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2 of 2 people found the following review helpful
5.0 out of 5 stars Synchronize Your Music Collection With This Amazing CD
While Synchronicity may not be The Police's most musically technical album, it is their best. The songwriting on here is nothing short of amazing, even the non-single songs. "Every Breath You Take" is an ultimate classic, "King of Pain's" upbeat melody and melancholy lyrics are amazing, and "Wrapped Around Your Finger's" intense groove will...
Published on July 16 2004 by xkrelianx

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3.0 out of 5 stars Its alright, and so are they
The Police were an alright band adn this album is also just, alright. Stewart Copeland was the most talented person in the band, he is one of the greatest drummers of all time! Andy Summers is a decent guitar player but nothingto spectacular. And Sting, well I can tstand him and his lyrics are good but the man cant play bass to save his life. This was The Polices biggest...
Published on April 11 2004 by Morton


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2 of 2 people found the following review helpful
5.0 out of 5 stars Synchronize Your Music Collection With This Amazing CD, July 16 2004
By 
"xkrelianx" (Baltimore, MD United States) - See all my reviews
This review is from: Synchronicity (Audio CD)
While Synchronicity may not be The Police's most musically technical album, it is their best. The songwriting on here is nothing short of amazing, even the non-single songs. "Every Breath You Take" is an ultimate classic, "King of Pain's" upbeat melody and melancholy lyrics are amazing, and "Wrapped Around Your Finger's" intense groove will all blow your mind. As previously stated, there's real jems here that weren't singles, such as "Synchronicity I & II," "Murder by Numbers," and "O My God." The technical production on the album is also fantastic, with a clear, punchy sound, a stark contrast to the bloated deep rumble of late 70's rock and disco. This album is essential for any fan of The Police and/or 80's music, and should be required listening for anyone trying to start their own power trio.
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5.0 out of 5 stars Their best album, May 26 2004
By 
pnotley@hotmail.com (Edmonton, Alberta Canada) - See all my reviews
This review is from: Synchronicity (Audio CD)
Less predicatble than Ghost in the Machine, more coherent than Zenyatta Mondatta, more tuneful than Outlandos D'Amors, and more emotional than Regatta da Blanc, Synchronicity is the best album by The Police. It starts off with the title track which is startling for being the best thing ever inspired by Carl Jung. (The contrast with Margaret Atwood and Robertson Davies is particularly noteworthy.) Then we have the eerie, nervous and always timely "Walking in our Footsteps," although now we have environmental disaster more to fear than nuclear war. The next song starts a tendency we will see on Sting's next two albums, in "Love is the Seventh Wave" and "We'll be Together," making a slight reference to a song in the previous album. There are few admirers of Andy Summer's "Mother," but as a portrait of hysterical neurosis, it has few echoes. Then we have Stewart Copeland's "Miss Gradenko," a nice nasty little portrait of a police state that had a lot less time than anyone would have thought in 1983. And finally on the first side we have "Synchronicity II," which was the third American single and one of Sting's more radical songs. This is a bitter song about modern life ("the secretaries pout and preen/like cheap tarts on a red light street...") full of pollution, madness, abuse of power with a supernatural undercurrent.
But of course it is the second side that has made this album's reputation. The last one, not originally on the record, is "Murder by Numbers," a sardonic little ditty and more subtle than later Sting songs like "History teaches Nothing." There is the genuinely strange "Tea in the Sahara," about unearthly sisters. And then, of course, there are the three songs about the collapse of marriage and love that are perhaps the Police's three most famous singles. It helps immensely that the object of "Wrapped Around Your Finger," is not a magus but a lover. And then there is the simplicity of "King of Pain." This is one of the best songs of the 1980s, or ever, but it is obviously overshadowed by its predecessor. Sting himself has commented on how people have thought "Every Breath You Take" is a love song. On one level this sounds alarming since the song is obviously about a stalker. But this is more than just the well-known phenomenon of not paying attention to the lyrics. There is a genuine sense of loss and feeling in the song which, while not love, is passionate enough to be confused with it. Passion and ambiguity, alone with all of The Police's special talents, make this one of the best five songs of the eighties.
