Just heard it.
What a good fuckin’ song.
That is all.
Just heard it.
What a good fuckin’ song.
That is all.
You heard it for the first time? In 25 years since it was released?
On the other hand, you are right. It is a good fuckin’ song. You have admirable taste. Listen to the entire album. It is also fuckin’ good.
Yes, it’s brilliant.
Best Police album from top to bottom is Reggatta de Blanc, IMHO.
Very not the first time, I was in middle school when it came out. It just came on my Zune. Apparently, I can play air guitar, air drums, and lead vocals - all while driving.
It’s my very favorite Police song.
A great one to be sure, but I think that “Ghost In The Machine” is thier best work, even if it’s often overlooked in favor of “Synchronicity” or “Reggatta de Blanc”…
Amen to the OP and everyone else. Synchronicity II is a brilliant song.
I’ll admit to being utterly trite and thinking Synchronicity is their best album. Only one dud in the whole album and even that one is musicially interesting thanks to an unusual rhythm (“Mother” and its 7/4 time signature). Side 2 (I know I’m dating myself horribly) is as perfect an album side as you could want: “Every Breath You Take,” “King of Pain,” “Tea in the Sahara,” “Wrapped Around Your Finger,” and of course “Murder By Numbers” on the CD. Awesome songs, every bleedin’ one of 'em.
But of the rest, Ghost in the Machine is mighty close. And it has the best non-Sting song (Andy Summers’s “Omega Man”).
IMO, Ghost in the Machine is a great album; lots of great tunes and a very clean production. However, it’s my least favorite of the five; some of it is just a bit too repetitive (don’t get me wrong, I appreciate a good groove). As far as the OP, yeah, “Synchronicity II” kicks ass. That one always gets turned up a little louder.
I just downloaded it for Rock Band 2. It’s even more fun with non-air instruments!
Synchronicity was the first rock album I ever bought for myself. (On cassette.)
“Every Breath You Take” was the big hit from that album, but I thought that song was a bit overrated and Synchoronicity II (the song and the video) was the real centerpiece.
I hadn’t heard it until Guitar Hero: World Tour came along, really - although I think they played a snippet of it during the bit about The Police in The Seven Ages of Rock.
“Synchronicity II” rocks so hard it makes my balls tingle.
It’s best listened to while cranked up really high on your car’s stereo bombing down the highway and singing at the top of your lungs. You have to deliver the Rice Krispies line with total conviction.
God I love the Police.
I tend to agree with this assessment of GitM. In a lot of ways Zenyatta Mondatta was the last “real” Police album, where Stew, Sting, and Andy actually wrote and developed the songs in studio or together. All of the first three albums were rushed affairs and contained fairly lately written songs to fill out the run time (that’s also why the first three albums are relatively short). Most of the late additions are obvious: “Masoko Tango” is basically an instrumental jam; “Be My Girl/Sally” is a Sting riff bolted around a Andy Summers poem; “Reggatta de Blanc” is the bridge from “Can’t Stand Losing You” extended. “Behind My Camel” was an Andy Summers instrumental that Sting hated so much he refused to play on it (and thus missed out on playing on a Grammy-winning track).
For Ghosts Sting came to Monserrat with fully finished demos of the songs - drums, guitars, keys, vocals, and bass. You can find the demos on the 'net and they sound remarkably like the final versions of the songs. Essentially Stew and Andy were more like session musicians, where they had prescribed parts to play. Little wonder they last only two albums more.
But it’s still a great album. And “Omegaman” is a brilliant song!
“Mother” on Synchronicity is a nutty song, but it’s got that brilliant Summers solo that makes it all worthwhile. Another underrated gem is “Miss Gradenko” which was a rare Stewart Copeland composition that Sting actually agreed to sing (he usually refused to sing the other members’ songs - which is why Stewart Copeland did the Klark Kent side project and Andy Summers sang “Someone to Talk To” (Synchronicity-era B side).
I just finished reading One Train Later, Andy Summers’ memoir. Fantastic book.
So my rankings of the Police albums:
I should point out that 1-5 are literally a hair’s width apart, they’re that good.
Sting actually sang on a number of Copeland songs: “Peanuts” from Outlandos d’Amour, “It’s Alright for You,” “On Any Other Day,” “Contact,” and “Does Everyone Stare” from Reggatta de Blanc, “Bombs Away” on Zenyatta Mondatta, “Rehumanize Yourself” and “Darkness” on Ghost in the Machine, and “Miss Gradenko” on Synchronicity.
BTW, I forgot all about “Darkness” – so I guess GitM boasts the two best non-Sting songs! Though “Miss Gradenko” is very very close too.
But generally speaking, considering how vast the gap in overall quality lies between Sting songs and Copeland/Summers songs, I think it was best overall for the group that he did the bulk of the songwriting duties. (Plus, they’re the wackos who voted against “I Burn for You” as a single! One of the sexiest songs ever. Good taste, I don’t think.)
Ah, I misunderstood. My apologies. Yes that tune does get the juices flowing. Very definitely a classic for the ages.
Ah, you know your Police. “Peanuts” was a Sting/Copeland composition; I’m sure that the lyrics were Sting’s because he once commented that it was about Rod Stewart. Same with “It’s Alright for You,” one of my favorite Police tracks… I’m thinking you must mean “songs that Stew wrote the music for,” where I meant “songs that Stew wrote the music and lyrics for.” Which would be “Contact,” “Does Everyone Stare,” “Bombs Away,” “Darkness,” and “Miss Gradenko.”
Stewart’s songs do have this playful vibe to them, but Sting could do vapid lyrics, too: “It’s Alright for You” and “Peanuts” are not exactly “Wrapped Around Your Finger.”
“Does Everyone Stare” and “Miss Gradenko” are lyrically up to Sting’s level, IMO.
It was my understanding that Stew and Andy thought that “I Burn For You” was too soft… it was a Last Exit holdover so I can imagine it being some soppy sax-dripping piece before Stew and Andy got to it. The Brimstone & Treacle version I imagine is quite different from the original - perhaps it was more like the one that appears on Bring on the Night which I’m not a huge fan of.
Great song, and the only Sting lyric on that album, IMO, that wasn’t self-pitying tripe or cliched tripe. Both Andy and Stew’s contributions had better lyrics than the rest of Sting’s stuff on that album.
And my favorite is Outlandos D’Amour (only real dud: “Be My Girl - Sally”).
Much love for **Synchronicity II **here, and also for Murder By Numbers. Especially fun to play when there’s someone quite annoying in your office at work.
And it makes my eyeballs ache.
“Synchronicity II” was also one of my very first album purchases (LP) at age 13. The others were ZZ Top’s “Eliminator” and Quiet Riot’s “Metal Health”. Good times.