Review from Rolling Stone magazine by Stephen Holden'Synchronicity' is a work of dazzling surfaces and glacial shadows. It's a completely different song with different lyrics and a thematic link to Synchronicity II. This time, the Police have gone primitive, even exotic, cloaked in an air of mystery formerly reserved for National Geographic specials and color spreads in Italian Vogue.Does it work To a point. The things that I would express in a song are things that he would never even talk about. But it doesn't happen very often, especially these days, and the fact that the Police have made it happen again is cause for rejoicing. I play much better when the sound coming out of the instrument is rich and warm. We're doing our best to make sure our content is useful, accurate and safe.If by any chance you spot an inappropriate comment while navigating through our website please use this form to let us know, and we'll take care of it shortly. 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. Two members of the same band will hit the same chord, or the music will shift to an area that you both agree on for some inexplicable reason and you'll find yourself on the same wavelength. Sling's eyes are secretly murderous. Hopefully, it'll be synchronistic. ", The Police was an English rock band formed in London in 1977. And one wants to give Sting credit for trying not to be inane. Get instant explanation for any lyrics that hits you anywhere on the web! That really helped me. Read about Synchronicity II by The Police and see the artwork, lyrics and similar artists. We have the drums in the kitchen at Montserrat because they sound best there. It's a total reductive simplicity that does nothing to diminish the impact of the music, which actually sounds fuller at some points.Although Sting dominates the album, he doesn't necessarily control it. For despite their new-wave image and strategies, they have been around. The fat pillowy, synth-buzz and shadowy overdub intricacies of 1981's 'Ghost In The Machine' - a bold, necessary escape from the slowly asphyxiating limitations of the clipped pop-and-reggae snap of their first three albums - have been sharply reduced to a new radical geometry of melody and rhythm that refers back to but does not rely on that original sound.There are now pregnant empty spaces reverberating with Andy Summers' broad guitar synthesiser strokes where his angular echoplex chords used to be. Review from The Guardian by Robin DenselowFor a band rumoured to dislike each other, to be past their peak and on the verge of breaking up, The Police aren't doing too badly. On songs like this and 'O My God', Sting shows an untypical bent towards the depressing side of life, although this record contains many moods in its ten tracks.Guitarist Andy Summers and drummer Stewart Copeland support Sting's visions without even the occasional excesses of 'Ghost In The Machine', their last long player. Where Bob Dylan used a locomotive as an image of good coming to mankind's rescue in his song 'Slow Train Coming', 'Synchronicity II' foresees impending doom in the shape of an avenging Loch Ness monster.Side two is a more personal collection of songs. It's the perfect example of the uneasy middle ground between darkness and light that has long been central to Sting's songwriting; this time around, there's much less of the romantic quietude of earlier albums, and what there is is melodic, not lyric. Sting is a King Of Pain. The song's clever simplicity and spiny hook coupled with Sting's near perfect vocals makes the tune a natural hit But it's hardly representative of the album as a whole. "Rolling Stone, 9/83On what his 'strip' on the cover of the album says about him..."I don't know. It Opens with the current single 'Every Breath You Take', a rather plodding tune with a basic theme of jealousy. Summers and Copeland have their own desultory moments on the first side - the guitarist's 'Mother' is a foolish Psycho scenario set to obvious programmatic music, and Copeland's 'Miss Gradenko' follows as a throwaway interlude - but it's their proficiency players that keeps them afloat. 17 in the UK Singles Chart and No. The communion between darkness and light in pop music has its supreme incarnation in The Police.Though Sting has worked on that for a long time it wasn't until 'Ghost In The Machine' that it came good. A monthly update on our latest interviews, stories and added songs, More songs with videos directed by Godley & Creme, Goodbye, Hello: Ten Farewell Tour Fake-Outs, Stand By Me: The Perfect Song-Movie Combination. The Police – Synchronicity II – Official Music Video The song was written by Sting (born Gordon Sumner). 'Synchronicity' is all big, vibrant, complex sound performed with great clarity, even grace. You feel very much part of the web of communication. I don't feel so much connected to that now. I've got so much ego massage now that...enough, enough. '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. This English trio - singer-bassist Sting, guitarist Andy Summers, drummer Stewart Copeland - has been making some of the most popular mood music of the past five years, with knotty but charming hits such as 'Roxanne', 'Message In A Bottle' and 'Don't Stand So Close to Me'.Like Talking Heads, the Police paid a large debt to black music. And, aside from the music, it's pretty much the whole show, drummer Stewart Copeland and guitarist Andy Summers compositional contributions having been limited to one novelty song apiece (namely Summers's 'Mother', with his Wild Man Fischer turning into Norman Bates vocal good for a yuk but mainly making one thankful that weren't any vocals on last year's Summers/Fripp collaboration, and Copeland's more successful 'Miss Gradenko', a cute distaff 'Well Respected Man' as it might have come out of the USSR, which squeezes just enough into its two minute length).Then there's the music, which might just make the trip worth taking... this trio's come a long way from the time when every song was made up of two riffs (albeit solid ones) and each song's fade-out was a third of the song's length. Something's missing here. Guitarist Andy Summers' muted chord progressions provide a sparse melodic frame, with Stewart Copeland's tensile percussion sharpening the beat like a knife on the wheel. "Sloop John B" is a traditional West Indian folk song, and it was a huge hit for The Beach Boys in 1966. That's synchronicity, drawing that analogy. Whereas in the past the Police's albums have been characterized by dense layers of instrumental tracks, one piled on top of another, the new record features almost no overdubs at all. Summers, meanwhile, squeezes some chords through his chorus/echo, and Sting sings: "My sisters and I have just one wish before we die...... improbable, about a chap who flies across the Sahara for his pre-ordained meetings with the sisters in question. Andy Summers claims that although he has no connection with Sting on a personal level these days, their musical rapport remains intact. In these days of big money reunion tours hardly a week goes by without a rumours surfacing that the Police are getting back together, but they've had the strength of character to resist and consequently their legend remains intact.Review from The Sydney Morning Herald by Henry EveringhamThe Police is a band for whom I have held little regard in the past. Another suburban family morning Grandmother screaming at the wall We have to shout above the din of our Rice Crispies We can't hear anything at all Mother chants her litany of boredom and frustration But we know all the suicides are fake For instance, in the title cut there's a domestic situation where there's a man who's on the edge of paranoia, and as his paranoia increases, a monster takes shape in a Scottish lake, the monster being a symbol for the man's anxiety. He explains how the group puts their songs together and tells the stories behind some of their classics. The familiar Jamaican rhythms are still prevalent and Stewart Copeland provides varying drum beats that could get cats dancing, but it's all to no avail. To balance things out, the darker side of the same coin holds sway in the rocketing, if not-so-Pleasant Valley Monday of its companion piece, 'Synchronicity II', an exercise in desperation, with its harried suburban daddy inching toward the end of his rope.The problem is, it sounds like the Police are finally reaching the end of theirs, too.