The Police File: Part 1

Since The Police are currently on tour somewhere, cashing in on a wave of nostalgia, and since Andy Summers announced a film of his autobiography (see below), and since Sting was recently named one of the worst songwriters in rock music (more on that later), niccomm has asked me to do this retrospective of the band's music. So here we go.
What can we say about the Police.... three superb musicians, check; three strong personalities, check; three monster egos, double check.
Most everyone knows the story of the band, but if you don’t here's a quick Cliff's Notes version.
Stewart Copeland, drummer for hippie art band Curved Air, sees the exploding punk scene and wants a piece of it. He finds a bass player/singer who goes by the name Sting in a jazz band. They recruit a French guitarist named Henry Padovani who plays with them for a while, but is eventually edged out by the addition of seasoned axe man Andy Summers. The Police are born.
How much of the early Police sound is attributable to Copeland? Quite a lot if you consider what he was up to at the same time the band was forming. While putting together The Police, Copeland was also recording under the name Klark Kent as a one-man band. The music is quite clever, and gained a modest following. But listen to "Don't Care," and "Grandelinquent" and you'll hear early Police.

Listen to Don't Care
Listen to Grandelinquent

Copeland says that A&M Records signed The Police to get Klark Kent. True? Could be. Or it could be his ego talking. If true, that agent had some mixed up priorities. Klark Kent was a vanity project and could never perform live, but The Police were beginning to get some notice. It wasn't long before The Police gained a following in Britain as a live band and was creating a unique sound that would influence music for years to come.
Anyway, on to the music.

Outlandos d'Amour -- 1978
With this album, The Police tried valiantly to capture the essence of punk music. The problem? They were quickly revealed as pseudo punks—seasoned musicians riding the wave of a hot trend, rather than the raw talent evidenced by bands like The Clash or even the Sex Pistols. This first collection of tracks notably does not include "Fall Out," a speed-punkish song that is pure Copeland. It was one of the very first songs the band rehearsed and became their first single release. But it wasn't long before everyone realized whom the real songwriting talent belonged to.
The album opens with "Next to You," a burning rocker that starts at race speed and never lets up. The song became a standard in the band's live set throughout its career. The real key to the Police sound began with the next song, "So Lonely." It's a mix of rock (let's not call it punk) and reggae that became the cornerstone of The Police sound. Perfect for the band's instrumentation--particularly Copeland's unique drum style--and Sting's voice. Sting has said Bob Marley’s “No Woman, No Cry”, influenced the song I consider "Can't Stand Losing you" also from this album to be like a companion song to "So Lonely"--both of them switch between rock and Carribean/latin rhythms. The middle section of "Can't Stand Losing You," sort of a spacey solo by Andy Summers, became the foundation of "Reggatta de Blanc” from the second album. Next up is arguably the band's most famous song, "Roxanne." Originally written with a different feel to it, Copeland introduced the tango rhythm to the song that took it to a new level, and Sting's plaintive wail about a prostitute was a bit of rock poetry that would be recalled in later songs by artists from George Michael to the Arctic Monkeys.
Unfortunately, the rest of the album is pretty forgettable. "Hole In My Life" and "Truth Hits Everybody" were good energetic live songs, but for some reason they flop as studio recordings. “Born In The 50s” and "Be My Girl/Sally"--although it features a pretty funny poem by Andy Summers--are best ignored after the first listen.

Listen to Can't Stand Losing You
Listen to Roxanne

Reggatta de Blanc --1979
I've always counted this as one of the albums I'd want to take with me on a desert island (assuming I'd have a way to play it, that is). It's a true classic, and solidifies the sound that defined The Police. The story is that the band hadn't rehearsed these songs before going into the studio. If true, that means that the recording captures a rare moment when a band breaks through to a different level. Nearly every song is gold, and it showcased a three-piece collaborative band that had locked into each other musically and psychically. Could this have been The Police at their prime? Maybe. The songs float along on solid grooves that take on their own lives, giving each member--particularly Copeland and Andy Summers--the chance to explore different sounds. "The Bed's Too Big Without You' and "Bring On The Night" (a song about the execution of Gary Gilmore) are perfect examples, two exhilarating stand out tracks that push the envelope, threatening to fall apart at any time but always hanging together.
"Walking On The Moon" and "Message In A Bottle" build on the reggae-tinged sound begun on the first album, but which had now reached a sophistication and maturity that made it unmistakably "The Police Sound." But the band was still true to its roots as evidenced by "It's Alright For You" and "No Time This Time," two pure rockers, with no pretense of punk (the band had long been exposed as too old and too talented to be considered as true punks).
At least for this brief shining moment immortalized on vinyl in 1979, The Police were the best band in the world.
They'd have a lot to prove with their next album... (Stay tuned for Part 2)

