too surprising, considering Woolfson used to be a member of Herman’s Hermits.” AMG The album concludes with John Miles singing There But for the Grace of God, a song that easily ranks amongst the best works of the Alan Parsons Project. Miles did vocal duty on Project singles “The System of Dr. Tarr and Professor Fether,” and “Stereotomy,” as well as the fantastic album cut “La Sagrada Familia” from the Project’s final album Gaudi in 1987. Woolfson would go on to create three more musicals. “Gaudi, which premiered in 1995 and has run for over five years in several German productions,” PC was an extension of the Project’s 1987 album of the same name. “Gambler, Woolfson’s third musical also premiered in Germany in 1996 and had a first run of over 500 performances.” PC In addition, it “has had five productions in Korea, one of which also toured Japan in 2002 (the first time a Korean language production had been staged in this way).” PC In 2003, Woolfson’s career came full circle when he premiered fourth musical Poe, an extension of the same theme as the first Alan Parsons Project album. None of Woolfson’s work would come close to the success of the Project, but Freudiana was a logical progression for Woolfson and one that breathed new creative life into an already distinguished musical career.

Resources and Related Links: DMDB encyclopedia entry for Eric Woolfson AMG All Music Guide review by Alex S. Garcia PC Poe-cd.com WK Wikipedia Other Related DMDB Pages: First posted 9/12/2009; last updated 7/20/2022.

Alan Parsons Project Gaudi released

Gaudi Alan Parsons Project

Released: February 7, 1987 Peak: 57 US, 66 UK, 53 CN, 61 AU Sales (in millions): -- Genre: progressive rock lite

Tracks: Song Title [time] (date of single release, chart peaks) Click for codes to singles charts. La Sagrada Familia [8:44] v: John Miles Too Late [4:34] v: Lenny Zakatek Closer to Heaven [5:54] v: Eric Woolfson Standing on Higher Ground [5:02] v: Geoff Barradale (1/24/87, 3 AR) Money Talks [4:23] v: John Miles Inside Looking Out [6:19] v: Eric Woolfson Paseo De Gracia (instrumental) [3:43] All tracks written by Alan Parsons and Eric Woolfson. The ‘v’ after the song listing indicates who does lead vocals. Total Running Time: 38:39 The Players: Alan Parsons (production, engineering, assorted instruments) Eric Woolfson (vocals, keyboards, piano) Ian Bairson (guitar) Stuart Elliott (drums, percussion) Laurie Cottle (bass) John Miles, Chris Rainbow, Lenny Zakatek, Geoff Barradale (vocals) Andrew Powell (orchestral arrangements)

Rating: 3.273 out of 5.00 (average of 14 ratings) Awards: (Click on award to learn more).

About the Album: This was the last Alan Parsons Project studio album, although Parsons would continue to work with Eric Woolfson and release albums under his own name. “True to form, they took on one last big theme;” DV this time the album draws inspiration from the unfinished Sagrada Familia Cathedral in Barcelona which was designed by Catalan architect Antonio Gaudi, who died in 1926. Unfortunately, the album “lack[s] the assertiveness or the instrumental endowments that usually occur within the Alan Parsons Project's work.” AMG “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.” AMG 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…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.” DV “The usual lineup of Miles, Woolfson, Zakatek, and Rainbow share the singing duties, with Geoff Barradale taking over on Standing on Higher Ground.” AMG “With a leaner, edgier sound” AMG this “straight-ahead power rock piece [is] driving and upbeat” DV and the best representation of “the easiness and touch that should have enveloped this album.” AMG “La Sagrada Familia is a magnum opus with powerful vocals by John Miles.” DV The song ranks as one of the Project’s best non-singles ever crafted. “Too Late is an oddly bittersweet song about unfinished love.” DV 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...’).” DV 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.” DV “The album does reveal some passion with the last track, Paseo de Gracia, a finely orchestrated instrumental done exquisitely in full Parsons style” AMG and featuring “a lovely piece of flamenco guitar.” DV “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.” DV Notes: The 2008 remaster included alternate versions of “Too Late,” “Standing on Higher Ground,” “Money Talks,” “Closer to Heaven,” “Paseo de Gracia,” and “La Sagrada Familia.”

