'Hungry For You; heads up the street with a bouncing stride and Sting sings in French so I don't know what the hell it's all about - but it provides an enervating insert before more tales of modern life paranoia on 'Demolition Man', aggressively and effectively delivered. According to Koestler there are two brains. Summers recollected: I have to say I was getting disappointed with the musical direction around the time of Ghost in the Machine. Police song lyrics for album Ghost in the Machine. [9] Besides keyboards, the following twenty minutes of the record—"Hungry for You (J'aurais toujours faim de toi)" through "One World (Not Three)"—include many saxophone harmonies, while the opening to "Secret Journey" showcases the Roland GR-300 Guitar Synthesizer.[8]. Unfortunately the two brains are entirely separate and there's no communication between them. 'Omegaman' is the flip side, ideologically, of 'Demolition Man'. Thank Andy Summers for giving the beat a stout clip round the ear. There is a message of hope and at least an inner answer to the equation. For example, the heart-rending joyousness with which 'Every Little Things She Does Is Magic' bursts from the grooves proves its discontinuity with all of the other songs. I was determined to play some saxophone. But what I would like is for people to read the book, because I think it has some great ideas, very simply and coherently put, which the songs give a glimmer of. We all have our cans [headphones] on; while they get the chords I fiddle with the rhythms. I borrowed the title from Arthur Koestler's 1967 book about the human mind and our seeming appetite for self destruction. The balance had been tipped too much toward commercialism. "Guitar World, 7/82, "'Ghost' was, for us, a please-yourself album. The song's a brilliant piece of pop filigree, and its central sentiments are, after all, on the right side of the barricades. Violence in Northern Ireland in 'Invisible Sun', skinheads and Nazis in 'Rehumanise Yourself', destructive pathology in 'Demolition Man', lust in 'Hungry For You'. I mean it's something that I'm interested in but it's very odd that all these people are suddenly turning up. The songs were recorded between January and September 1981 during sessions that took place at AIR Studios in Montserrat and Le Studio in Quebec, assisted by record producer Hugh Padgham. By that I mean that if we all got on well all the time and agreed about everything there would be no creative tension. Intended as an international language not native to anyone but foreign to no one - an answer to divisiveness dating back to the Tower Of Babel - it failed because its design gave a sop to every culture while capturing the passion of none. 'Every Little Thing She Does Is Magic' was the poppy chart topper and 'Spirits In The Material World' is another superb track. Come October. The Police needed a rest, took it and 'Ghost In The Machine' is the result, a tougher record than ever before, songs frequently pared to one unrelenting riff, early reggae flavours retained, but tainted by an extra touch of funk, an additional dollop of rock'n'roll. Not so incidentally, the number is also a virtuosic instrumental display, particularly by Copeland, whose drumming captures both reggae nuances and rock & roll dynamics. Ghost in the Machine was listed at number 322 on Rolling Stone's list of the 500 greatest albums of all time. O Sting, where is thy depth? "Stewart Copeland: Creem, 4/82, On being asked if people had picked up on the political overtones of the albums lyrics..."Not so much the political things, but I'm plagued by mystics. Brutalised by the insult of mass poverty they hit out anywhere as on 'Driven To Tears'. [13], "Omegaman" was chosen by A&M Records to be the first single from the album, but according to Andy Summers, the song's composer, Sting refused to allow its release in single form. 