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5.0 out of 5 stars Great swansong, May 10 2004
By 
Grant Sansom-Sherwill (Sydney, Australia) - See all my reviews
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This review is from: Synchronicity (Audio CD)
The Police's fifth, last and best album. Every Police album surpassed the previous, until they reached their pinnacle - Synchronicity.
On their early albums they sometimes tried to be too clever with the lyrics, ending up coming across as pretentious, while the music was good, but sometimes just didn't seem to flow properly. "Ghost in the Machine", their fourth album, is the first album where they got it all together, and Synchronicity builds on this. That said, their first three albums were not bad at all, all worthy of at least three stars, and perhaps even four.
Synchronicity strikes the perfect balance: tight yet creative, finely crafted, yet with enough rawness to not feel over-produced. Andy Summers' guitaring was never as silky and crafted, Stewart Copeland's drumming never as powerful, or timing as efficient. Sting's bass was just perfect - pronounced and confident, yet not overbearing. His vocals were superb, as always.
The radio-hits "Every breath you take", "King of Pain" and "Wrapped around your finger" are clearly great songs, the former especially, but the hidden gem is "Synchronicity I". "Walking in your footsteps" is another great and under-rated Police track.
It was ironic that relations between the band members were at their worst during the making of this album, if the documentaries are to be believed. They seemed to get better the more they fought! Maybe the duress brought out the best in them, like when Fleetwood Mac made Rumours.
Sad to consider that this was their last album, just when they hit their peak. Imagine the music they would have made if they could have stayed together for a few more years...well, we'll never know. Especially as Sting's solo stuff is no indication of what might have been, being rather boring and pretentious and falling well short of The Police in quality.
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3.0 out of 5 stars Its alright, and so are they, April 11 2004
By 
This review is from: Synchronicity (Audio CD)
The Police were an alright band adn this album is also just, alright. Stewart Copeland was the most talented person in the band, he is one of the greatest drummers of all time! Andy Summers is a decent guitar player but nothingto spectacular. And Sting, well I can tstand him and his lyrics are good but the man cant play bass to save his life. This was The Polices biggest album of their carear, they broke up just after the realese.
The openinng song, 'Synchronicity' is a pretty good new wave song, with a cool beat. 'Walking In Your Footsteps' and 'O My God' both have good lyrics but are nothing special. 'Mother is a decent song. 'Synchronicity II' is one of the better songs on the album. Also one of The Polices best songs ever. 'Every Breath You Take' is Th Polices best song ever and the best on the album obvously. Great lyrics, beat and great bass for once. 'Wrapped Around Your Finger' is also one of The Polices best songs, but it also has Stings all time best lyrics! 'King Of Pain' has got a errie feel to it and kinda scary lyrics but it is still a very good song. The rest of the songs blow in my openion, but hey thets just me.
This is a decent album by a decent band like I said before, but this is also The Polices best album so that doesnt say mush for them, I wouldnt waste your money on any album by The Police, instead buy Every Breat You Take: The Best Of The Police.
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5.0 out of 5 stars A connecting principle, linked to the invisible..., March 17 2004
By 
Daniel J. Hamlow (Narita, Japan) - See all my reviews
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This review is from: Synchronicity (Audio CD)
With Synchronicity, the Police's 1983 swansong, it was clear that they had reached a peak that was also a cul-de-sac, that their style had evolved as far as it could go, but at least it was a triumph that yielded them their only US #1 single. The Police had a big hit with their previous release with "Every Little Thing She Does Is Magic", so the followup would've yielded a belly flop or a swan dive. Synchronicity is clearly the latter.
Gossamer keyboards, pneumatic drumming forming the backbone, guitar riffs introduce the title track, which weaves scientific and psychological principles with something Carl Jung studied, i.e. synchronicity. One of their best songs.
An open letter to a dinosaur? Sting discusses the similarities between those "terrible lizards" and man, the lords of the Earth in the Mesozoic and Cenozoic Eras respectively. Of course, the dinosaurs became extinct 65 million years ago (that first lyric 50 million years might mean geology wasn't up Sting's alley) due to the asteroid collision. Are we humans, by having atom bombs, "Walking In Your Footsteps"? Are we museum-bound too then?
