Their best album

Review Score: (10/10)
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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