Zenyatta Mondatta

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New Zealand album certifications – The Police – Zenyatta Mondatta". Recorded Music NZ . Retrieved 18 November 2020.

a b Welch, Chris (October 1980). "There's nobody between us and the Beatles now!". Musicians Only. Archived from the original on 15 February 2003 . Retrieved 18 November 2020. a b Hepworth, David (2–15 October 1980). "The Police: Zenyatta Mondatta". Smash Hits. Vol.2, no.20. p.29. We were like: “They want hits. What are they talking about? Almost everything we do is a hit” [laughs]. Once we started recording, the sessions were going well, but in the third week – in the heat of making the album – we were taken out of the studio for a week to do these stupid festivals.

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. Gold-/Platin-Datenbank (The Police; 'Zenyatta Mondatta ')" (in German). Bundesverband Musikindustrie . Retrieved 18 November 2020.

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. Top 100 Albums of 1981". RPM. Vol.35, no.22. 26 December 1981. Archived from the original on 7 June 2013 . Retrieved 8 May 2011. 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.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.” But you were also a band that produced a lot of hit songs. Did any commercial pop strategies enter into the making of Police records? Offiziellecharts.de – The Police – Zenyatta Mondatta" (in German). GfK Entertainment Charts. Retrieved 27 November 2020. 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. The 1980 Pazz & Jop Critics Poll". The Village Voice. 9 February 1981 . Retrieved 18 November 2020.

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. 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. 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. That was a big rhythm part. I remember it was sort of difficult to get down. I don’t actually listen to this stuff ever, by the way. Just so you know. I think people assume you sit around and listen to your old records all day long.

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The band’s first album, 1978’s Outlandos d’Amour, basically had a recording budget of near zero, which forced the band to grab cheap time at Surrey Sound whenever it was convenient for the studio. Incidentally, if you think I’ll automatically rubber-stamp any of these SHM-SACDs that is not the case. The sound of Tears For Fears‘ Songs From The Big Chair on SHM-SACD is actually quite disappointing – Shout in particular has virtually no bottom end and is really very thin. This perhaps suggests that a ‘flat transfer’ isn’t always the be-all and end-all. Sure. Of course. But the truth was, as a band we were so into recording the album. We were still riding that early rush of big success. We were ferociously playing all the time. Seven nights a week. We were completely together, super-tight and really into our thing. We weren’t messing about. We knew how to make any song sound like The Police. We had it down by Zenyatta, and we could make a great record really fast. We’d proven that before. A Distinct North American Market Cuts Its Own Gooves" (PDF). Billboard. 24 January 1981. p.C-5 . Retrieved 10 May 2021– via World Radio History.

Sutcliffe, Phil; Fielder, Hugh (1981). L'Historia Bandido. Proteus Books. p.79. ISBN 0-906071-66-6.The pop-culture mythology about Zenyatta Mondatta is that you, Sting and Stewart didn’t really love the album, even though it finally broke The Police big in America and gave you two Top 10 singles: Don’t Stand So Close To Me and De Do Do Do, De Da Da Da . Is this alleged dislike myth, or truth? Okamoto, Satoshi (2006). Album Chart Book: Complete Edition 1970–2005. Oricon. ISBN 978-4-87131-077-2. Ahmad, Suzail (23 February 2022). "JoJo: Why Are Stand Names Changed in the Localization?". Game Rant . Retrieved 13 November 2022. I said: “How about doing this, then?” And Sting said: “I’m not playing on that!” I actually believe he did bury the tape in the garden [laughs]. Stewart was actually up for working on it, so I just played the bass.