Now a complaint to God, set to a brisk bass and keyboards. "O My God" explores the usual issues of loneliness and asks God to "take the space between us and fill it up some way." Oh, Sting takes lyrics from an older song, something he would do a lot on his solo albums. Here, uses the first verse of "Every Little Thing She Does Is Magic."
The straitjacket rhythm and sounds of "Mother" along with Sting's loud demented vocals qualify this as either one of the worst Police songs ever or an eerie and weird novelty penned by Andy Summers, like what "Revolution 9" was to the Beatles. The Freudian Oedipal complex concept that men tend to marry women that resemble their mothers is key here: "Well, every girl I go out with becomes my mother in the end." Extra padding needed and make sure those straps are tight.
Is "Miss Gradenko" experiencing a kind of personal glasnost two years before Gorbachev came into power? After all, "your uniform doesn't fit/you're much too alive in it." The equating of true feelings with anti-communism.
"Synchronicity II" is by far the most interesting song, as it takes the frustrations of a factory worker whose unrewarding life at home, work, and on the way back from work may cause him to snap. Intercut with his story is a brief reference to something crawling out of a dark Scottish lake. By the time the husband gets back home, it's in front of a cottage. The monster clearly represents the dark side of his nature. A wonderful rocker with a pulsing bass.
The timelessness of "Every Breath You Take" and that opening bass line, the constant rhythm guitar, those relaxing and uplifting keyboards in the midsection makes this one of my favourite songs of all time, although that "I'll be watching you" line does make it a bit on the obsessive side. It got the Grammy for Record of the Year in 1983, and it spent 8 weeks at Billboard's top spot. One of my personal favourites.
The next single, the Top Five "King Of Pain," demonstrates the interconnectedness of politico-social consciousness. Be it the "skeleton choking on a crust of bread", "a blue whale beached on a springtide's ebb," that's his soul up there.
Another Top Ten single with its organ-like keyboards, the moody "Wrapped Around Your Finger" demonstrates the classic reversal between master and servant. Sting's classics knowledge is apparent, referring to Faust, Scylla and Charybdis from the Odyssey.
The curious "Tea In The Sahara" is a languid airy number that foresees Dream Of The Blue Turtles, as does the moody piano jazz of "Murder By Numbers," a guide to how to become a murderer, with a pointed punchline: "but you can reach the top of your profession/if you become the leader of the land/for murder is the sport of the elected/and you don't need to lift a finger of your hand."
So, from the punk of Outlandos D'Amour, the reggae of Regatta de Blanc, up to Synchronicity, the chapter to the Police closed abruptly, except for the remake of "Don't Stand So Close To Me."
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3.0 out of 5 stars What can I say?, Jan. 10 2004
By 
Matt Poole (Melbourne, Australia) - See all my reviews
This review is from: Synchronicity (Audio CD)
Synchronicity. What can I say?
For their final record, the Police took their tradmark sound, made it slicker and expensive sounding, added subtle touches of synth and world instruments, then set it loose on the world, touring right behind it.
This is the Police's most polished album, and digitally remastered it sounds even better. The drums are big and concert-like without being drowned in reverb, the guitars are clean and Sting is... up in front where he should be. The production is a little outdated, only a little. In one or two listens, you wont even notice.
There are some top tracks on here. Synchronicity I & II are great examples of 1980s mainstream rock. In II particularly, Stings tense vocals and lyrical description put next to those energetic guitar lines, it's powerful stuff. Mother always puts a smile on my face, it's nice to see the Police's quirky stuff didn't all end up on B-sides. Miss Gradenko is a fun little ditty that reminds me of songs from "Regatta De Blanc" and King of Pain is a touching musical moment that's both overwhelming and intimate at the same time. And of course, there's the classic of classics, Every Breath You Take.
Why three stars then? Well, there's a lot of cheesy stuff among the gold. It might be filler, it might be signs the band were going to break up, it might be Stings ego, I don't know.
