The Police began to break out of a rut, somewhat, on Ghost In The Machine. For one thing, it had a pronounceable title that wasn’t remotely gibberish. The cover itself was a stark subtle portrait of the band in LED—apparently Sting is the poofy digit in the middle, and the advent of MTV helped perpetuate the idea that his ego was in charge.
But while he may have been running the show, that wasn’t successful for the whole album. Many of the songs are nothing more than one-chord jams based around saxophone riffs. Apparently he’d just taught himself the instrument, so he toots incessantly, all over the album.
Synthesizers play a big role as well, starting with the jumpy “Spirits In The Material World”. “Every Little Thing She Does Is Magic” was a huge hit, and it’s still an incredibly happy song with just a hint of Caribbean influence. “Invisible Sun” meanders against its meter, but at least we finally hear a guitar. “Hungry For You” has a French subtitle, which is fitting since the song is yelled in that language. “Demolition Man” is a loud jam that was probably more fun to play than it is to listen to, even for six minutes.
Side two starts with another jam, and “Too Much Information” is fittingly crammed with too many saxophones. The same could be said for “Rehumanize Yourself”, but at least the lyrics are clever. “One World (Not Three)” beats the same idea into the ground over a reggae beat. By the time “Ωmegaman” (written by Andy Summers) arrives halfway though the side we’re aching to hear an actual song, with dynamics and everything, and it delivers. “Secret Journey” is something of a throwback to Zenyatta Mondatta, being prefaced by a full minute of guitar synthesizer. Stewart Copeland’s melancholy “Darkness” still manages to keep the album from ending dull.
Outside of “Every Little Thing She Does Is Magic”, the best songs on the album are the two Sting didn’t write. Taken as a whole, Ghost In The Machine is fairly boring, but that didn’t keep it from becoming a huge hit. Perhaps the tropical climate of the sessions permeated the cold exterior of the album for the majority of consumers.
The Police Ghost In The Machine (1981)—2½
Hmm, I agree with your comments but I still love this album, I guess for nostalgic reasons. It was 20 years later that I found out those were portraits in alarm clock lines.
ReplyDeleteI agree with you. Overrated. Some good moment but a pretty think album in general. I love Rehumanize Yourself , and the two closing songs. Probably my least favourite Police album all in all.
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