'Demolition Man' ends the side, a steamroller of a tune that could well be subtitled "Qaddafi's Theme." But since the sentiments are worthy, if not mind-boggling in their radicalism and since the songs are prime stock, why carp? Unlike George Harrison's 'Living in the Material World' - essentially a lament - the tune's antipolitics suggest there's freedom in the acceptance of physical mortality, an idea more firmly conveyed when drummer Stewart Copeland snaps the chorus to life. In short, they've "moved on", matured. ", One lunch period around Columbus Day - the school chef made a Spanish-Italian Special, a pizzarito - Jim, with a concerned look on his face, sidled up to Garry. Vinyl, LP, Album, Reissue. The stark instrumentation has been spiced with a much denser sound through the addition of synthesizers, keyboards and saxophones as well as multi-tracked guitars. The reggae feel is still there, but so too is a stomping Rhythm and Blues style. "NME, 9/81, "It would be pretty pompous if I turned round and said this album is going to change the way people think. The multitrack singing eliminates the attractive tinge of aloneness that's always been integral to the subtext of Police compositions, while the extra instrumentation - keyboards, guitar parts, Sting's overdubbed one-man horn section - fills up the open spaces in their music. The book talks about how the modern brain of Homo sapiens is grafted onto older and more-primitive prototypes and how in certain situations these reptilian modes of thinking can rise up and overcome our higher modes of logic and reason. Well, it turns out that despite their massive sales, the band itself was growing weary of the sound and decided to take a few risks. The current single is here of course, with their last smash 'Invisible Sun' plus we think there's a few more likely hits including 'Hubgry For You', which Monsieur Sting sings in French! With Karen Allen, Chris Mulkey, Ted Marcoux, Wil Horneff. [12][16] "Spirits in the Material World" followed, peaking at number 12 in the UK and number 11 in the US. 'Ghost In The Machine' (wot a title) proves that they've sat down and thought about where to go next. 'Zenyatta Mondatta', the third Police album, made the Tope Ten. Garry withheld judgement. This is a print-on-demand item. I'd been obsessed with the idea of coming up with a commercial record. "Andy Summers: Guitar Player, 1/94, On being asked what we thought of the keyboards and horns on the album..."I hated them. The bridge that many groups try to build to the Third World sometimes uses condescension for its supports. Michael Foot was right, everything else is trivial and childish. There's still the annoying tendency to play each song (and riff) too long, especially in 'Demolition Man', which has almost all of the two lines. Then we run through it once. Ghost in the Machine (Remastered) by The Police on Apple Music. Perhaps we'll go back to a sparser sound. View credits, reviews, tracks and shop for the 1981 Vinyl release of "Ghost In The Machine" on Discogs. There's a couple of other potntial singles here too, like 'Demolition Man', which has already been recorded by Grace Jones, the frantic 'Dehumanise Yourself' (sic) and 'Secret Journey', which is perhaps the best cut on the album. Sting's "nya nya" sax backdrop, Andy Summers' nasty guitar cackles and the ornery syncopation of the chorus give the lyrics a mean-spirited punch; there's even a false ending for good measure. In 1981, The Police put out Ghost in the Machine which went double platinum with hit singles ‘Every Little Thing She Does is Magic’ and ‘Spirits in the Material World.' Ghost in the Machine, an Album by The Police. I'm talking about 'Invisible Sun', among others. This time, the Police are seriously minimal; Invisible Sun even tips its hat to Philip Glass with a count-off that's just like the ones in 'Einstein on the Beach'. Maybe we've gone through the cycle now. * Sales figures based on certification alone.^ Shipments figures based on certification alone. The group's approach was relentlessly, calculatedly middlebrow: never identify, never over explain, flatter your audience into thinking they appreciate cross rhythms when what's really hooking them is some of the snappiest songwriting since Jerry Lieber and Mike Stoller. The balance had been tipped too much toward commercialism. "Hungry for You (J'aurais toujours faim de toi)" is sung mostly in French, with the bass and horns both repeating a single 8-note melody for the length of the song, while the guitar maintains a steady beat. ", Message In A Box – The Complete Recordings, Hungry For You (j'aurai toujours faim de toi). By the time you get to this point, most people usually start softening up. In my case, I don't know the names of 'em so I just play 'em. A spunky combination of rock and rub-a-dub, the song has a knee-dipping sound along the lines of African pop singer Fela Anikulapo Kuti, with the greasy, delayed-timing sax chorus of vintage James Brown. You only have to look at the kids on the streets, they're becoming de-humanised. Aside from four old-style fillers (plaintive vocal against hectic