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Synchronicity (Remastered)

The Police

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iTunes Editors’ Notes

A volatile combination of three distinctive artists, the Police accomplished much in their brief but productive career. Their finest moment was their final one: 1983's Synchronicity, is as satisfying a farewell album as any rock band has made. While musical sophistication was always their strong suit, the trio outdid themselves on these far-ranging, imaginatively executed tracks. Drummer Stewart Copeland's rhythmic complexity brings convulsive fire to "Synchronicity II." The jazz-seasoned virtuosity of guitarist Andy Summers achieves tautly drawn urgency on "King of Pain," and seductive heat on "Wrapped Around Your Finger." Sting's always-evocative vocals are infused with passion and drama, and his songwriting touches perfection - the simmering elegance of "Every Breath You Take" may still be his finest moment as a composer. The talents of all three Police members intermesh flawlessly throughout, playing with a smooth finish that doesn't obscure the music's quirkier edges. Synchronicity concluded the Police's now-legendary career with a genuine blaze of glory.

Customer Reviews

A Rock Masterpiece (give "Mother" a chance!)

I was 7 years old, and it was 1983. I remember getting a cassette of this album when it first came out as a gift. And what a gift it was. The first I had ever heard of The Police was "Every Breath You Take." That song alone stands, and will always stand, as one of the greatest songs ever written. Its essence of control and paranoia in the Reagan era was brilliantly disguised as a love song. But it is the tip of this iceberg of creativity, dark unrest, social commentary, contrasting styles and sheer brilliance in songwriting, performance, and production. The Police's swan song, it turns out, is a study of restlessness and conflict among a group of artists whose collective blanket had begun to fray and unravel before their eyes. And this unraveling and discontent is saturated in this album. The Police were meant to break up in order to satisfy their own careers. They were all just too different. But that difference is what creates and fuels this masterpiece. For instance. Am I the only one in the world who loves the song "Mother?" Maybe, but I don't care. To me it represents a total mental breakdown better than any song I have ever heard in my life. It is a completely subversive surprise in this generally accessible effort. A sledgehammer that pounds your head and rapes your ears with its twisted, paranoid, freak-of-nature blues (I use that term extremely loosely) horror show. I recommend that you not only listen to this song, but listen to it loud. It will chill your soul. Especially at the end where...well, I don't want to ruin it for you. Let's just say my little 7-year-old self had nightmares about this song. "Synchronicity 1" is one of the most thrilling introductions to an album. Ever. It reinforces the philosophy that everything is connected. Of course, its sequel, "Synchronicity 2," carries the theme further with a bizzare connection between a working man's suburban nightmare and the Loch Ness monster. But somehow it works. "Walking In Your Footsteps" is a warning to the human race about extinction and our fragile existence in a spare tribal beat, infused with echoing guitar accents. Great song to lay back and listen to with headphones (by the way, this is an awesome headphone album, in general). Damn, I could go on forever about this album! But I think I have almost reached the 6000-character limit, so I will wrap it up with this. My absolute favorites on this album are "Synchronicity 1," "Mother" (I know, I'm sick), "Synchronicity 2," "King of Pain," and "Tea in the Sahara." But I would strongly recommend every single one of these songs. This album is essential to the music lover's collection. As someone else who wrote a review so eloquently put: GET IT.

Even Better As A Whole

Many of these tracks went on to be top singles and are played countless times a day on radio all over the country, but I think this is best heard as a whole album. It gets kicking with Synchronicity 1 and gets better from there. Even an overplayed song like Every Breath You Take (which sounds banal and trite to me on the radio mixed in with dozens of other silly love songs) really shines in the context of the rest of the songs around it. It ends with a fabulous, eerie quartet of King of Pain, Wrapped Around Your Finger, Tea in the Sahara, and Murder by Numbers. Its not their best album (that would be Zenyatta Mondatta), but it is still first rate.

It's the Police (It's a crime if you don't own this)

This is an excellent album- and it's not even my favorite Police record. It's still great, and a definite classic. Check out both "Synchronicity"s or "Miss Gradenko" for good solid, exciting rock, or "Murder by #s", "King of Pain", and "Every Breath You Take" for darker, quirkier stuff that still, as always, tremendous. Reunion, please?

Biography

Formed: 1977 in London, England

Genre: Rock

Years Active: '70s, '80s, '00s

Nominally, the Police were punk rock, but that's only in the loosest sense of the term. The trio's nervous, reggae-injected pop/rock was punky, but it wasn't necessarily punk. All three members were considerably more technically proficient than the average punk or new wave band. Andy Summers had a precise guitar attack that created dense, interlocking waves of sounds and effects. Stewart Copeland could play polyrhythms effortlessly. And Sting, with his high, keening voice, was capable of constructing...
Full Bio
Synchronicity (Remastered), The Police
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