Listen to It's Alright For You
Listen to Walking on the Moon

Andy Summers, We're Ready For Your Closeup

Police guitarist Andy Summers is turning his autobiography "One Train Later" into a feature documentary, which will boast 25,000 photos from his collection as well as footage from the band's reunion tour.
I didn't even know Andy Summers had written an autobiography. (Note to self: get this book) This is good news for a couple reasons. First, in a trio in which two members' egos seemed to be in a continual battle to the death, Summers was the anchor. In the annals of guitardom, he is often overlooked by those who are more impressed by the speed/techno wizards. This is unfortunate because Summers is an amazing player. He is, as they say, "a guitarist's guitarist," playing what needs to be played when it needs to be played. The Police created an amazingly layered and complex sound for a trio, and much of the credit for that goes to Summers.
Second, Summers has played a bigger part in rock music history than many people realize, having performed with influential 70s bands like Zoot Money's Big Roll Band, and Eric Burdon and the New Animals, and he was in the running to replace Mick Taylor in the Rolling Stones (a job which, of course, ultimately went to Ron Wood). Summers was also part of the band that played on Mike Oldfield's creepy classic "Tubular Bells" (the theme from The Exorcist).
It should be interesting to see this history of his life and get an inside glimpse of one of the world's biggest bands, to see what went on offstage when the spotlight wasn't on Sting. Stewart Copeland's film Everyone Stares gave us a hint of that, but the home movie quality and shaky camera work made much of the film difficult to watch more than once. To be fair, they were Copeland's personal films and not intended for feature presentation. But the news that Summers will be releasing this film gives hope that this time they'll get it right.

What Really Happened To Marie Osmond

This video explains it all. Kind of the Dancing With The Stars Zapruder film.
I don't know what's funnier--the video itself (which is okay but not hilarious), or the comments on the page whose level of intelligence make me fear for the future.

For example...

AirForce11 says:
FAKE:
starfighters arent real, if they where i dought they would b able to fly inside and her face would have holes in it if the laser hit her there!

and

willforbes0 says:
FAKE:
this was so obviously fake. the star wars fighter was superimposed into the video.

Gee, ya think?
Idiots.

Monday Mashup: Pat n' Peg

This is a classic 1998 track from Osymyso. Pat and Peg, for anyone who doesn’t know, are two characters from the long running Brit soap/drama Eastenders. They are at various times involved with the same men (like in other soaps… what is it with these people? The female to male ratio in soap towns must be 20:1 judging by the way they all fight over the same guys). This mashup is built around a climactic fight between Peg (You Bitch) and Pat (You Cow), and tags on dialog from Frank and Roy as well. Listen to the way Osymyso works in the Eastenders theme music and plays off the natural rhythms of the characters’ voices. I guess it would be considered a “golden oldie” as far as mashups go, but it still holds its own against new stuff. The man is a genius.

Listen to Pat n’ Peg.

Rock n' Roll Ghost Stories

Since Halloween is just around the corner, New Times has a story about some of the strange and spooky things that have happened to rockers over the years.
The story only has three examples, by James Valentine of Maroon 5, Steve Bays of Hot Hot Heat, and an Alice Cooper-Joe Perry twofer. The problem is that these aren't very scary ghost stories. Although I'm sure the artists are quite sincere in their beliefs, as you read the stories, other more logical explanations for the spookiness automatically come to mind. Alice Cooper no doubt believes that the noisy old house he and Perry stayed in--both fresh from rehab--had a ghost. But he doesn't seem to question why the house in which Amityville Horror was written (not the house in which the story allegedly took place) should itself be haunted. That's "haunting by association."
Come on rock stars, you must have better ghost stories than these.

Lance Bass Comes Out... Again

Lance Bass, proving that once is never enough when it can boost a sagging career, tells of how horrible it was to live in terror of being found out as a gay man when he was a member of 'NSYNC. Bass, who came out last year, gave us that insight in an interview promoting his new book, Out of Sync: A Memoir, released today.
Now, I really couldn't care less if Bass was straight, gay, or Martian, and if he's happy, I'm happy. But I found it funny that the article ended with this quote: "People have said for so long that you can't be successful in this industry and be out and gay," Bass said. I guess he's never watched Bravo.
It sounds like something Daffyd Thomas would say. As fans of Little Britain know, Daffyd is "the only gay in the village"--or at least he thinks he is. Here's a clip of Matt Lucas (Daffyd) and David Walliams talking about Daffyd, "the homosexualist." Lance should take a look.

Fire? What fire? Marie Osmond Fainted!

If you were watching ABC's Dancing With The Stars show last night, you saw Marie Osmond faint after her routine. That is, you saw it if you didn't blink at the wrong moment, because that's all it took. First she was standing there listening to the judges, then she went down (accompanied by some laughter from the audience who must have thought it was a gag). The host cut to a commercial. After the break it turned out she was fine, the show went on and everyone lived happily ever after.
But today, I'm in a Seattle hotel room trying to see what's happening with the wildfires in California (I have friends that live in the danger area) and I'm switching between CNN Headline News and Faux News. And what do I see? Marie Osmond fainting, over and over again. I've seen the story repeated no fewer than 18 times between the two channels since I got up this morning.
Now, obviously, the news networks are making the most of it because it was caught on tape (remember Janet Jackson's wardrobe malfunction?), but is it necessary to show it so many times? No disrespect to Marie Osmond--I hope hope she's OK and all that--but it really wasn't that big a deal. And with the fires, floods in New Orleans (again), tornadoes in Alabama, and the never-ending war, you'd think there would be other things to fill the hourly news cycle.
Still, the best teaser award for the story goes to CNN Headline News for this gem: "Marie Osmond took to the floor in more ways than one last night as she danced the Samba. We'll show you what happened to give everyone a scare after this break."