Resources and Related Links: DMDB encyclopedia entry for Alan Parsons AMG All Music Guide review by Mike DeGagne DV DailyVault.com review by Duke Egbert WK Wikipedia Other Related DMDB Pages: First posted 3/24/2008; last updated 9/23/2021.

Alan Parsons Project Stereotomy released

Stereotomy Alan Parsons Project

Charted: February 1, 1986 Peak: 43 US, -- UK, 32 CN, 50 AU Click for codes to charts. Sales (in millions): -- Genre: progressive rock lite

Tracks: Song Title [time] (date of single release, chart peaks) Click for codes to charts. Stereotomy [7:15] Beaujolais [4:27] Urbania [4:34] Limelight [4:39] In the Real World [4:17] Where’s the Walrus? [7:34] Light of the World [ 6:22] Chinese Whispers [1:02] Stereotomy Two [1:18] Total Running Time: 41:58 Also from This Era: Rumour Goin’ Round [4:39] The Players: Alan Parsons (production, engineering, assorted instruments) Eric Woolfson (vocals, keyboards, piano) Ian Bairson (guitar) Stuart Elliott (drums, percussion) David Paton (bass) Richard Cottle (keyboards, synthesizer, saxophone) Gary Brooker, Graham Dye, Steven Dye, John Miles, Chris Rainbow (vocals) The Philharmonia Orchestra, arranged and conducted by Andrew Powell

Rating: 3.190 out of 5.00 (average of 16 ratings) Awards: (Click on award to learn more).

About the Album: “’Stereotomy’ is the scientific term for enclosing scientific samples in wax and then cutting them into fine shavings. The word was used by Edgar Allan Poe in his work The Murders in the Rue Morgue which was the first detective novel.” APP The album, the ninth by the Alan Parsons Project, uses “stereotomy” as “a metaphor for the way that famous people…are often ‘shaped’ by the demands of fame.” WK This allows for the exploration of themes about how ‘the modern world molds the personality, the character, and the livelihood of the human being. People are but a slave to their lifestyle and their environment and they are destined to be thrown into this situation at birth.” AM "The Alan Parsons Project’s conceptual grandeur began to lose its potency right around the mid-‘80's.” AM On Stereotomy, "one must really pay attention to the profound lyrics and loose structuring of the music to attain the concept that Parsons metaphorically dances around.” AM “The lack of unity and cohesion means that [this] is merely a collection of good songs and not a work in its own right.” DV Commercially, the Project were on the downside as well. They had top 20 hits like “Games People Play” and “Don’t Answer Me” as well as the top-10 “Eye in the Sky,” but now they were lucky to grace the Billboard Hot 100 at all. The title cut peaked at a lowly #82. “The elegant, Appolonian keyboard-based sound of albums like Eye in the Sky and Vulture Culture was gone, replaced with a drum and bass-heavy throb on the opening track. The production was still crisp and clean, the engineering exquisite,” DV but “in many ways this was the end of any pretensions that Alan Parsons’ was progressive rock…this was a stripped down and…almost…funky?…Project.” DV While the Project’s instrumentals may be a selling point to many fans, the presence of three of them, not to mention a very unnecessary reprise of the title cut, make the album feel lazy. Coupling that with Parsons’ growing weakness in presenting readily apparent concepts well supported by the songs makes for a mediocre effort. “Parsons’ genius can be better investigated on numerous past releases, as this album proves to come up short.” AM Notes: A 2008 reissue included alternate versions of “Stereotomy” and “Light of the World” along with a demo of the unreleased “Rumour Goin’ Round.” The Songs Here’s a breakdown of each of the individual songs.

Stereotomy Alan Parsons Project

Writer(s): Alan Parsons, Eric Woolfson (see lyrics here) Vocals: John Miles Released: 1/18/1986 (single), Stereotomy (1986), The Best of, Volume 2 (compilation, 1988), The Definitive Collection (compilation, 1997), The Essential (compilation, 2007) Peak: 82 BB, 5 AR, 1 DF Click for codes to charts. Sales (in millions): -- Airplay/Streaming (in millions): -- radio, -- video, 1.83 streaming

Awards: (Click on award to learn more).

