336:"We had this section for 'Synchronicity' which we referred to as The Loch. I went in and detuned my guitar synth to C sharp and it produced a great wash of sound, lovely. And there was an acoustic on top, a few cymbals and an oboe, really serene. We were going to have it at the end of 'Synchronicity I' — it was supposed to be the Loch Ness Monster — and then it would go into 'Synchronicity II'. But we couldn't really get it to work. Miles (Copeland) didn't like it... it was too psychedelic for him."
1130:
321:
is that 'Synch I' has Sting's cool sequencer part, that 'dunga dunga dung' thing that I, to this day, get all the credit for. People think it's me playing some percussive instrument, and I have to put them right. It was real 'rama-lama' way of starting our set on tour, though it almost killed me to start with that kind of onslaught every night."
320:
When asked how "Synchronicity I" is connected to "Synchronicity II," Stewart
Copeland said, "I've had Sting up against the wall on this issue before, and he point blank refuses to explain the connection. None of us in the band can even remember which one's which. The only way I can keep them straight
29:
373:
claimed, "Indeed listening to this opening track, 'Synchronicity I', it doesn't take much of a leap of imagination to foresee the Police as a fusion group." It was noted as "a trifle explaining the title concept " by
Richard C. Walls of
988:
356:
said, "'Synchronicity I' is as close as the Police have ever flirted with musical anarchy: nothing seems to fit as each musician drains himself with relentless pokes and punches that ultimately ends in a KO."
305:
in
Britain and the US, "Synchronicity I" was released as the second and final single from the album in Japan, backed with "Someone to Talk To," a non-album B-side which appeared as the B-side to "
1170:
1165:
812:
805:
773:
752:
393:, "the group relies heavily on jazzy textures for Sting's songs, which only work on the jumping, marimba-driven 'Synchronicity I.'" BigHans of
1099:
858:
1069:
907:
622:
229:
1092:
766:
745:
1113:
727:
441:
Orchestra produced an instrumental cover of the song. It was performed together with Sting on July 11, 1987, on the occasion of the
974:
879:
759:
702:
466:
254:
49:
1180:
967:
914:
886:
798:
499:
1085:
695:
935:
306:
1155:
1033:
872:
844:
837:
362:
893:
720:
615:
365:
described the song as "a revision of 'Message in a Bottle' dynamics to sweep aside the cobwebs of inactivity."
283:
1048:
382:
1064:
291:
1160:
1002:
928:
921:
211:
577:
1043:
674:
442:
287:
1175:
1133:
1074:
865:
608:
481:
1079:
1038:
780:
541:
314:
28:
1016:
688:
681:
105:
58:
516:
942:
652:
642:
425:
410:
325:
313:" in America. The song was also used as the opening track of the band's set-list during the
271:
259:
173:
94:
560:
1106:
995:
981:
830:
181:
657:
158:
130:
101:
36:
1149:
900:
366:
279:
115:
949:
647:
419:
414:
310:
192:
153:
125:
631:
249:
167:
40:
851:
438:
275:
111:
401:, listed the track as one of the "other recommendations" from the album.
386:
989:
When the World Is
Running Down, You Make the Best of What's Still Around
590:
446:
286:," "Spiritus Mundi" (translating to "spirit of the world"), which
604:
600:
270:"Synchronicity I", as well as its more famous counterpart "
389:
commented positively on "Synchronicity I," saying that on
262:, the track was also released as a Japanese-only single.
328:" were originally intended to be placed back-to-back on
397:, despite not naming the track an essential track from
332:, with a brief instrumental piece serving as a segue.
482:"Classic Tracks: The Police's 'Every Breath You Take'"
298:, "Synchronicity I" is driven by a synthesizer riff.
1057:
1026:
959:
822:
790:
737:
712:
666:
200:
179:
165:
152:
136:
124:
93:
76:
68:
56:
46:
35:
21:
294:, another of Jung's theories. Like other songs on
334:
301:Although it only served as an album track for
282:. Also included in the lyrics is a term from "
616:
324:According to Summers, "Synchronicity I" and "
8:
536:
534:
532:
530:
344:includes this piece under the title "Loch".
