'Synchronicity' completes the madness of 'Synchronicity I' and it's on to side two. The streets were steaming and full of bums - you know where CBGBs is, it isn't one of the best streets. It was quite emotional. The group would of course subsequently reunite for various events (the first being Live Aid in 1985) and tours. 'Synchronicity's' big surprise, however is the explosive and bitter passion of Sting's newest songs. It Opens with the current single 'Every Breath You Take', a rather plodding tune with a basic theme of jealousy. I feel that the old god who stood there and went through his act totally aloof of whether the audience was there or not is something that I'm against. But as a memento and a reminder of why The Police were one of the great performing acts of their day, Live is better late than never. I'd prefer "The Thief of Baghdad", but it wouldn't be pretentious enough. It is also nearly inscrutable. Why? 'Synchronicity', the group's fifth album, is highlighted by the gently romantic 'Tea In The Sahara', 'King Of Pain', with its alternately monastic and cathartic moods, and 'Synchronicity II', an aggressive, steely pieve that uses a longer melodic line than usual in Police songs. "If we share this nightmare / Then we can dream," Sting announces in the title cut, a jangling collage of metallic guitar, percussion and voices that artfully conjures the clamour of the world. After sealing a bargain with a mysterious young man, they wait on a dune for his return, but he never appears. Start date: September 10, 1982: End date: December 17, 1982: Legs: 3: No. Synchronicity sets them right without bonding them closer. I am a musical entertainer. The Police and co-producer Hugh Padgham have transformed the ethereal sounds of Jamaican dub into shivering, self-contained atmospheres. Thus began their ascent from the teeny-bopper category. The songs worked with three instruments. So yeah, there is a moment when you think 'Oh, so that's what making it is'. "GQ, 6/85, "I felt very strongly that this album should say to the world that we are individuals. So it was best when I'd write instrumentals - that would work best. Less successfully, 'De Do Do Do... 'struggles with added girlie harmonies which overegg what was always a sweet pudding. While his companions look guileless on the sleeve. 'Synchronicity', the Police's fifth and finest album, is about things ending - the world in peril, the failure of personal relationships and marriage, the death of God. Side one tears away at any preconceptions the listener might have because of 'Every Breath You Take'. You feel connected, you don't feel like your outside anymore, you are in fact the centre of something. But elsewhere The Police speed wildly through their songs. Originally, they were the stars of a bubble gum commercial. If the song is about as meaningless as its title, a mere galvanising exercise, the following 'Walking In Your Footsteps' focuses the character of the LP: a fresh response to being wealthy global citizens in a world on the brink of termination. With four years between the two shows captured on these two CD's (1979 and 1983) the comparisons to be made are endless - and fascinating: between a band still accelerating on punk speed and one that's learned to cruise, twixt a Sting who can hit ludicrous falsettos and Sting who'd rather not, and, most revealing of all, the change in mood needed for small concert halls and vast stadia. Stewart Copeland's 'Miss Gradenko', a novelty about the secretarial paranoia in the Kremlin, is memorable mainly for Summer's modal twanging between the verses. They just get sucked in, WHOOOOOSH! Seven months later, the band played their final concert in Australia and went their separate ways. Across the CDs Sting's vocals become more relaxed and more seasoned, Copeland's drumming finer detailed, yet it's guitarist Summers who undergoes the most marked mutation - his playing is rangier, moodier, hovering round the songs and harmony rather than being locked inside them. "This was our final studio album. First up is 'Every Breath You Take' followed by 'King of Pain', an excellent song that never ceases to challenge the listener, 'Wrapped Around Your Finger' and 'Tea in the Sahara', both of which dutifully remind us why the Police and Sting, in particular, are the best things that have happened to rock since the Sex Pistols. It's weird, as a writer, which I primarily regard myself as. The conclusions I draw about life are very different to the conclusions that he draws, and so it was always a problem for me to write songs for him because I would have to try and get into his mind, and make his... speech, which is not a real thing. Once again, Sting uses the songs to tackle some weighty metaphysical topics, and some delightful lyrics result. Besides "Eminence Front", which has been featured in the band's act off and on since 1982, "Cry If You Want" is the only It's Hard track the band has played since these tours, having appeared a few times in the group's first shows of 2006 and as part of a medley following "My Generation" from 2006 to 2009; it was also briefly included at the start of The Who Hits 50! I don't think there's anything wrong with that. The way 'Synchronicity' II suddenly spreads its wings around Copeland's immense drum sound and Sting's striding bass riff, with Summers rattling off cascades of that guitar sound, is little short of enthralling. The set captures the trio at its peak, as they tear through most of the first two albums. I feel connected to maybe less people but at a deeper level. This does not, of course, oblige me to love 'Synchronicity'. Throughout the show I explained that this is dance music, please don't sit down - stand up in the seat or just dance. My idea was that each member of the band would just go out and be photographed in an environment that he chose and that the three things would somehow relate, and they actually did. "Musician, 6/83, 'Synchronicity' is really more autobiographical. Sting is a King Of Pain. And I couldn't really share it. [1] Despite this, Bundrick would again join the band when they reunited for Live Aid in 1985 and remained their keyboard player until 2011. It's a very happy feeling - it's like the height of your popularity, you know that you do is going to connect in a very big way with a large group of people, and while that period lasts - and it can't last for ever - everything you touch turns this way. "Rolling Stone, 2/81, "My favourite moments of the set are when we stop playing and singing, and I allow the audience to tumble in. All you can hope to do is keep repeating it. We have the drums in the kitchen at Montserrat because they sound best there. So what about the songs Well, as a starting point how about 'Every Breath You Take', now one of the most played records ever This track has two faces - one of surveillance and creepy observation the other of hopeless devotion - and to this day it amuses Sting that people choose this song for their wedding - "It's a very sinister song, but it's seductively dressed up." 'Synchronicity' doesn't take the headlong rush into electronics implied by the title, but it does show The Police playing around even more than usual with guitar synthesisers and other effects.

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