Walking in Your Footsteps is a song about dinosaurs. Sting has a good point with this song, (that if man isn't careful with his power, he may make himself extinct), but the way he has done it is silly. (Just listen to the way he sings "Hey mighty brontosaurus"). There's O My God, which sounds like either an outtake from the Ghost in the Machine sessions or a retread, complete with recycling some of the lyrics from "Every Little Thing She Does is Magic". Then there's Murder By Numbers, a tune about slipping pills in peoples coffee, that would fit better in a kitsch Broadway musical than on a Police album. And it's sung pretty straight too. Oh dear..
Still, for those good tracks here, it's worth getting for us Police fans. Newcomers should stick to Outlandos D'Amour or Zenyatta Mondatta for a introductory album, I think. If you lived through the 80s, this album may bring back some memories, too.
(Every Breath You Take was number 1 on the charts when I was born, so I can't really say I have memories of the times then)
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5.0 out of 5 stars One of the finest albums of the 1980s, Sept. 28 2003
By 
Eric Edelin (Baltimore, Maryland USA) - See all my reviews
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This review is from: Synchronicity (Audio CD)
'Synchronicity' is one of those albums that any serious music lover should own. The Police were at the height of their popularity in 1983, but more importantly at the height of their musical powers. This was the album they had in them, and were working towards. Sting's lyrics had evolved from punkish, and somewhat immature songs about blow-up dolls and youthful angst, to complex psychological character studies and social commentary (built on from their previous, 'Ghost In The Machine'). Andy Summers and Stuart Copland were just as equally important as Sting in creating the sound of the group; Summers was quite the unsung guitar hero, rarely taking an overblown amp-shredding solo, but always playing interesing harmonies for the good of the song.
'Synchonicity' is a totally different beast from the early white-reggae 'Outlandos D'Amour' singles. The two title tracks are upbeat, dark, complex, yet very tuneful, while 'Tea In The Sahara' is a slow, atmospheric end to the album. ('Murder By Numbers' is a b-side which was added on to the cassette and cd issues, while a very cool, catchy song, it sounds a bit odd at the end, and I'm not one too picky about that kind of stuff.) The hits on the album get the most attention, especially 'Every Breath You Take', but the album works best as a unified work and not a platform for a big hit single. The Police went out on top, but it would be interesting to see how they would have continued as a group when looking at Sting's solo career.
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5.0 out of 5 stars The Police are Legends...... Here's Why., Sept. 8 2003
This review is from: Synchronicity (Audio CD)
The last and greatest work in the Police catalogue, "Synchronicity" shows the now legendary band transcending pop music and becoming much more comfortable with following their own artistic visions.
For the most part, the song line-up is rock solid. It opens with the fast paced "Synchronicity I" before gliding into the softer yet very pointed "Walking In Your Footsteps" and "O My God", both of which have much sparser music and phenomenal lyrics. The next song, "Mother", is one of the most appalling songs available, and it jars very harshly with the smoothness of the rest of the album . . . and after many many listens, I have to believe that was the entire point, and although it's abrasive as sandpaper, I just can't bring myself to hit the skip button.
Subsequent to the sonic assault of "Mother" comes the best part of the album. The next 6 songs, starting with "Miss Gradenko" and ending with "Tea in the Sahara" are what make this album so special. "Every Breath You Take" is one of the most beautiful songs ever written, and melds perfectly with the aching sparseness of "King of Pain" and the wry humor of "Wrapped Around Your Finger". Simply an incredible set, and saddening in retrospect that this was the final collaboration between these three gifted musicians.
For those new to the police, this or the "The Classics" is definitely the album to start with, but their earlier work, especially "Zenyatta Mondatta" and "Ghost in the Machine" are not to be missed. "Synchronicity"; however, is the album for which they will forever be remembered, and one listen is enough to see why.
