Synchroncity Review

artist: Police date: 01/10/2011 category: compact discs
Police: Synchroncity
Release Date: Jun 1983
Label: A&M
Genres: Album Rock, New Wave, Pop/Rock, Alternative Pop/Rock
Number Of Tracks: 11
Like all Police recordings, Synchronicity contains some obvious "filler" but for the most part, it's exceptional.
 Sound: 9.5
 Lyrics: 9.5
 Overall Impression: 10
 Overall rating:
 9.5 
 Reviewer rating:
 9.7 
 Users rating:
 9.2 
 Votes:
 5 
 Views:
 202 
reviews (2) 3 comments vote for this album:
overall: 9.7
Synchroncity Reviewed by: Sgt. Pepper, on march 14, 2006
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Sound: 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. // 10

Lyrics: 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'. // 9

Overall Impression: 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. // 10

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overall: 9.7
Synchroncity Reviewed by: belavista man, on january 10, 2011
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Sound: This album is very, very different from the four preceding it. Ghost In The Machine marked The Police's real entrance to a typical 80's sound (i.e. heafty keyboard), whilst retaining some of thier Reggae-Rock roots. This album seems to hone a more Synth/Pop feel. In a fairly stark contrast to the other releases, the guitars on this one take a much less prominent role, seeming to be pushed into the background by the synth etc. Synchronicity II is the main guitar song from this one. In terms of bass, Sting's basslines are about as prominent as ever. Percussion, on the other hand, seems to have been reeled in and become much more tamed when compared with the wild fills and beats from Outlandos D' Amour and Regatta De Blanc, possibly highly due to the band's ever more pop-orientated sound. There is, however, still the odd classic Police track dotted here and there. O My God and Copeland's Miss Gradenko really show through as good old Police tracks. // 9

Lyrics: Sting's lyrics classically split into two catagories; the 'pop' and the 'sophisticated'. Despite this album being the band's most successful, there's very little Pop writing going on, besides the key single (Every Breath You Take), and arguably, King of Pain. Nearly all of the other songs are based around a concept or idea. Synchronicity I and II are based around Carl Jung's theory of Synchronicity (something along the lines of two completely seperate and seemingly unrelated events having some connection within meaning), and Tea In The Sahara is based around the book 'The Sheltering Sky'. Stewart Copeland's lyrics on Miss Gradenko aren't actually half bad; I love the song personally, and think it would have done alright as a single on one of the previous albums. When I say aren't half bad, they're brilliant when you consider he's a drummer (hooray for drummer jokes). Andy's lyrics on Mother are, like Sting's, also written with a basis in mind, but are much, much stranger due to the unconventional way which Andy chooses to sing them; as is Andy's way. // 10

Overall Impression: An album I can listen to for hours, but doesn't contain so many of my favourite Police songs. In terms of being a Police fan, and being a guitarist, I'd much rather listen to Zenyatta Mondatta or Outlandos D' Amour. If you want an album with a great Pop feel that hasn't dated so badly for an 80's release, I think you'll enjoy it. If you're expecting the same kind of stuff as Roxanne, Message In A Bottle and Can't Stand Losing You, this release might not be for you. In any case, I'd recommend this album to anybody as a general good listen. // 10

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