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Añoranza 07:11, 7 May 2006 (UTC)
The song "Synchronicity I" you mean? It's 6/4, as opposed to the more common 6/8. 6/4 is not an "odd" time signature, but the grouping of this song can be analysed as a syncopated "4/4+2/4" or "5/4+4/16", and gives it the "odd" feel. (there's plenty of room for other analyses of the rhythm, but these are the basics... having not heard the song for years, just remembering the hook. - Tzf 22:12, 11 July 2006 (UTC)
I remember buying this album being disappointed that Murder By Numbers was only on the Audio Cassette release. At the time I felt personally affronted by this! Any self-respecting collector would not buy audio cassettes because they could easily get "eaten", particularly by the notorious car cassette players of the time. So I would buy only LP's and make my own cassette copies of them. I'm sure it was included on the first CD edition too, but when did that come out? Did Murder By Numbers appear on later LP releases? Or have I got it all wrong, and it was on the original LP release? - Tzf 22:12, 11 July 2006 (UTC)
No, it did not. I own the LP version, and the track was left off. - Readymade01
This album was classified as "Rock n Roll", so I changed it to just "Rock". - Readymade01
Why is it not noted that there are about 100 diferent versions of the album cover? or the fact that most of the records are purple when held up to the light? —Preceding unsigned comment added by Vadahata2 ( talk • contribs) 23:45, 11 September 2008 (UTC)
The author of these 3 sentences from the "History" section does not understand how professional studio recordings of rock music are made.
The Police could have high on Ecstasy, madly in love w/ ea other, eagerly looking forward to completing the recording so they could fly away to wherever 3 guys madly in love can get married to each other, and they STILL would have "recorded their parts in separate rooms"! [ [1]]might be of interest to those who don't understand the concepts of "separation" and "bleeding" in a multitracking context.
So yes, if playing 'live' i.e. together at the same time in a studio, measures are taken to isolate the instruments from ea other, so that, for instance, you don't end up with loud cymbal crashes in the background of another instrument's track. This physical separation is standard recording technique and would not comment on, or be reflective of, any relationship dynamics any more than the fact of each band member also physically separating himself when he used the bathroom! Likewise, it's not unusual at all for overdubbing sessions to not be attended by nonparticipants- remember, Hugh Padgham was not co-producing w/ the boys...
So while it's well known that the trio were not fond of each other during the making of Synchronicity, it's folly to claim that these 2 very normal aspects of a big budget rock recording process by a hugely successful band w/ a big name producer are somehow indicative of negative relationship dynamics. I'll wait for a while to see if a hardcore Police fan wants to rewrite this part of the "History" section. If not, I will end up deleting at least the first 2 of the 3 sentences. Fp cassini ( talk) 07:01, 9 October 2009 (UTC)
Currently, the article states: "Sting's material dominates the album, with the two short tracks by Andy Summers ("Mother") and Stewart Copeland ("Miss Gradenko") being seen by the band themselves as concessions."
The question that springs to mind is "Concessions by whom?" A&M had no control over which songs were included on The Police's albums, so the concessions would have to be by the other band members. The trouble is, it's a matter of record that Sting loved both "Mother" and "Miss Gradenko". I remember reading from an interview in which Sting spends a couple paragraphs raving about how brilliant "Mother" is. "Miss Gradenko" is more ambiguous, but Sting was enthusiastic about Copeland's compositions for Synchronicity, so it's hard to believe that he didn't like the only one which he allowed on the album. So that means that at worst, there was one member out of three who objected to each of the compositions. How does that make its inclusion a "concession"?