About the Song: The Project used a myriad of singers over the years and in this case, they turned to John Miles for most of the vocal, although Eric Woolfson, the only mainstay in the group other than Parsons, does come in toward the end. Miles wasn’t well known in the United States, but his song “Music” hit #3 on the UK charts in 1976. The “angriness” of his “forceful voice” makes “Stereotomy “a passable rock tune.” AMG “Stereotomy” notched a fitting place on the album rock tracks (#5), but once again was shunned by pop radio, peaking at a mere #82 on the Billboard Hot 100.

Beaujolais Alan Parsons Project

Writer(s): Alan Parsons, Eric Woolfson Vocals: Chris Rainbow Released: Stereotomy (1986) Peak: 31 DF Click for codes to charts. Sales (in millions): -- Airplay/Streaming (in millions): -- radio, -- video, 0.65 streaming About the Song: The “new wave-tinged dance of Beajolais” DV is a decent, but not overly memorable song.

Urbania Alan Parsons Project

Writer(s): Alan Parsons, Eric Woolfson Vocals: NA (instrumental) Released: Stereotomy (1986), Instrumental Works (1988) Peak: -- Click for codes to charts. Sales (in millions): -- Airplay/Streaming (in millions): -- radio, -- video, 0.66 streaming About the Song: “Two of the album’s instrumentals, Where’s the Walrus? and Urbania, conjure up mood and keep the listener slightly poised, causing some musical buoyancy among the blandness of the other tracks.” AM

Limelight Alan Parsons Project

Writer(s): Alan Parsons, Eric Woolfson Vocals: Gary Brooker Released: April 1986 (single),Stereotomy (1986), The Best of, Volume 2 (compilation, 1988), The Very Best Live (live, 1995), The Essential (compilation, 2007), The Never Ending Show (live, 2021) Peak: 14 DF Click for codes to charts. Sales (in millions): -- Airplay/Streaming (in millions): -- radio, -- video, 3.65 streaming About the Song: “Limelight is almost Broadway in its sheer power.” DV It is a beautiful song and one of the rare highlights on the album.

In the Real World Alan Parsons Project

Writer(s): Alan Parsons, Eric Woolfson Vocals: John Miles Released: Stereotomy (1986), The Definitive Collection (compilation, 1997) Peak: 6 DF Click for codes to charts. Sales (in millions): -- Airplay/Streaming (in millions): -- radio, -- video, 0.64 streaming About the Song: “With the help of [vocalist John] Miles’ assertiveness,” AM In the Real World is a “vocal standout” AM and "one of the greatest rock songs you've never heard.” DV This song should have followed “Stereotomy” on to the album rock charts.

Where’s the Walrus? Alan Parsons Project

Writer(s): Alan Parsons, Eric Woolfson Vocals: NA (instrumental) Released: Stereotomy (1986), Instrumental Works (1988) Peak: 28 DF Click for codes to charts. Sales (in millions): -- Airplay/Streaming (in millions): -- radio, -- video, 0.89 streaming About the Song: “Two of the album’s instrumentals, Where’s the Walrus? and Urbania, conjure up mood and keep the listener slightly poised, causing some musical buoyancy among the blandness of the other tracks.” AM

Light of the World Alan Parsons Project

Writer(s): Alan Parsons, Eric Woolfson Vocals: Graham Dye Released: Stereotomy (1986) Peak: 11 DF Click for codes to charts. Sales (in millions): -- Airplay/Streaming (in millions): -- radio, -- video, 0.58 streaming About the Song: “Light of the World is a passionate, powerful ballad about spiritual seeking and longing.” DV

Chinese Whispers Alan Parsons Project

Writer(s): Alan Parsons, Eric Woolfson Vocals: NA (instrumental) Released: Stereotomy (1986) Peak: -- Click for codes to charts. Sales (in millions): -- Airplay/Streaming (in millions): -- radio, -- video, 1.36 streaming About the Song: “The synth-laden wistfulness of Chinese Whispers” DV makes for the third (!) instrumental on the Stereotomy album.

