THE POLICE Ghost In The Machine 180g Half-Speed Mastered Limited Edition (NM)

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THE POLICE Ghost In The Machine A&M Records ARHSLP005 180 gram Half-Speed Mastered Ltd. Ed. Import
Tracklist

• Record Company – Universal Music Catalogue
• Copyright (c) – A&M Records Ltd.
• Recorded At – AIR Studios, Montserrat
• Recorded At – Le Studio
• Lacquer Cut At – Abbey Road Studios
• Pressed By – Optimal Media GmbH 

• Art Direction – Jeffrey Kent Ayeroff
• Design [Album Design], Art Direction, Artwork [Art] – Mick Haggerty
• Lacquer Cut By – MILES*
• Producer – The Police
• Producer, Engineer – Hugh Padgham
• Written-By – Sting (tracks: A1 to B1, B3, B5)

Notes

Recorded at AIR Studios, Montserrat (A2) Recorded at Le Studio, Quebec Issued with a picture inner sleeve. ? 1981 A&M Records Ltd. © 1981 A&M Records Ltd.

Barcode: 6 02547 55174 0

Matrix / Runout (Side 1 runout etched): BF12240-01 A2 MILES ABBEY ROAD ½ SPEED

Matrix / Runout (Side 2 runout etched): BF12240-01 B1 MILES ABBEY ROAD ½ SPEED

180g Vinyl LP! Half-Speed Mastered by Miles Showell at Abbey Road Studios!

Includes "Every Little Thing She Does Is Magic!"

Rolling Stone 500 Greatest Albums of All Time - Rated 323/500!

      Ghost in the Machine, released in October 1981, is the fourth studio album by The Police and the first to feature a title in English, which was of course provided by Arthur Koestler's The Ghost in the Machine, the book that inspired much of the material. The songs were recorded between January and September in 1981, in sessions that took place at Air Studios, in Montserrat, and Le Studio, in Quebec, and were co-produced by Hugh Padgham.

     The album reached number one in the UK Albums Chart and number two in the US Billboard 200, spawning three successful singles: Every Little Thing She Does Is Magic, Invisible Sun, and Spirits in the Material World. In the US, however, the song Secret Journey was released as an alternative single to Invisible Sun.

     As the band was unable to agree on a picture for the sleeve, cover art for Ghost in the Machine features three red pictographs, digital likenesses of the band members in the style of segmented LED displays, each with a distinctive hair style (from left to right, Andy Summers, Sting with spiky hair, and Stewart Copeland with a fringe).

     Number one in six countries and top 6 in five others, sonically (in hindsight) it formed a bridge between their more direct early work and their more ambitious latter direction. In 2000 Q magazine placed Ghost in the Machine at No. 76 in its list of the 100 Greatest British Albums Ever. More recently Pitchfork Media ranked it No. 86 in their list of the 100 Greatest Albums of the 1980s. The album's cover was ranked at number 45 on VH1's 50 Greatest Album Covers.

     This record was cut using a special technique known as half-speed mastering. This artisan process results in cuts that have superior high frequency response (treble) and very solid and stable stereo images. In short, a very high quality master that helps to create a very high quality record.

Features:
• 180g Vinyl
• Half-Speed Mastered by Miles Showell at Abbey Road Studios

AllMusic Review by Greg Prato

     For their fourth album, 1981's Ghost in the Machine, the Police had streamlined their sound to focus more on their pop side and less on their trademark reggae-rock. Their jazz influence had become more prominent, as evidenced by the appearance of saxophones on several tracks. The production has more of a contemporary '80s sound to it (courtesy of Hugh Padgham, who took over for Nigel Gray), and Sting proved once and for all to be a master of the pop songwriting format. The album spawned several hits, such as the energetic "Spirits in the Material World" (notice how the central rhythms are played by synthesizer instead of guitar to mask the reggae connection) and a tribute to those living amid the turmoil and violence in Northern Ireland circa the early '80s, "Invisible Sun." But the best and most renowned of the bunch is undoubtedly the blissful "Every Little Thing She Does Is Magic," which topped the U.K. singles chart and nearly did the same in the U.S. (number three). Unlike the other Police releases, not all of the tracks are stellar ("Hungry for You," "Omegaman"), but the vicious jazz-rocker "Demolition Man," the barely containable "Rehumanize Yourself," and a pair of album-closing ballads ("Secret Journey," "Darkness") proved otherwise. While it was not a pop masterpiece, Ghost in the Machine did serve as an important stepping stone between their more direct early work and their more ambitious latter direction, resulting in the trio's exceptional blockbuster final album, 1983's Synchronicity.