813:Every Move You Make: The Studio Recordings
623:
609:
601:
201:The Police Japanese singles chronology
27:
18:
806:Message in a Box: The Complete Recordings
252:, and the opening track from their album
1171:Song recordings produced by Hugh Padgham
274:", features lyrics that are inspired by
774:The Very Best of Sting & The Police
458:
45:
34:
7:
908:Every Little Thing She Does Is Magic
767:Every Breath You Take: The Classics
1100:¡Policia!: A Tribute to the Police
746:Every Breath You Take: The Singles
14:
1166:Songs written by Sting (musician)
1114:Juliana Hatfield Sings The Police
728:Certifiable: Live in Buenos Aires
340:The 2024 Super Deluxe box set of
1129:
1128:
498:Garbarini, Vic (Spring 2000).
480:Buskin, Richard (March 2004).
230:Don't Stand So Close to Me '86
118:, Quebec (overdubs and mixing)
1:
915:Spirits in the Material World
880:The Bed's Too Big Without You
1086:Strontium 90: Police Academy
500:"I think if we came back..."
413:– bass, vocals, keyboards,
381:In a retrospective review,
1197:
936:Wrapped Around Your Finger
887:Don't Stand So Close to Me
559:Erlewine, Stephen Thomas.
307:Wrapped Around Your Finger
1123:
1044:A Conspiracy of Hope Tour
1034:Ghost in the Machine Tour
638:
542:"'Synchronicity' reviews"
205:
26:
16:1983 single by The Police
894:De Do Do Do, De Da Da Da
1181:A&M Records singles
1093:Brimstone & Treacle
1049:The Police Reunion Tour
383:Stephen Thomas Erlewine
72:26 October 1983 (Japan)
845:Can't Stand Losing You
338:
292:collective unconscious
929:Every Breath You Take
290:used to refer to the
212:Every Breath You Take
696:Ghost in the Machine
443:Umbria Jazz Festival
288:William Butler Yeats
64:"Someone to Talk To"
866:Walking on the Moon
859:Message in a Bottle
753:Their Greatest Hits
517:"One Two Tightened"
422:– guitar, keyboards
359:New Musical Express
352:Robert Santelli of
1039:Synchronicity Tour
873:Bring On the Night
315:Synchronicity Tour
309:" in Britain and "
1143:
1142:
1017:Tea in the Sahara
975:Reggatta de Blanc
689:Zenyatta Mondatta
682:Reggatta de Blanc
675:Outlandos d'Amour
284:The Second Coming
242:
241:
238:
237:
106:Salem, Montserrat
22:"Synchronicity I"
1188:
1156:The Police songs
1132:
1131:
1058:Related articles
943:Synchronicity II
653:Stewart Copeland
625:
618:
611:
602:
595:
594:
587:
581:
575:
569:
568:
556:
550:
549:
538:
525:
524:
523:. December 1983.
513:
507:
496:
490:
489:
477:
471:
470:
463:
426:Stewart Copeland
326:Synchronicity II
272:Synchronicity II
207:
206:
184:
170:
148:
147:
143:
61:
31:
19:
1196:
1195:
1191:
1190:
1189:
1187:
1186:
1185:
1146:
1145:
1144:
1139:
1119:
1107:Everyone Stares
1053:
1022:
1010:Synchronicity I
996:Behind My Camel
982:Driven to Tears
955:
818:
786:
733:
708:
662:
634:
629:
599:
598:
589:
588:
584:
580:, Sputnikmusic.