Stereotomy Two Alan Parsons Project

Writer(s): Alan Parsons, Eric Woolfson Vocals: John Miles Released: Stereotomy (1986) Peak: -- Click for codes to charts. Sales (in millions): -- Airplay/Streaming (in millions): -- radio, -- video, 0.61 streaming About the Song: This is a very unnecessary reprise of the title cut which, especially in light of the album’s three instrumentals, feels like filler.

Resources/References: APP The-Alan-Parsons-Project.com AM AllMusic.com review by Mike DeGagne DV DailyVault.com review by Duke Egbert WK Wikipedia Related DMDB Pages: First posted 3/24/2008; last updated 4/26/2026.

Alan Parsons Project Vulture Culture released

Vulture Culture Alan Parsons Project

Released: February 23, 1985 Peak: 46 US, 40 UK, 25 CN, 32 AU Click for codes to charts. Sales (in millions): 0.3 world Genre: progressive rock lite

Tracks: Click on a song title for more details. Let’s Talk About Me [4:22] Separate Lives [4:42] Days Are Numbers (The Traveller) [4:02] Sooner Or Later [ 4:26] Vulture Culture [5:21] Hawkeye [3:48] Somebody Out There [4:56] The Same Old Sun [5:24] Also from This Era: No Answers Only Questions [2:12] Total Running Time: 37:01 The Players: Alan Parsons (production, engineering, assorted instruments) Eric Woolfson (vocals, keyboards, piano) Ian Bairson (guitar) Colin Blunstone, Chris Rainbow, Lenny Zakatek (vocals) Stuart Elliott (drums, percussion) David Paton (bass) Richard Cottle (keyboards, synthesizer, saxophone)

Rating: 3.241 out of 5.00 (average of 16 ratings) Awards: (Click on award to learn more).

About the Album: Vulture Culture confronts the notion that we live “in a parasitic society, where it's every man for himself. Those who can't fend for themselves simply won't survive in a world where the kindness of the human spirit is rapidly deteriorating.” AM This isn’t the most original theme ever attempted, and is rendered even more unoriginal by the fact that every Alan Parsons Project album seems to address the nature of man in the face of conflict, be it technology (I Robot), gambling (Turn of a Friendly Card, or the watchful eye of the government (Eye in the Sky). With the exception of the Edgar Allan Poe-themed debut album Tales of Mystery and Imagination, every Project album fudged a little on the overall concept, sometimes barely suggesting the theme. “On this album, though, the songs are weaker and are less effective in bringing out the album's complex idea…Vulture Culture lacks in cohesiveness and strength both lyrically and, to a lesser extent, musically.” AM “Vulture Culture is, fundamentally, a flawed work with only a few good bits.” DV “Production and engineering is, as always, crisp, clear, and flawless. Sad fact is, though, that that flawless production reveals the flaws in the compositions themselves.” DV The “chart successes of Eye in the Sky and Ammonia Avenue resulted in a more pop-oriented sound -- a sound that just doesn't work. Andrew Powell’s orchestral sound is completely absent on Vulture Culture, and the traditional Project sound goes right out the window with it.” DV When all is said and done, “without the usual balance of absorbing lyrics and well-maintained music, Vulture Culture remains one of this band’s less prolific albums.” AM “Vulture Culture can only be recommended to the completist.” DV Reissue A 2007 reissue added an alternate mix of “Separate Lives,” a demo of “Hawkeye,” two versions of “No Answers Only Questions,” and “The Naked Vulture.” The Songs Here’s a breakdown of each of the individual songs.

Let’s Talk About Me Alan Parsons Project

Writer(s): Alan Parsons, Eric Woolfson (see lyrics here) Vocals: David Paton Released: single (1/11/1985), Vulture Culture (1985) B-Side: “Hawkeye” Peak: 56 BB, 10 AR, 89 CN, 1 DF Click for codes to charts. Sales (in millions): -- Airplay/Streaming (in millions): -- radio, 0.84 video, 3.78 streaming

Awards: (Click on award to learn more).

