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"King of Pain" is a song by British rock band the Police, released as the second single from their fifth and final studio album Synchronicity (1983). Written by the band's lead singer and bassist Sting as a post-separation song from his wife, "King of Pain" conjures up symbols of pain and relates them to a man's soul.
The lyrics of "Tea in the Sahara" were inspired by the Paul Bowles book The Sheltering Sky. The first section of that book is called "Tea in the Sahara". In it, the character Port is told a story in which three sisters wait for a prince to join them for tea in the Sahara Desert, but the prince never returns. [1]
These were later released as B-sides on the "King of Pain" single release. The first single, " That I Would Be Good ", was moderately successful, and two other tracks, "King of Pain" (a cover of the song by The Police ) and " You Learn " were released as singles outside North America.
"Wrapped Around Your Finger" was released as the follow-up to the worldwide hit "Every Breath You Take." In Britain, it reached No. 7 on the UK Singles Chart in August 1983, [5] and in the US, it was instead released as the fourth single from Synchronicity (after "Every Breath You Take," "King of Pain," and "Synchronicity II").
King of Pain (因果応報, Ingaōhō) is the twenty-third studio album by Japanese heavy metal band Loudness. It was released on May 19, 2010 only in Japan and marks the full-length debut of drummer Masayuki Suzuki. Guitarist Akira Takasaki would later say King of Pain was focused on featuring Suzuki. [1] The album reached number 21 on the ...
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The name and much of the album's lyrics were inspired by Ward's sister Jen's battle with cancer. In fact, the band wrote much of the material in Ward's parents' house, particularly in Jen's room. Ward described the making of the album as "a healing process", and fortunately, as the band was finishing up, his sister had gone into remission. [6]
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."