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Zenyatta Mondatta

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Typical band stuff, I guess. I liked it. I was always much more interested in weirder stuff. And the commercial hit songs always seemed to come out of Sting anyway. But we didn’t have enough songs to fill the album, and I had this Behind My Camel thing.

The rest are instrumentals, or mostly instrumental, as is the case with "Voices in My Head" and "Shadows in the Rain". The first has standout Copeland drumming while the second is driven by another great Sting bassline. "Behind My Camel" and the closing "The Other Way of Stopping" are completely instrumental however. "Behind My Camel" has a hypnotic feel to it, the sound of the Arabic influenced guitar just drills into your brain. "The Other Way of Stopping" has another great Copeland performance, and the ending with the interesting guitar effects finishes the album on a high note. Secondly, non-stop tour commitments would leave The Police with just four weeks to record and mix the album before they would have to leave for yet another round of concert appearances. It was all very dodgy, and it didn’t really work. We weren’t real punks, as it were, we were kind of fake. We could play fast and furious, but, yeah, we were suspect. We were sort of too good to be included in the scene. There’s a strong political message in the lyrics that has held up through the years, and it’s a fun song to play. Stewart Copeland said that the group arrived at the album's title after deciding it should roll off the tongue. Zenyatta and Mondatta are invented words, hinting at Zen, at Jomo Kenyatta, at the French for 'the world' ( le monde), and at reggatta, from the title of the previous Police album, Reggatta de Blanc. As Copeland explained:It was all pretty fraught, actually. By the time we got to Zenyatta, we were working twenty-four/seven. Then we were shipped off to this place to make the record, and we really didn’t know what we were going to do, unless, of course, Sting had some songs up his sleeve. There was definitely outside pressure to make an enormously successful album, but that didn’t bother us much. a b Hepworth, David (2–15 October 1980). "The Police: Zenyatta Mondatta". Smash Hits. Vol.2, no.20. p.29. Sting the literate crusader and social crusader emerges on Zenyatta Mondatta. The references to Vladimir Nabokov ( Don’t Stand So Close to Me), global suffering as theater ( Driven to Tears) and the brutality of thought ( De Do Do Do, De Da Da Da) were not the province of the average pop band. Add to that the increasingly sophisticated playing of The Police and you had what might have been the most perfect pop group since The Beatles.

Ahmad, Suzail (23 February 2022). "JoJo: Why Are Stand Names Changed in the Localization?". Game Rant . Retrieved 13 November 2022. The vinyl replica mini-LP CDs have the usual high quality presentation complete with OBI strips (replicating original design), inner sleeve recreation, and booklet with Japanese notes and normally English lyrics. A second OBI-type strip actually wraps around the entire rear of the outer box and enthuses (in Japanese) about the benefits of SHM/SACD/DSD. Outer box contains lavish mini-LP CD On October 3, 1980, The Police delivered an album that Rolling Stone described as “near-perfect pop by a band that bends all the rules and sometimes makes musical mountains out of molehill-size ideas.” It was their third LP, Zenyatta Mondatta. The following performance dates are either disputed or of unknown date due to insufficient evidence. Murrells, Joseph (1985). Million selling records from the 1900s to the 1980s: an illustrated directory. Arco Pub. p.496. ISBN 0668064595. The album was an instant No 1 on both sides of the Atlantic, selling over 500,000 in Britain and over three million by March 1981 in the U.S.A.It was like this: you had to be punk or you couldn’t even think about getting a gig. You’d never get one, because the punk scene pretty much ruled everything in London. There was a sort of religious fervour about it, and it was a bad moment if you were offering something other than raw anguish, let’s say. It was like a great recession of music. It was horrifying.

Much greater success was around the corner. The follow-up to Zenyatta Mondatta, 1981’s Ghost In The Machine, went triple platinum in 2001. Their final studio set, 1983’s Synchronicity, broke all their previous records with a 17-week run at No.1 in America. It reached quadruple platinum status in 1984 and went eight-times platinum in 2001.Gold-/Platin-Datenbank (The Police; 'Zenyatta Mondatta ')" (in German). Bundesverband Musikindustrie . Retrieved 18 November 2020. Andy Summers' guitar comes in all jangly and scratchy on tunes like ‘‘Driven To Tears’’ and the surprisingly optimistic (for the Police) but fairly bland '’The World Is Running Down’’. The album is the last of the Police's early era, influenced by reggae and punk and featuring few musical elements on top of the core guitar, bass, and drums. I think Sting demonstrated that one to Stewart and I on acoustic guitar. Very simple stuff. When I got hold of it, I played things such as a G11 and an Am11 [chords] through chorus and echo. Then Stewart added his stuff and the song went to a whole other place. It’s also a classic example of a trio with three distinct parts working together to create a whole.

Caroli, Daniele (13 June 1981). "CBS-Dischi Distrib Center Bows; Wants Diversity Into New Lines And Midprice Disks" (PDF). Billboard. Vol.93, no.23. p.66 . Retrieved 11 December 2019– via World Radio History.A&M Records first remastered the album for release in compact disc format in the US in 1990. [17] Frank DeLuna and Marv Bornstein mastered the original 1980 vinyl LP, but it is unclear if they also remastered the CD. [17] This section needs more information. Include a brief summary of the tour, what it was in promotion of, etc. Tour personnel To be fair, A&M Records did see potential before The Police were set to record their second album, 1979’s Reggatta de Blanc. But they approached this opportunity by doing what record companies tended to do at the time, which was try to compel the musicians to record in a large, expensive studio with a big-name producer. The Police were having none of that. The whole thing is kind of miraculous, because we never thought: “How can we make a hit?” All we had to do was be The Police. When Sting showed you and Stewart his songs for Zenyatta, and you two added your own parts, did he ever say something like: “Hey, that wasn’t how I envisioned this song. Why are you messing with it?” No, no. He would get it immediately. He’d say: “Now it’s sounding like something.” Sutcliffe, Phil; Fielder, Hugh (1981). L'Historia Bandido. Proteus Books. p.79. ISBN 0-906071-66-6.

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