576:
572:
561:"Synchronicity"
558:
557:
553:
540:
539:
528:
521:One Two Testing
515:
514:
510:
497:
493:
479:
478:
474:
465:
464:
460:
455:
435:
407:
350:
268:
248:" is a song by
246:Synchronicity I
233:
224:
221:Synchronicity I
215:
180:
166:
145:
141:
140:
89:
57:
47:from the album
17:
12:
11:
5:
1194:
1192:
1184:
1183:
1178:
1173:
1168:
1163:
1158:
1148:
1147:
1141:
1140:
1138:
1137:
1124:
1121:
1120:
1118:
1117:
1110:
1103:
1096:
1089:
1082:
1080:Miles Copeland
1077:
1072:
1067:
1061:
1059:
1055:
1054:
1052:
1051:
1046:
1041:
1036:
1030:
1028:
1024:
1023:
1021:
1020:
1013:
1006:
1003:Demolition Man
999:
992:
985:
978:
971:
963:
961:
957:
956:
954:
953:
946:
939:
932:
925:
922:Secret Journey
918:
911:
904:
897:
890:
883:
876:
869:
862:
855:
848:
841:
834:
826:
824:
820:
819:
817:
816:
809:
802:
794:
792:
788:
787:
785:
784:
777:
770:
763:
756:
749:
741:
739:
735:
734:
732:
731:
724:
716:
714:
710:
709:
707:
706:
699:
692:
685:
678:
670:
668:
664:
663:
661:
660:
658:Henry Padovani
655:
650:
645:
639:
636:
635:
630:
628:
627:
620:
613:
605:
597:
596:
582:
570:
551:
526:
508:
491:
486:Sound on Sound
472:
457:
456:
454:
451:
434:
433:Cover versions
431:
430:
429:
423:
417:
406:
403:
354:Relix Magazine
349:
346:
267:
264:
240:
239:
236:
235:
226:
217:
203:
202:
198:
197:
196:
195:
190:
185:
177:
176:
171:
163:
162:
156:
150:
149:
138:
134:
133:
128:
122:
121:
120:
119:
109:
108:(basic tracks)
97:
91:
90:
88:
87:
84:
80:
78:
74:
73:
70:
66:
65:
62:
54:
53:
44:
43:
33:
32:
24:
23:
15:
13:
10:
9:
6:
4:
3:
2:
1193:
1182:
1179:
1177:
1174:
1172:
1169:
1167:
1164:
1162:
1159:
1157:
1154:
1153:
1151:
1136:
1135:
1126:
1125:
1122:
1116:
1115:
1111:
1109:
1108:
1104:
1102:
1101:
1097:
1095:
1094:
1090:
1088:
1087:
1083:
1081:
1078:
1076:
1073:
1071:
1068:
1066:
1063:
1062:
1060:
1056:
1050:
1047:
1045:
1042:
1040:
1037:
1035:
1032:
1031:
1029:
1025:
1018:
1014:
1011:
1007:
1004:
1000:
997:
993:
990:
986:
983:
979:
976:
972:
969:
965:
964:
962:
958:
951:
947:
944:
940:
937:
933:
930:
926:
923:
919:
916:
912:
909:
905:
902:
901:Invisible Sun
898:
895:
891:
888:
884:
881:
877:
874:
870:
867:
863:
860:
856:
853:
849:
846:
842:
839:
835:
832:
828:
827:
825:
821:
815:
814:
810:
808:
807:
803:
801:
800:
796:
795:
793:
789:
783:
782:
778:
776:
775:
771:
769:
768:
764:
762:
761:
760:Greatest Hits
757:
755:
754:
750:
748:
747:
743:
742:
740:
736:
730:
729:
725:
723:
722:
718:
717:
715:
711:
705:
704:
703:Synchronicity
700:
698:
697:
693:
691:
690:
686:
684:
683:
679:
677:
676:
672:
671:
669:
667:Studio albums
665:
659:
656:
654:
651:
649:
646:
644:
641:
640:
637:
633:
626:
621:
619:
614:
612:
607:
606:
603:
592:
586:
583:
579:
574:
571:
566:
562:
555:
552:
547:
546:thepolice.com
543:
537:
535:
533:
531:
527:
522:
