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. Firstly, Summers, Sting and Copeland had to get out of town. The comfort of recording once again at Surrey Sound, their home base for Outlandos d’Amour and Reggatta de Blanc, was denied because they could not work at a studio in England for tax reasons. Instead they became tax exiles at Wisseloord Studios in the Netherlands. 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.” a b c d Kent, David (1993). Australian Chart Book 1970–1992 (illustrateded.). St Ives, N.S.W.: Australian Chart Book. pp.235–236, 432–433. ISBN 0-646-11917-6.

Offiziellecharts.de – The Police – Zenyatta Mondatta" (in German). GfK Entertainment Charts. Retrieved 27 November 2020. You’ve said that Zenyatta Mondatta was a critically important album, and then these time and travel impediments dropped into your lap. Did those pressures affect everyone’s temperament and creativity, or did you take it in stride and get to work? Top Selling Albums of 1981 — The Official New Zealand Music Chart". Recorded Music New Zealand . Retrieved 1 February 2022. Re-issued on elpee, cassette and compact disc in the US (A&M, SP/CS/CD-3720) with picture innersleeve.Whitburn, Joel (1985). The Billboard Book of Top Pop Albums 1955–1985. Record Research Inc. pp.290, 493. ISBN 0898200547. DeRosa, Ed (8 February 2011). "Driven To Tears suggested as name for Bernardini–Zenyatta foal". Thoroughbred Times. Archived from the original on 16 June 2012 . Retrieved 18 November 2020. Vivinetto, Gina (20 April 2003). "Living in the '80s; or when did we get this old?". Tampa Bay Times . Retrieved 30 November 2021. Zenyatta Mondatta was a worldwide hit, landing near the top of nearly a dozen national charts. More importantly, it launched The Police into the furious second half of their career which saw even more success in the near future.

As American fans continued to catch up with the band’s catalog to that point, the Police’s first two albums would go on to their own, eventual, sales recognition. Outlandos D’Amour won platinum certification in the summer of 1984, more than five years after its chart debut. Outlandos D’Amour had to wait much longer, charting for the first time also in 1979 and turning platinum early in 2002. Gold-/Platin-Datenbank (The Police; 'Zenyatta Mondatta ')" (in German). Bundesverband Musikindustrie . Retrieved 18 November 2020. 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.

Credits (24)

The 1980 Pazz & Jop Critics Poll". The Village Voice. 9 February 1981 . Retrieved 18 November 2020. There’s a strong political message in the lyrics that has held up through the years, and it’s a fun song to play. Formed in 1976 as a budding punk band, the Police members experimented with elements of reggae and jazz. Copeland’s brother and record executive Miles Copeland III agreed to finance The Police’s first album, Outlandos d’Amour in 1978, which was driven by the international hit “Roxanne”, and brought the group to the US for the first time. In October 1979, the group released their second album, Reggatta de Blanc, which topped the UK albums chart and spawned more hit singles. Stewart Copeland, Sting, Andy Summers. Produced by The Police and Nigel Gray; engineered by Nigel Gray. The Pictures 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.