reggae thrash), the shift is toward a richly textured, synthesised sound coupled with more considered and demanding lyrics. "Demolition Man", the band's longest song—almost six minutes in length—features a strong bass line and saxophone, and was written by Sting while staying at Peter O'Toole's Irish mansion. Nothing about 'Ghost In The Machine' convinces me that The Police are anything but a great singles' (vinyl or sexual) band. There's a line in one of the songs that says "the words of politicians are merely the rhetoric of failure" and I don't claim that much more for my own rhetoric, except that I have no other choice but to say what I believe in now. $22.90. The long lay off between albums seems to have really paid off - it's been a year since the somewhat unfortunate 'Zenyatta Mondatta', which wasn't so much an album as a couple of singles and a lot of filler, whereas this is probably the best Police LP so far. Seller 99.7% positive. The songs are all recognisable vocal lines - with Sting's characteristic vocal lines and four-bar units; Stewart Copeland's swinging, accents-on-two-and-four drumming, and Andy Summers' ultra-float textural, non-linear guitars - yet only 'One World (Not Three)' openly recalls reggae. Gone is the simple love song formula, the straightforward yet ingenious reggae adaptation, the attempt to look like schoolklds on holiday. And I've done the saxophone section bit now, I'm bored with it; and Andy was into just plunking down one guitar part. It's tempting to make a comparison with the mid-period Beatles emerging from a pop formula to write songs attempting to analyse the world around them - except The Police have found no gurus and no simple solutions. The Police have turned out a disappointment. The album was released on 2 October 1981 by A&M Records. "A Visual Documentary, '81, "If one person reads "The Ghost In The Machine" because our album has the same title, then I think it's a good excuse to have called it that. They keep writing to me, they keep turning up with bald heads and ponytails and pink dresses. "NME, 9/81, "The reason we have to attack Behaviourism is because it's been used by totalitarian regimes as an easy way of making people conform. Calvin Klein Men's T Shirts 3 Pack 100% Cotton V-Neck Crew Neck Tees Undershirts. But how to argue with a group that offers sexy, politically charged, accessible pop, whose music inflames where their lyrics miss the spark, and vice versa, whose style looks fearlessly ahead and still keeps moving That, after all, is what we used to call rock and roll. It's there in the opening track, 'Spirits In The Material World', with its assertion "There is no political solution," and it's there on the third track, the current hit single 'Invisible Sun'. We'd become almost obsessed by it largely because the only group who was selling any records in Europe for a year or so was The Police. Nightmare. Garry was singularly unimpressed "You will see light in the darkness," Sting sang. Koestler's book is available in a Picador edition for considerably less than the cost of The Police's album. The sensation is partly the result of bassist Sting's cheesy, sleazy sax riffing - pure adolescent horniness (he only picked up the instrument eight months ago). So in a sense we've broken away from the thing which first made us. All tracks are written by Sting, except where noted. Select Page. It's like I've become this kind of focus point for gurus. The album lyrics, all but indeciperable, have vaguely apocalyptic titles like 'Demolition Man', 'Rehumanize Yourself' and 'Invisible Sun'. ", "Apart from 'Every Little Thing She Does Is Magic', all of the songs on this album were written in the west of Ireland in 1981. Therefore there's a kind of schizophrenia. The title comes from Arthur Koestler's philosophical work, which seems to be Sting's current bed-time reading. After a trio of albums produced by Nigel Gray, Ghost In The Machine, the fourth Police album, and the first produced by Hugh Padham, sees them getting more into studio trickery, overdubs and that sort of more produced sound. Sting is obviously a decent, intelligent chap and if we were debating politics and philosophy I'd probably find large areas of agreement with him, but dull music with worthy sentiments attached is, ultimately, no more rewarding an aesthetic experience than dull music with foul sentiments. The other brain is quite a recent addition and involves abstractions, things that transcend the body. And the added instruments enhance