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4.0 out of 5 stars "Synchronicity" - 20 Years Later., July 27 2003
By 
This review is from: Synchronicity (Audio CD)
When a band releases its biggest selling record, it usually capitalizes on that success by rehashing the same formula on its next several albums. This didn't happen with the Police. In 1983, the trio released "Synchronicity," a record that not only sold millions but it spent more weeks at Number One than any other album in that year, including Michael Jackson's "Thriller." Fans, myself included, clamored for a followup album, but the Police decided to call it quits while they were still on top. How many groups today would do such a thing? Anyway, "Synchronicity" is a fine album that shows a more confident and self-assured band delivering its most accessible work at the time. "Every Breath You Take" will probably go down as the most misunderstood and misinterpreted pop song of the 1980s, especially considering that it's still being played at senior proms and weddings. Thanks to Sting's passionate lyrics, it's often been mistaken for a love ballad when it's actually a song told from the mind of an obsessive stalker (Every breath you take/ every move you make/. . . I'll be watching you). Other strong points include the tribal rhythms of "Walking in Your Footsteps," the subtle jazz-rock touches of "Oh My God," and the absolutely nutty "Mother," in which guitarist Andy Summers sings vocals. But "Synchronicity" gets its money's worth for the lovely "Tea in the Sahara." This song was the closing track of the original LP version, but on the CD/cassette versions it's followed by the jazzy "Murder By Numbers." In my mind, it hurts the sequencing a bit, and it was better off as a b-side as was originally intended. "Synchronicity" is one of the best albums of the 1980s, but I hesitate to give it 5 stars because it lacks some of the raw edge of the group's finer recordings like "Zenyatta Mondatta" and "Ghost in the Machine." Still, it's one of the essential records to own and has lost none of its luster after 20 years.
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5.0 out of 5 stars One of the most original 80s groups., July 27 2003
By 
R. J Schaick "minstrel75" (Fredericksburg, VA United States) - See all my reviews
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This review is from: Synchronicity (Audio CD)
Yes, I know they started in 78 or 79, but their sound is definitely 80s. At first, I didn't care for the Police very much, due to the fact that the radio only ever played singles, and I found the singles to be unoriginal tripe. Then, one day, I borrowed Synchronicity from my brother's CD rack, and was amazed by the multiple dimensions of both music and lyrics. Here is a band that takes the raw energy of punk and hard rock, fuses it with the rhythms of jazz and reggae, and adds a twist of pop to make it easy for people to listen to.
When the very first track started playing, I was mesmerized by the incessant pulse of Stewart Copeland's drumming, as well as Sting's lyrics: catchy, and yet delivering a deep message about how the duality of human existence is both predictable and unpredictable. Good stuff. Of course, Andy Summers shines through in many places, especially on the much underrated Mother, his contribution to the album. His guitar riffs on that achieve the same addictive pulse as Copeland's drumming. Of course, he also delivers beautifully in King of Pain and Walking in Your Footsteps, the latter of which is raw, scratchy, and very primal.
The lyrical content of the other songs are not standard pop fare, as well, dealing with man's role as the dominant species (Walking in Your Footsteps), the nature of religion and it's use, if any in the modern world (O My God), how technology changes the structure of family from what it was in the 50s (Synchronicity II), and the difference between love and obsession (Every Breath You Take). I used to dislike that last song when I heard it ont he radio, writing it off as your basic love song. But the lyrics are actually darker than I gave the band credit for, and thematically it's a perfect fit to the album.
In another review on this page, someone mentioned that musically, Murder by Numbers does not fit well at the end of the album. But, as a song about man's unique trait of murdering his fellow man (taken to new levels in modern society through things like culture and politics), it definitely connects with the dark retrospectives preceding it. Musically, it's a bit more experimental, so while I'm glad they included it on the CD, it might have gone better on the A-Side, in between the tracks written by Copeland and Summers. But, on the other hand, after the soft fare preceding it, it was nice to finish with a deliciously sadistic little bang. So it would have been fine anywhere.
All in all, I definitely had new respect for the Police after hearing this album. Forget the solo efforts of Sting, in which he sank deeper and deeper into the abyss of folk and pop. Sting was at his creative zenith when he was with the Police, and the most diverse example of this is Synchronicity. For anyone wanting to know more about this band, it's the best way to start (anyone who likes this should also check out Ghost In The Machine).
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