At the least, that statement needs to be both phrased more clearly and outfitted with citations. For now, I'm simply deleting it. If anyone knows what "seen by the band themselves as concessions" is supposed to mean, please share that information here. (Assuming, of course, that it isn't just something the editor made up.)-- Martin IIIa ( talk) 13:05, 11 June 2011 (UTC)
I always thought Miss Gradenko was about a whistleblower not a romance. In that interpretation "Are you safe Miss Gradenko?" is more of a veiled threat. But who cares what I think? No one. Which is precisely my point. I notice the theory given here is presented on Stewart Copeland's official site, but by the tone ( "Please, don’t hesitate to contact us and your opinion will be upload for other fans to read!") it's clear he didn't write it himself. As a source I would have to say it is unencyclopedic. The entire songs section is currently unsourced in fact. It's one thing to say what the artist or a notable critic said about the work, but this isn't a place for interpretation or deconstruction by someone who is non-notable. Gripdamage ( talk) 19:38, 9 October 2011 (UTC)
Does anybody have confirmation of the original release date for this album? In the UK it entered the album chart w/e 25 June, which would suggest a UK release date of 10 June. It should be easy enough to confirm this just as soon as I have access to the archives of UK music magazines from 1983. However, that does not preclude the possibility that Synchronicity was released in the US first – as the June 1983 issues of Billboard are not available online, does anybody have access to magazines of the time that state the US release date? Richard3120 ( talk) 03:05, 22 July 2015 (UTC)
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I've added an "original research" tag to this section because it's entirely unreferenced and seems to feature one editor's views of the songs' structures and their meanings. I've got an interview from the time of the album's release where the band members explain what "Synchronicity", "Miss Gradenko", "Every Breath You Take" and "Murder by Numbers" are about, so this could form the basis of a section regarding song composition. Richard3120 ( talk) 00:51, 27 November 2017 (UTC)
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Have removed the twaddle from Melody Maker's Adam Sweeting about how, "devotees of this extremely sussed trio will find plenty to amuse them"; but, however, he, "could never fall in love with a group which plans its moves so carefully and which would never do anything just for the hell of it". How does he know? And that's 99% of successful groups. Shall we all slag these for their smart management of their careers? And do we need to only rate high groups that Adam Sweeting falls in love with? Dumb-ass comment from a dumb ass rock writer.-- Jelsova ( talk) 09:50, 14 October 2020 (UTC)
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Añoranza 07:11, 7 May 2006 (UTC)
The song "Synchronicity I" you mean? It's 6/4, as opposed to the more common 6/8. 6/4 is not an "odd" time signature, but the grouping of this song can be analysed as a syncopated "4/4+2/4" or "5/4+4/16", and gives it the "odd" feel. (there's plenty of room for other analyses of the rhythm, but these are the basics... having not heard the song for years, just remembering the hook. - Tzf 22:12, 11 July 2006 (UTC)
I remember buying this album being disappointed that Murder By Numbers was only on the Audio Cassette release. At the time I felt personally affronted by this! Any self-respecting collector would not buy audio cassettes because they could easily get "eaten", particularly by the notorious car cassette players of the time. So I would buy only LP's and make my own cassette copies of them. I'm sure it was included on the first CD edition too, but when did that come out? Did Murder By Numbers appear on later LP releases? Or have I got it all wrong, and it was on the original LP release? - Tzf 22:12, 11 July 2006 (UTC)
No, it did not. I own the LP version, and the track was left off. - Readymade01
This album was classified as "Rock n Roll", so I changed it to just "Rock". - Readymade01
Why is it not noted that there are about 100 diferent versions of the album cover? or the fact that most of the records are purple when held up to the light? —Preceding unsigned comment added by Vadahata2 ( talk • contribs) 23:45, 11 September 2008 (UTC)
The author of these 3 sentences from the "History" section does not understand how professional studio recordings of rock music are made.
The Police could have high on Ecstasy, madly in love w/ ea other, eagerly looking forward to completing the recording so they could fly away to wherever 3 guys madly in love can get married to each other, and they STILL would have "recorded their parts in separate rooms"! [ [1]]might be of interest to those who don't understand the concepts of "separation" and "bleeding" in a multitracking context.
So yes, if playing 'live' i.e. together at the same time in a studio, measures are taken to isolate the instruments from ea other, so that, for instance, you don't end up with loud cymbal crashes in the background of another instrument's track. This physical separation is standard recording technique and would not comment on, or be reflective of, any relationship dynamics any more than the fact of each band member also physically separating himself when he used the bathroom! Likewise, it's not unusual at all for overdubbing sessions to not be attended by nonparticipants- remember, Hugh Padgham was not co-producing w/ the boys...