518:
512:
509:
505:
501:
495:
492:
487:
483:
476:
473:
468:
462:
459:
452:
450:
448:
444:
440:
432:
427:
424:
421:
418:
416:
412:
409:
408:
404:
402:
400:
399:Synchronicity
396:
395:Sputnik Music
392:
391:Synchronicity
388:
384:
379:
377:
372:
368:
367:Adam Sweeting
364:
360:
355:
347:
345:
343:
342:Synchronicity
337:
333:
331:
330:Synchronicity
327:
322:
318:
316:
312:
308:
304:
303:Synchronicity
299:
297:
296:Synchronicity
293:
289:
285:
281:
280:synchronicity
278:'s theory of
277:
273:
265:
263:
261:
258:. Written by
257:
256:
255:Synchronicity
251:
247:
231:
227:
222:
218:
213:
209:
208:
204:
199:
194:
191:
188:
187:
186:
183:
178:
175:
172:
169:
168:Songwriter(s)
164:
160:
157:
155:
151:
139:
135:
132:
129:
127:
123:
117:
116:Morin-Heights
113:
110:
107:
103:
100:
99:
98:
96:
92:
85:
82:
81:
79:
75:
71:
67:
63:
60:
55:
52:
51:
50:Synchronicity
42:
38:
30:
25:
20:
1161:1983 singles
1127:
1112:
1105:
1098:
1091:
1084:
1075:Strontium 90
1009:
950:King of Pain
811:
804:
797:
779:
772:
765:
758:
751:
744:
738:Compilations
726:
719:
701:
694:
687:
680:
673:
648:Andy Summers
585:
578:Album Review
573:
564:
554:
545:
520:
511:
503:
494:
485:
475:
467:"Promo disc"
461:
436:
420:Andy Summers
415:drum machine
398:
394:
390:
380:
375:
371:Melody Maker
370:
363:Richard Cook
358:
353:
351:
341:
339:
335:
329:
323:
319:
311:King of Pain
302:
300:
295:
269:
253:
245:
243:
220:
193:Hugh Padgham
86:January 1983
48:
1065:Discography
968:Next to You
960:Other songs
713:Live albums
182:Producer(s)
1176:1983 songs
1150:Categories
781:The Police
632:The Police
453:References
266:Background
250:the Police
189:The Police
41:The Police
852:So Lonely
439:Gil Evans
405:Personnel
348:Reception
276:Carl Jung
161:(AMP-784)
112:Le Studio
83:Late 1982
1134:Category
831:Fall Out
799:Six Pack
791:Box sets
565:allmusic
504:Revolver
387:AllMusic
131:New wave
77:Recorded
69:Released
838:Roxanne
823:Singles
591:"Sting"
447:Perugia
428:– drums
361:writer
234:(1986)
225:(1983)
216:(1983)
159:A&M
137:Length
95:Studio
59:B-side
37:Single
1070:Songs
1027:Tours
721:Live!
643:Sting
411:Sting
376:Creem
260:Sting
174:Sting
154:Label
126:Genre
437:The
445:in
385:of
369:of
102:AIR
39:by
1152::
563:.
544:.
529:^
519:.
502:,
484:.
449:.
378:.
317:.
232:"
223:"
214:"
146:23
114:,
104:,
1019:"
1015:"
1012:"
1008:"
1005:"
1001:"
998:"
994:"
991:"
987:"
984:"
980:"
977:"
973:"
970:"
966:"
952:"
948:"
945:"
941:"
938:"
934:"
931:"
927:"
924:"
920:"
917:"
913:"
910:"
906:"
903:"
899:"
896:"
892:"
889:"
885:"
882:"
878:"
875:"
871:"
868:"
864:"
861:"
857:"
854:"
850:"
847:"
843:"
840:"
836:"
833:"
829:"
624:e
617:t
610:v
593:.
567:.
548:.
506:.
488:.
469:.
244:"
228:"
219:"
210:"
144::
142:3
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
