"The Turn of a Friendly Card (Part One)"

Recently, a clip from an interview with Sally Woolfson was posted on the Alan Parsons Project's social media accounts.  (Here are the links to Twitter and Instagram, and here are links to the first and second parts of the full interview [from 2020] on YouTube.)  "The Turn of a Friendly Card (Part One)" is used as background music in the clip, and while listening to it, I realized that in the lines "And not all the king's horses and all the king's men / Have prevented the fall of the unwise," the phrases "all the king's horses" and "all the king's men" are sung to notes of all different pitches (F E D C A and D C Bb A, respectively).  This provides a sense of the entirety and breadth of those "all"s.

"Separate Lives"

I listened to Vulture Culture yester-day and noticed an interesting feature in "Separate Lives."  In the lines "'Cause we don't see eye to eye / And we can't stand face to face," the phrases "eye to eye" and "face to face" are sung so that the two "eye"s and the two "face"s are sung to different pitches.  (Each phrase is sung to the notes F# G E.)  Even musically, then, there's a sense of this disparity.