Sound — 10
The sound of 'Synchroncity' is very polished, this is an album that ewas to live in the shadow of the terrible album 'Ghost In The Machine', they were made rock legends with 'Zenyatta Mondatta' but had learned that breaking their trio was a bad idea. Sting got back to his roots, writing lines and well written songs from pleas to God and songs about the Loch Ness monster. The sound breaks the trio, but all three members of the band playing electronic keyboards with Sting playing the saxohphone in 'O My God' (a completley different song to the one found on the Kaiser Cheifs album Employment). Sting plays an upright bass so the bass-lines are much more dissolved. The riffs Andy Summers plays adon't match his reggae-influecned/ska/rock/jazz fushion lines, and he moved more for calmed down style. But he moved more to rock in 'Synchroncity II' an amazing rocker which speaks about the theory of Synchronicty based on a book Sting read. The moody 'Tea In the Sahara' is based on the book 'The Sheltering Sky' and you really get the feel for the boiling desert with the moody bass-line and Sting's near-flat vocals. 'King Of Pain' combines steel drum syle percussion with piano and distorted-palm mutred guitar with the knocout two-strums that steal the song. But these songs are considered minor to the famous 'Every Breath You Take' with Andy Summer's Aadd9 to F#maa9 appregio that appears in the How To Play Rock Guitar books. Also Summer's off-beat piano track is amazing, with Copelands snare to bass offbeat drumming and four violins along with Sting's high-pitched singing making the song great. The problem is that Sting didn't like Andy Summers or Stewart Copeland vocals, so being so sure of his own vocals he multi-tracked with himself singing backing and lead vocals. (Don't ask how he did it live, the album Live! shows backing singers trying to reach as high as Sting, don't talk about it). The sound is great.
Lyrics — 9
The lyrics are very Sting, if you picked a random person and asked them to recite a Police song they'd probally go 'Every breath you take/every move you make/every step you take/I'll be watching you/. But Stewart Copeland writes a crazy little peace about people being dead in personality when they are alive 'is anybody alive in here/is anyone at all in here/nobody but us in here'. or Andy Summers 'Murder By Numbers which you ether find funny or sick 'When you have decided on a killing/first you make a stone of your heart/and if you find your hands are still willing/you can turn a murder into art'. However, Sting is a great lyric writer (he was an English teacher after all) and his lyrics range from 'O My God': 'Everyone I know is loney/and my God's so far away/and my hard belongs to know one/so now sometimes I pray' to 'King Of Pain': 'there's a little black spot omn the sun today/that's my soul up there'.
Overall Impression — 10
The album is great, but it is a big leap from 'Outlandos d'Amour' in 1978 to this only five years later, it was the Police's biggest selling album, it was an album when 'Ghost in he Machine' had been crushed by one half of the critic world and adored by the others, they had to do something and they made one of the finest albums ever recorded. I would probally replace this if it got stolen, it's the only Police album I orignally bought on CD so I'd like to listen to the vingly as well.