About the Song: The Alan Parsons Project’s 1984 Ammonia Avenue album was a slight drop-off from the platinum, top-10 success of 1982’s Eye in the Sky (which produced the title cut, the group’s only top-10 hit). It wasn’t surprising that Vulture Culture would slip a bit more, but it was still a surprise to see it be the group’s first album since their 1976 debut to fall short of attaining at least gold status. It also was surprising that the lead single, “Let’s Talk About Me,” didn’t even each the top 40. Then again, the Project has a long history of song’s that feel tailor-made for pop radio that fall short. Among the song’s highlights are the layered snippets of dialogue and “the pounding percussion of Stuart Elliot.” DV As with every album by the project, there is a loose theme tying the songs together. For Vulture Cuture, the “fallacy of humankind is front and center.” AM The message is that “everyone lives in a parasitic society, where it’s every man for himself.” AM Just the title of “Let’s Talk About Me” suggests egocentrism. David Paton takes the lead on vocals here. He was a mainstay with the Project since their beginning, serving as bassist and a backing vocalist. He also assumed lead vocal duties on previous Project songs, most notably the Billboard Hot 100 hit “What Goes Up…” from 1978’s Pyramid album. He gained his greatest success with the group Pilot in the 1970s, especially the top-5 hit “Magic.”

Separate Lives Alan Parsons Project

Writer(s): Alan Parsons, Eric Woolfson Vocals: Eric Woolfson Released: Vulture Culture (1985) Peak: 32 DF Click for codes to charts. Sales (in millions): -- Airplay/Streaming (in millions): -- radio, -- video, 1.29 streaming About the Song: “’Separate Lives’ and ‘Sooner Or Later’ end up sounding like the unholy mating of Parsons’ immaculate synths with bubblegum pop.” DV

Days Are Numbers (The Traveller) Alan Parsons Project

Writer(s): Alan Parsons, Eric Woolfson Vocals: Chris Rainbow Released: single (4/27/1985), Vulture Culture (1985) B-Side: “Somebody Out There” Peak: 71 BB, 11 AC, 30 AR, 9 DF Click for codes to charts. Sales (in millions): -- Airplay/Streaming (in millions): -- radio, -- video, 6.54 streaming About the Song: Still, there are a few good moments. “The most appealing song, Days Are Numbers (The Traveller) with vocalist Chris Rainbow at the helm, combines simplicity with a timeless chorus.” AM It is “a brilliant, textured, and complex ballad in the middle of a field of mostly banal lyrics and uninspired arrangements.” DV Rainbow had appeared on Project albums since 1979’s Eve, offering lead vocals on such memorable songs as “Snake Eyes,” “The Turn of a Friendly Card,” and “Since the Last Goodbye.”

Sooner or Later Alan Parsons Project

Writer(s): Alan Parsons, Eric Woolfson Vocals: Eric Woolfson Released: Vulture Culture (1985) Peak: 25 DF Click for codes to charts. Sales (in millions): -- Airplay/Streaming (in millions): -- radio, -- video, 3.44 streaming About the Song: “’Separate Lives’ and ‘Sooner Or Later’ end up sounding like the unholy mating of Parsons’ immaculate synths with bubblegum pop.” DV

Vulture Culture Alan Parsons Project

Writer(s): Alan Parsons, Eric Woolfson Vocals: Lenny Zakatek Released: Vulture Culture (1985) Peak: 8 DF Click for codes to charts. Sales (in millions): -- Airplay/Streaming (in millions): -- radio, -- video, 0.79 streaming About the Song: The title cut is right in the middle of the pack. It is neither a complete throwaway, nor is it a standout like the two aforementioned songs. What hurts the song most is the fact that it is the title cut, thus weighing down the song with expectations that it will bring a clarity to the overall album theme. Instead, it would be more appropriate as one of those songs that after an album is over, you say, “I kinda liked that one song.” The song is the most rock-oriented on the album, thanks to Lenny Zakatek on vocals. He sang lead on three of the Project’s best-known songs: “I Wouldn’t Want to Be Like You,” “Damned if I Do,” and “Games People Play.”

Hawkeye Alan Parsons Project

Writer(s): Alan Parsons, Eric Woolfson Vocals: NA (instrumental) Released: B-side of “Let’s Talk About Me” (1/11/1985), Vulture Culture (1985) Peak: -- Click for codes to charts. Sales (in millions): -- Airplay/Streaming (in millions): -- radio, -- video, 1.66 streaming About the Song: “The instrumental Hawkeye adds life and contrast to the album at just the right time.” AM It is still “somewhat average [but] has a great saxophone part.” DV

Somebody Out There Alan Parsons Project

Writer(s): Alan Parsons, Eric Woolfson Vocals: Colin Blunstone Released: B-side of “Days Are Numbers (The Traveller)” (4/27/1985), Vulture Culture (1985) Peak: 36 DF Click for codes to charts. Sales (in millions): -- Airplay/Streaming (in millions): -- radio, -- video, 0.68 streaming About the Song: This song features Colin Blunstone (lead singer of the Zombies in the 1960s) on vocals. He was a regular on Project albums, including lead vocals on “Can’t Take It with You” and “Old and Wise.”

The Same Old Sun Alan Parsons Project

Writer(s): Alan Parsons, Eric Woolfson Vocals: Eric Woolfson Released: Vulture Culture (1985) Peak: 18 DF Click for codes to charts. Sales (in millions): -- Airplay/Streaming (in millions): -- radio, -- video, 0.99 streaming About the Song: The Same Old Sun is a beautiful “Broadway-style ballad, similar in feel and in quality to ‘Shadow of a Lonely Man’ from Pyramid.” DV It makes for an excellent album closer and is one of the Project’s more overlooked songs.

No Answers Only Questions Alan Parsons Project

Writer(s): Eric Woolfson Vocals: Eric Woolfson Released: Vulture Culture (2007 reissue) Peak: -- Click for codes to charts. Sales (in millions): -- Airplay/Streaming (in millions): -- radio, -- video, 0.19 streaming About the Song: This track was added to the 2007 reissue of Vulture Culture. It is credited solely to Eric Woolfson. He included the song in his 2007 musical Dancing Shadows.

Resources/References: AM AllMusic.com review by Mike DeGagne DV DailyVault.com review by Duke Egbert WK Wikipedia page for Vulture Culture WK Wikipedia page for “Let’s Talk About Me” Related DMDB Pages: First posted 3/24/2008; last updated 9/29/2025.

Alan Parsons Project Eye in the Sky charted in the U.S.

Eye in the Sky Alan Parsons Project

Charted: June 19, 1982 Peak: 7 US, 28 UK, 3 CN, 4 AU Click for codes to charts. Sales (in millions): 1.0 US, 0.06 UK, 2.38 world (includes US and UK) Genre: progressive rock lite

Tracks: Click on a song title for more details. Sirius [1:48] Eye in the Sky [4:33] Children of the Moon [4:49] Gemini [2:09] Silence and I [7:17] You’re Gonna Get Your Fingers Burned [4:19] Psychobabble [4:50] Mammagamma [3:34] Step by Step [3:52] Old and Wise [4:52] Total Running Time: 42:03 The Players: Alan Parsons (production, engineering, assorted instruments) Eric Woolfson (vocals, keyboards, piano) Ian Bairson (guitar) David Paton (bass) Stuart Elliott (drums, percussion) Colin Blunstone, Chris Rainbow, Elmer Gantry, Lenny Zakatek (vocals) Mel Collins (saxophone) The Philharmonia Orchestra, arranged and conducted by Andrew Powell

Rating: 4.078 out of 5.00 (average of 20 ratings) Quotable: “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” – Mike DeGagne, AllMusic.com Awards: (Click on award to learn more).

About the Album: ”The fusion of Parsons’ thematic intentions and exquisitely textured music comes to fruition on 1982's Eye in the Sky,” AM an album which ”returned in some ways to [Parsons’] more progressive, art-rock past,” AZ but also serves as “the transition between the seventies’ Project art rock sound and the more clinical, Fairlight-laden eighties sound.” DV “Parsons’ approach was a synthesis of studio wizardry with a symphonic, spacey interplay between keyboards, synthesizers and basic rock instrumentation.” AZ ”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.” AM “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.” AM ”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.” AM ”What you have here is a seriously tasty piece of symphonic pop/rock, music for grownups.” DV ”Eye in the Sky is, quite simply, the Project’s finest hour.” DV Reissue The 2007 reissue added alternate versions of “Sirius,” “Old and Wise,” and “Silence and I.” There was also an additional song (“Any Other Day”), the instrumental medley “The Naked Eye” and “Eye Pieces.” The Songs Here’s a breakdown of each of the individual songs.

Sirius Alan Parsons Project

Writer(s): Alan Parsons, Eric Woolfson Vocals: NA (instrumental) Released: Eye in the Sky (1982) Peak: 3 DF Click for codes to charts. Sales (in millions): -- Airplay/Streaming (in millions): -- radio, 13.0 video, 116.15 streaming

Awards: (Click on award to learn more).

About the Song: ”The up-and-down flow of the instrumental Sirius is astonishing and is used wisely as the opening track.” AM It gained distinction as the soundtrack for the Chicago Bulls in their Michael Jordan championship era. “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.” AP

Eye in the Sky Alan Parsons Project

Writer(s): Alan Parsons, Eric Woolfson (see lyrics here) Vocals: Eric Woolfson Released: single (7/3/1982), Eye in the Sky (1982) Peak: 3 BB, 3 CB, 3 GR, 3 AC, 11 AR, 11 CN, 22 AU, 1 DF Click for codes to charts. Sales (in millions): 0.50 US, -- UK, 0.55 world (includes US + UK) Airplay/Streaming (in millions): 2.0 radio, 143.90 video, 357.01 streaming

Awards: (Click on award to learn more).

About the Song: The Alan Parsons Project built a loyal platinum base with their first five semi-conceptual albums. Their progressive-rock-lite sound was embraced by album rock stations with future radio staples such as “Damned if I Do” and “Games People Play,” songs which also found audiences at top-40 radio. However, it wasn’t until their sixth album, Eye in the Sky and its title cut, that the group found its biggest audience. The album was the group’s second top-10 album after 1977’s I, Robot. Meanwhile the title cut reached #3 on the Billboard Hot 100, giving the Alan Parsons Project their only top-10 hit on the Billboard Hot 100. The term “eye in the sky” might suggest the “Big Brother is always watching you” idea from George Orwell’s dystopian classic 1984 but there are no lyrical references to the book in the song and the official website doesn’t mention any connection. Parsons has said, however, that the album did play with the idea that “there’s always a camera watching you, there’s always a helicopter in the sky overseeing you, and you can read a line of small newspaper print from space.” SF It can also be viewed as a reference to the ceiling cameras in casinos. SF “Eye in the Sky” ”is a prime example of a fabulous rock song, highlighted by the harmonic beauty of Eric Woolfson.” AM When the song gained a foothold at radio, it was often paired on album-rock-oriented formats with “Sirius,” the instrumental lead-in on the album.

Children of the Moon Alan Parsons Project

Writer(s): Alan Parsons, Eric Woolfson Vocals: David Paton Released: Eye in the Sky (1982) Peak: 29 DF Click for codes to charts. Sales (in millions): -- Airplay/Streaming (in millions): -- radio, -- video, 8.74 streaming About the Song: Children of the Moon and Gemini “have Parsons’s love of the esoteric.” AZ

Gemini Alan Parsons Project

Writer(s): Alan Parsons, Eric Woolfson Vocals: Chris Rainbow Released: Eye in the Sky (1982) Peak: 39 DF Click for codes to charts. Sales (in millions): -- Airplay/Streaming (in millions): -- radio, -- video, 4.78 streaming About the Song: Children of the Moon and Gemini “have Parsons’s love of the esoteric.” AZ The latter “is an astonishing piece of vocal harmony.” DV

Silence and I Alan Parsons Project

Writer(s): Alan Parsons, Eric Woolfson Vocals: Eric Woolfson Released: Eye in the Sky (1982) Peak: 3 DF Click for codes to charts. Sales (in millions): -- Airplay/Streaming (in millions): -- radio, -- video, 8.81 streaming About the Song: Next up is Silence and I, “a rich, multi-layered vocal and orchestral piece.” DV

