. . .
It’s weird to call the next-to-last album by an artist a “transition album,” but that’s certainly how Ghost in the Machine was perceived at the time: an expansion of basic sound of the Police that set the stage for whatever came next.
And at first, I was a bit leery of all of those horns and keyboards that were slathered upon all of the songs — after all, what made them interesting if not great, was the interplay between Sting’s bass, Stewart Copeland’s drums and Andy Summer’s guitar. And while all of that still existed, it was now buried beneath layers of keyboards. And weirdly enough, to me, at least, it actually narrowed down their sound a bit by removing all of the space that existed.