Police

Ghost in the Machine

The Dark Underbelly of The 80s

Review Score:

(8/10)
Where Zenyatta Mondatta introduced us to a few songs from the newly-socially-conscious Sting, Ghost In The Machine makes a statement throughout almost the entire album. As the title suggests, Ghost takes a look, thematically, at man's place in the world and amongst technology. But don't forget, there are hits. And good ones. The band recorded this and Synchronicity at AIR studios in Montserrat and the Caribbean feel is so thick, you might think about wearing a tank top while listening. It also introduces the band to Hugh Padgham who would go onto produce Synchronicity.
The Police come at us full force with their political views with the top 40 single, "Spirits In The Material World." It's a return to the early reggae feel with a pop hook. Finally, a political statement you can dance to. One of my all-time favorite Sting-penned songs is "Every Little Thing She Does Is Magic." It's really the only departure from the political/technological theme of Ghost, yet it drips with a Caribbean sauce that compliments the rock-meets-pop feel of being dumbstruck by love. "Do I have to tell the story of a thousand rainy days since we first met?/It's a big enough umbrella, but it's always me that ends up getting wet" are such poignant lyrics, Sting uses them no less than three more times in songs throughout his career.
We return the to problems of the world with a look at life in Northern Ireland in "Invisible Sun." The dark synth and steady tom beats convey the desperation and conflict.
McCartney spoke French to "Michelle," so Sting turns to his translation dictionary for the upbeat "Hungry For You." Do yourself a favor and look online for the English translation. Great lyrics.
"Demolition Man." The lyrics speak for themselves. "I'm a walking nightmare an arsenal of doom/I kill conversation as I walk into the room/I'm a three line whip I'm the sort of thing they ban/I'm a walking disaster I'm a demolition man." The band adds a horn section to punctuate the driving bass line and singing guitar of the song.
The horns return to open and carry "Too Much Information," which could thematically be the title track to the album. This time the machine is man overflowing with knowledge. A fun, poppy rhythm and melody contrast the politically charged lyrics of "Rehumanize Yourself." A call for man to stop and take a look at our lives.
If we need to look at ourselves in "Rehumanize," Sting wants us to look at each other in "One World (Not Three)." An anthemic, catchy tune, "One World" is another return to reggae with help from the horn section to remind us that "We're all in the same big boat" and the warning: "It may seem a million miles away but it gets a little closer everyday."
We head to the future in "Omegaman." It's driving drums and racing guitar solo tells the story of a man trying to escape his life. Not exactly, Charlton Heston, but still a one-man army.
One of my favorite tracks is the dark and mysterious "Secret Journey." It's the story of searching, but for what? The answer lies in the quest itself. A little contrived, yes, but a great tune, anyway. The album ends on the sleepy "Darkness," a study in the fear to try. The dry Copeland-penned tune makes you want to claw out of your own funk rather than fall into the "Darkness."
Ghost In The Machine sets up the 80s perfectly. It's a slice out of the early part of the decade that shows you where we were headed and what we could do to keep from destroying ourselves. Many of the ideas and suggestions helped to wake up many people to what was going on in the world. Sting wasn't the first rock activist, but he was certainly heard through this album.

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