So while it's well known that the trio were not fond of each other during the making of Synchronicity, it's folly to claim that these 2 very normal aspects of a big budget rock recording process by a hugely successful band w/ a big name producer are somehow indicative of negative relationship dynamics. I'll wait for a while to see if a hardcore Police fan wants to rewrite this part of the "History" section. If not, I will end up deleting at least the first 2 of the 3 sentences. Fp cassini ( talk) 07:01, 9 October 2009 (UTC)
Currently, the article states: "Sting's material dominates the album, with the two short tracks by Andy Summers ("Mother") and Stewart Copeland ("Miss Gradenko") being seen by the band themselves as concessions."
The question that springs to mind is "Concessions by whom?" A&M had no control over which songs were included on The Police's albums, so the concessions would have to be by the other band members. The trouble is, it's a matter of record that Sting loved both "Mother" and "Miss Gradenko". I remember reading from an interview in which Sting spends a couple paragraphs raving about how brilliant "Mother" is. "Miss Gradenko" is more ambiguous, but Sting was enthusiastic about Copeland's compositions for Synchronicity, so it's hard to believe that he didn't like the only one which he allowed on the album. So that means that at worst, there was one member out of three who objected to each of the compositions. How does that make its inclusion a "concession"?
At the least, that statement needs to be both phrased more clearly and outfitted with citations. For now, I'm simply deleting it. If anyone knows what "seen by the band themselves as concessions" is supposed to mean, please share that information here. (Assuming, of course, that it isn't just something the editor made up.)-- Martin IIIa ( talk) 13:05, 11 June 2011 (UTC)
I always thought Miss Gradenko was about a whistleblower not a romance. In that interpretation "Are you safe Miss Gradenko?" is more of a veiled threat. But who cares what I think? No one. Which is precisely my point. I notice the theory given here is presented on Stewart Copeland's official site, but by the tone ( "Please, don’t hesitate to contact us and your opinion will be upload for other fans to read!") it's clear he didn't write it himself. As a source I would have to say it is unencyclopedic. The entire songs section is currently unsourced in fact. It's one thing to say what the artist or a notable critic said about the work, but this isn't a place for interpretation or deconstruction by someone who is non-notable. Gripdamage ( talk) 19:38, 9 October 2011 (UTC)
Does anybody have confirmation of the original release date for this album? In the UK it entered the album chart w/e 25 June, which would suggest a UK release date of 10 June. It should be easy enough to confirm this just as soon as I have access to the archives of UK music magazines from 1983. However, that does not preclude the possibility that Synchronicity was released in the US first – as the June 1983 issues of Billboard are not available online, does anybody have access to magazines of the time that state the US release date? Richard3120 ( talk) 03:05, 22 July 2015 (UTC)
Hello fellow Wikipedians,
I have just modified 2 external links on Synchronicity (The Police album). Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:
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An editor has reviewed this edit and fixed any errors that were found.
Cheers.— InternetArchiveBot ( Report bug) 08:23, 24 May 2017 (UTC)
I've added an "original research" tag to this section because it's entirely unreferenced and seems to feature one editor's views of the songs' structures and their meanings. I've got an interview from the time of the album's release where the band members explain what "Synchronicity", "Miss Gradenko", "Every Breath You Take" and "Murder by Numbers" are about, so this could form the basis of a section regarding song composition. Richard3120 ( talk) 00:51, 27 November 2017 (UTC)
Hello fellow Wikipedians,
I have just modified one external link on Synchronicity (The Police album). Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:
When you have finished reviewing my changes, you may follow the instructions on the template below to fix any issues with the URLs.
An editor has reviewed this edit and fixed any errors that were found.
Cheers.— InternetArchiveBot ( Report bug) 15:39, 7 December 2017 (UTC)
Have removed the twaddle from Melody Maker's Adam Sweeting about how, "devotees of this extremely sussed trio will find plenty to amuse them"; but, however, he, "could never fall in love with a group which plans its moves so carefully and which would never do anything just for the hell of it". How does he know? And that's 99% of successful groups. Shall we all slag these for their smart management of their careers? And do we need to only rate high groups that Adam Sweeting falls in love with? Dumb-ass comment from a dumb ass rock writer.-- Jelsova ( talk) 09:50, 14 October 2020 (UTC)