The Big Four: The Police

The Big Four: The Police

Article by Matthew Anthony Allair

    The three piece British and American band The Police became one of the most important new acts to arrive at the tail end of the UK Punk explosion, they had a massive influence on the eighties alternative music scene, which featured a hybrid of Reggae, world music, and jazz sophistication, all three members had prior jazz, fusion or pop backgrounds and were able to capitalize on a shifting British music scene. Composed of bassist, singer Sting, guitarist Andy Summers, and drummer Stewart Copeland, they had the benefit of Stewart’s brother Miles having management experience and being the cofounder of IRS records in 1979, yet nepotism wouldn’t have saved them if they didn’t have the musical talent to prove what they could do. The success of The Police helped Miles Copeland to convince A&M Records Jerry Moss to finance that record label. 

    Miles wasn’t initially involved with the formation of The Police, Stewart was the drive that formed the band, a man who played and recorded with Curved Air, Stewart found Sting in a local jazz band. They initially recruited Henry Padovani on guitar, they even released their first single “Fall Out” on the independent label Illegal Records – another Miles Copeland venture – but it did nothing. Several side projects lead to Stewart and Sting meeting veteran Andy Summers, there was undeniable chemistry between the three of them and Henry was soon dropped from the band Through Sting’s writing the band evolved quickly, Copeland initially had written songs to get the project started, but most were quickly replaced with Sting’s songs. That first album, Outlandos ‘D Amour felt like the biproduct of their club days, in spite of having three durable singles, “Roxanne, So Lonely” and “Can’t Stand Losing You”, if feels a little self-conscious with the Punk efforts, while it’s an outstanding album, the band would expand shortly into material suited for larger venues, and that would define the New Wave sound. The first album was produced by the band, but Engineer Nigel Gray would become a key player shortly. 

Reggatta De Blanc

    The second album, produced by Nigel Gray, was a real evolution for the trio. Sting’s writing had already come into fruition, Copeland wrote three songs, Stweart co wrote another with Sting, and the three of them co-wrote two songs, but Sting was the primary lyric writer. The band’s Reggae influences were a means to an end, they weren’t really a Reggae band, in the same way they weren’t really a punk band. The title translated into ‘White Reggae’. But the hybrid aspect that always elevated the band was the jazz structure influence, Andy and Sting had a deep understanding of the jazz idiom, it allowed a more ambient feel for the tracks that featured Andy’s echo delay effects, or Stewart’s echo delay effects on various tracks. While the band focused on relationship songs, Sting was starting to look outside of himself. Copeland’s drumming style used world music influences he would accent on different patterns - and not just depend on 4/4 - but the one drop beat which is common with Reggae. Sting’s bass work seemed simplistic but was founded on fusion elements.

    Much of this is self-evident on the first track and massive single “Message In A Bottle”, a very relatable song where one’s feelings of loneliness is universal. Summer’s jazz voicings would expand the palate of new wave and alternative rock music. The instrumental “Reggatta De Blanc” moves quickly with three sections and a vocal improvisation. Stewart plays with delays, while Andy’s chorus effects and ambience gives a statement of purpose. Co-written by Copeland, “It’s Alright For You” features some wild slide guitar work from Andy. “Bring On The Night” might be one of Sting’s other finest early compositions, and Andy’s layered cordial work keeps the verses interesting, a poetic number about disillusionment. With “Deathwish” Stewart’s expansive drums eases into a Bo Diddley beat, that shifts into a regular 4/4 beat. A light sounding number about self-destruction. 