You’re Gonna Get Your Fingers Burned Alan Parsons Project

Writer(s): Alan Parsons, Eric Woolfson Vocals: Lenny Zakatek Released: Eye in the Sky (1982) Charted: 6/26/1982 Peak: 22 AR, 12 DF Click for codes to charts. Sales (in millions): -- Airplay/Streaming (in millions): -- radio, -- video, 3.48 streaming About the Song: You’re Gonna Get Your Fingers Burned “ is a surprisingly straight-ahead rock number.” DV

Psychobabble Alan Parsons Project

Writer(s): Alan Parsons, Eric Woolfson Vocals: Elmer Gantry Released: single, Eye in the Sky (1982) First Charted: 7/10/1982 Peak: 57 BB, 38 GR, 54 AR, 3 DF Click for codes to charts. Sales (in millions): -- Airplay/Streaming (in millions): -- radio, -- video, 5.89 streaming About the Song: ”Psychobabble is a cerebral rock song that best represents the album’s concept” AM and, “though never a hit…remains a favorite of fans.” AZ

Mammagamma Alan Parsons Project

Writer(s): Alan Parsons, Eric Woolfson Vocals: NA (instrumental) Released: Eye in the Sky (1982) Peak: -- Click for codes to charts. Sales (in millions): -- Airplay/Streaming (in millions): -- radio, -- video, 24.29 streaming About the Song: ”Mammagamma is another instrumental that brandishes the group’s trademarked mysteriousness, wrapped in an ominous science fiction-type glow.” AM It “allowed Parsons to fully indulge his fondness for orchestration with its instrumental structure.” AZ

Step by Step Alan Parsons Project

Writer(s): Alan Parsons, Eric Woolfson Vocals: Lenny Zakatek Released: Eye in the Sky (1982) Peak: 37 DF Click for codes to charts. Sales (in millions): -- Airplay/Streaming (in millions): -- radio, -- video, 3.74 streaming

Old and Wise Alan Parsons Project

Writer(s): Alan Parsons, Eric Wooflson (see lyrics here) Vocals: Colin Blunstone Released: single (1/15/1983), Eye in the Sky (1982) Peak: 21 AC, 74 UK, 1 DF Click for codes to charts. Sales (in millions): -- Airplay/Streaming (in millions): -- radio, 9.80 video, 50.22 streaming

Awards: (Click on award to learn more).

About the Song: The title cut from Eye in the Sky gave the Alan Parsons Project their greatest hit. The album also featured “Old and Wise.” It was released as a single, but didn’t fare nearly as well. It did reach the lower rungs of the UK chart and was a minor hit on Billboard’s adult contemporary chart. On a personal note, however, it is my favorite Alan Parsons Project song and one of my top 100 songs of all time. Alan Parsons and Eric Woolfson co-wrote the song “about a man approaching death, addressing those he knew with fond remembrance.” SF 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.” They recorded a version with Woolfson singing lead – as he often did on songs by the Project – without the orchestration or saxophone solo which was featured on the final album version. His vocal is featured on the 2007 album reissue of Eye in the Sky, but the 1982 released featured Colin Blunstone. Parsons knew him from his days in the Zombies when Parsons was an engineer on the group’s 1968 Odessey and Oracle album. SF Blunstone had worked with the Project before, having sung “The Eagle Will Rise Again” on the group’s 1978 Pyramid album. Woolfson and Blunstone were both at Abbey Road studios and Woolfson told him, “I’d like to play you this song.” SF Eric sat down at a piano in the same studio where the Zombies had recorded “Time of the Season” and played “Old and Wise.” Blunstone thought it was wonderful and Woolfson asked if he’d take a stab at the vocals. SF Blunstone would record other songs with the Project, but this was the only single released by them which featured Blunstone on vocals. WK

Resources/References: AM AllMusic.com review by Mike DeGagne AZ Amazon.com review by Steve Gdula DV DailyVault.com review by Duke Egbert AP AlanParsonsMusic.com SF Songfacts page for “Eye in the Sky” SF Songfacts page for “Old and Wise” WK Wikipedia page for Eye in the Sky album WK Wikipedia page for “Eye in the Sky” song WK Wikipedia page for “Old and Wise” Related DMDB Pages: First posted 3/24/2008; last updated 9/25/2025.