Date: Nov 7, 1981
Weeks: 2
Now here's a prime example of that early-80s "thin" sound. I think the prime source of that sound may be the fake piano. Something about the way the synthesized pianos of the time failed to fill a room with sound the way a regular piano would created this unique sound. You just don't hear that any more, because fake pianos these days are generally better at faking it.
I like the conservative use of instruments. There's rarely more sound than is needed at any moment. The guitars and piano and vocals all come in when they are needed, and drop out when they aren't. That keeps the song more interesting than it would be if the sound was just constant the entire time.
Hall's voice isn't quite as compelling as it was in the last Hall & Oates song I reviewed, but it's well-suited to the song. He sings it well, and he adds a little bit of pleasant flourish to several parts that doesn't overwhelm the rest of the music. And that vocal flourish when he sings "Private eyes" at the conclusion of the chorus is an important part of what makes the song work.
While the lyrics initially seem to be about stalker-y obsession, with the chorus of "Private eyes are watching you, they see your every move," I don't think that's what the song is really about. With lines like "Don't lie when you're hurting inside, 'cause you can't escape my private eyes," I think the song is more about how the singer is telling the person he's singing to that he knows them well enough to see through their brave front to their real feelings. At any rate, there's more to it than just a stalking anthem.
My verdict: Like it. Maybe not an all-time great song, but it's perfectly pleasant and entertaining.
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