    The second half tells you we are no longer in the smaller venue days. Between the drums and Andy’s guitar “Walking On The Moon” feels epic and expansive. That G7sus4 chord completely opened up players to new territories, lyrically there’s a whimsy and curiosity to the song.  That added synth pad hints to what is to come. “On Any Other Day” is a typical sardonic Copeland number with a punk ethos and a self-pity the feels satirical, and the subject probably deserved his plight. Sting’s “The Bed’s Too Big Without You” has a full Reggae accent with some self reflective admission that the narrator did this to himself. Sting’s instincts to be poetic gave the songs something distinct. Copeland’s “Contact” might be one of his more adventurous pieces, and allows for some real freedom for Andy. Stweart’s “Does Everyone Stare” has some great odd piano work, and Sting delivers the satirical lyrics well. The closer has a vibrant punk feel with “No Time This Time”, a critique about the fast pace, and it does stick the landing as far as a final statement.

Zenyatta Mondatta

    The Police’s third album, again produced by Nigel Gray, was more cohesive and accessible than the prior release. If the prior album had the compromise of Copeland’s writing presence – probably due to band politics -  Sting was given more free reign to bring in the material. Manager Miles Copeland had the uncanny knack to spot the potential singles. Not only for the Police, but other IRS records acts, and Sting had sown oats with his songs charting. Copeland wrote two songs, Summer’s offered one, and Sting brought in the rest. The use of synthesizers was more present, as well as Andy’s dalliance with guitar synths, but Sting really was broadening his thinking with the lyrics, this album took the Reggae, global elements with the jazz flavors, pop sheen and took it all as far as it could go. Copeland explained that the album title meant nothing, just invented words.  The common complaint is that the album feels the most even or safe. But it also may be their most accessible.

    With the opener, and big single “Don’t Stand So Close To Me”, it evolves from a slow burn with the drone to the infectious guitar of Andy, and moody synths. Sting used to be a teacher and so the idea of a taboo teacher and student dalliance makes for gripping stuff. “Driven To Tears” and “When The World Is Coming Down, You Make The Best of What’s Still Around” could have acted as a third and forth single, or double A side, both dealt with the media and public apathy, “Dirven’s” groove has a Motown influence. “Coming Down’s” groove is no less infectious. “Canary In The Coalmine” keeps the pace up with the same energy and a ska accent. The more moody tempo of “Voices Inside My Head” and it’s chant mirrors several things from Reggatta, and Copeland is able to have a lot of freedom with the number.  Stewart’s “Bombs Away” is probably one of his most accessible numbers while retaining that sardonic wit. The synth organ drives the number, but Andy’s middle eastern guitar solo really brings it home, thus building with a layer of guitars.

    Sting’s “De Do Do Do, De Da Da Da” was the other single and a witty view about simplicity, and a critique about over intellectualizing. Andy’s instrumental “Behind My Camel” may be a little simplistic, Sting refused to play bass on it and Stewart just offers a basic beat, but the keyboards have interesting layers. Sting’s “Man In A Suitcase” is probably one of the purer Reggae numbers on here, a comment on a traveling salesman, or business employee who has no home. Sting would later rerecord “Shadows In The Rain” and this is probably the most outside number on the album, aside from piano, there sound like a violin edge’s through at times. Andy’s guitar work manages to be very outside again. Copeland’s “The Other Way Of Stopping” sounds like a keyboard number that was transposed to guitar and bass, and all for the better of it.  A good closer for the album.

    This is the last album where Copeland was given much improvisational room, Stewart never plays the same thing twice, and due to his diminished role with co-writing, there were bound to be problems and tensions with the final two albums, but Sting would bring the band to greater heights soon enough, however much that is debatable.

Ghost In The Machine

    Sting had paid attention by the third album to the outside world, but by the forth, he was looking outside and within in a broader sense. Of course, it’s well known that Sting had a academic background and was a teacher in his pre band days, He had already cited Vladimir Nabokov with “Don’t Stand”, he was about to cite Arthur Koestler for the title of the next album. But the album would add more tension, Stweart’s role as a player would be more limited, and even Andy Summers would be frustrated by the focus on Sting’s songs. This would also be the first album with producer Hugh Padgham, whom was already working with Genesis and the solo album for Phil Collins. