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Zenyatta Mondatta (stylised as Zenyattà Mondatta on the album cover artwork) is the third studio album by British rock band the Police, released on 3 October 1980 by A&M Records. It was co-produced by the band and Nigel Gray. Zenyatta Mondatta reached number one on the UK Albums Chart and number five on the US Billboard 200.
"Don't Stand So Close to Me" is a hit song by the British rock band the Police, released in September 1980 as the lead single from their third studio album Zenyatta Mondatta. It concerns a teacher who has a sexual relationship with a student, which in turn is discovered.
The bleached-blond hair that became a band trademark happened by accident. In February 1978, the band, desperate for money, were asked to do a commercial for Wrigley's Spearmint chewing gum (directed by Tony Scott ) on the condition they dye their hair blond in order to play a punk band (blond being associated with punk at the time). [ 26 ]
Nigel Gray (1947 – 30 July 2016) [1] was an English record producer.His album credits include Outlandos d'Amour (1978), Reggatta de Blanc (1979), and Zenyatta Mondatta (1980) for the Police, [2] Kaleidoscope (1980) and Juju (1981) for Siouxsie and the Banshees, as well as five albums for Godley & Creme.
Zenyatta (foaled April 1, 2004) is a champion American Thoroughbred racehorse who won the Breeders' Cup Classic and Breeders' Cup Distaff and 19 of her 20 starts. She was the 2010 American Horse of the Year, and Champion Older Female in 2008, 2009 and 2010.
The album's title was inspired by Arthur Koestler's book The Roots of Coincidence.Frontman Sting was an avid reader of Koestler, and also titled the Police's prior studio album Ghost in the Machine (1981) after one of his works.
Walter Triplett Jr. is a former bouncer convicted of killing Michael Corrado during a bar fight in 2009. He grew up in Cleveland with his twin sister, Waltonya Triplett, and their two older siblings.
The song is in the key of A minor. [8] It incorporates a powerful eight bar guitar solo by Police guitarist Andy Summers, one of his few solos on Zenyatta Mondatta. [2] [9] Author Erica Starr has described Stewart Copeland's drum playing on the song as "jerky" and "syncopated" but that the beats "float around with great ease," noting that the song has "tremendous energy and forward momentum."