without intruding. In my humble opinion, this is the best thing they've ever done. [25] Ghost in the Machine was voted the 24th best album of 1981 in The Village Voice's Pazz & Jop critics' poll. Branching into mean, moody and mystic music whose content reflects the pseudo-psychology of the Koestler-borrowed title, the balance between the great singles and obvious poly-fillers is weighted, for a change, in the former's favour. An immensely satisfying album that should vex more than a few Police critics. Our last records were experiments in commercialism. I now feel capable of writing objective songs and I think that's an improvement. The culture shock of touring India and points wider of the soft west brought a snap reaction on 'Zenyatta'. However, the group could not better it with the equipment available at AIR Studios; they ended up using the demo as the backing track for the official recording, with drummer Stewart Copeland and guitarist Andy Summers dubbing their parts on. Listen to Ghost In The Machine on Apple Music and Spotify. "I'm so tired of the omega-man," Sting sang. This is a break-out. Everything this group does is magic. Rehumanize Yourself 8. [23], In 2000, Q placed Ghost in the Machine at number 76 on its list of the "100 Greatest British Albums Ever". Remastered at Abbey Road Studios using ‘half-speed’ mastering process and pressed on heavyweight, 180gm vinyl. It became a belated hit in 1993 as the theme song for the action film of the same title, starring Sylvester Stallone and Wesley Snipes. Directed by Rachel Talalay. The subsequent Police album Synchronicity was inspired by Koestler's The Roots of Coincidence, which mentions Carl Jung's theory of synchronicity. Soon the sound of the new Police LP was wafting through the schoolyard, blasting from the Discovery record store at the mini-mall, a fixture at weekend sleaze blasts. But if there's to be a psychedelic revival, as predicted by those who seem to have run out of anything else to revive, then I suspect that it won't come in the obvious styles currently being touted by the new bands dressing up in paisley, velvet and Byrds haircuts. "[17] He found that the album was "not a pop masterpiece," but "did serve as an important stepping stone between their more direct early work and their more ambitious latter direction. If we haven't got it then, it starts to get lost. The band had a new producer, Hugh Padgham, and enhanced their sound with keyboards and overdubs as well as with Sting's saxophone playing. I think the material that came out on the next albums was stronger. The latter song title is very apt because there is a darkness to this record that permeates many of the songs. But it was time to change the regime again. It shouldn't have been done because I'd only been playing saxophone six months, but it did. Manfred Mann's Earth Band also recorded a version—rearranged and with extensive use of synthesizers—in 1982 for their Somewhere in Afrika album. In it we pleased ourselves. Repeated listening, however, reveals it to be the album's most specious composition: this year's 'De Do Do Do, De Da Da Da'. [21] Robert Christgau of The Village Voice remarked: "It's pointless to deny that they make the chops work for the common good—both their trickiness and their simplicity provide consistent pleasure here. "'Lyrics', 10/07, "In the record I have ideas put very simply which are parallel to the ideas put very coherently over hundreds of pages. At the back end of side two they help make up a final ten minutes which scales Himalayan heights that early stuff can be wiped off an over activated imagination. Whereas a thinking human being, a complex spiritual being, which is what we are, is out of place. 'Too Much Information', opening Side B, is typical Police sociology, along the lines of 'De Do Do Do' and 'When the World Is Running Down', but it's about here that the deus ex machina hinted at on 'Invisible Sun' begins to come into focus. "[22] In Record Mirror, Robin Smith praised the album as "the best thing they've ever done", noting its "overall sense of dedication and quality" and more varied range of musical styles. It's one more musical corner into which the Police lamp flicks an unembarrassed blue glow. "Andy Summers: Musician, 12/81, "I used to play saxophone as a teenager although not very seriously. It was too much of a shock because I said from the beginning the Police will last three albums and well, we did really.
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