Retro Reviews: The Police: Outlandos D Amour

         I decided to launch a new series to imagine myself as a critic at the end of the 70s and start of the 80s, and to rectify certain reviews from Rolling Stone magazine and Creem. This not meant to be contrarian, but to offer a more balanced perspective. All the albums reviewed are indeed classic albums. 

The Police – Outlandos D’ Amour (1978)

****

Producer: The Police

Musicians: Sting, Andy Summers, Stewart Copeland

Songs: Next To You, So Lonely, Roxanne, Hole In My Life, Peanuts, Can’t Stand Losing You, Truth Hits Everybody, Born In The 50s, Be My Girl – Sally, Masoko Tanga

Reviewed By Matthew Anthony Allair

    The Police is a new band, comprised of one American and two British citizens, and although they are a trio, they build up a powerful sound. While the band uses some of the trappings of the Punk movement, they really qualify as part of the New Wave movement that has been developing. The bassist, and vocal front man Sting, is also the main song writer, and his work has an incisive quality to the song craft. Guitarist Andy Summers doesn’t follow the format of most guitarists, but seems to throw in more open jazz voicings on occasion. There’s also an expansive element to  his guitar leads that may be outside of what most people are accustomed to hearing. Stewart Copeland may be one of the more exciting drummers I have heard, one needs to note the accents of Reggae are an important component of the band.

    That directness and unpretentiousness is in full display with the opening track “Next To You”, Stewart’s drums gallop, and Sting pines, while Andy offers a blistering slide guitar lead. The proceedings are brought down are brought down “So Lonely”, a light Reggae number with a jilted lover who manipulates his ex-beau, while Andy offers a slow burn of a solo, there’s even a trace of random harmonica. “Roxanne” is the strongest number, a meditative number about a street walker and a mine who pines for her. Its stripped-down nature makes it even more compelling.  “Hole In My Life” opens with a couple of jazz chords, while Stewart drives with interesting patterns. The bridge has a lifting quality; there’s a piano that accents various points, and Sting stretches out his bass work in the final half. “Peanuts” may be one of the better closers for a first side, Andy’s solo manages to be manic. There’s an uncredited brief saxophone that channels Ornette Coleman.

    The side two opener “Can’t Stand Losing You” is another upper tempo reggae number, but the lyrics are some of the darker pieces as it is full of self-pity. There’s even a trace of organ in the mix, this will probably one another single. “Truth Hits Everybody” manages to be rather vibrant. “Born In The 50s” seems to be a mission statement for the generation from that decade, but one has to wonder if this a satire, it seems to see through a veneer beyond the surface – then again it might be very sincere. “Be My Girl – Sally” opens strong and ends up a bizarre satire from Andy. The closer, “Masoko Tanga” is the most globally influenced with some good interplay with the band, a trace of backwards piano, thus it brings the album home with an interesting close. 

    While the half flags a little with the quality, this is a uniformly strong debut, and I look forward, with interest, to what they do next.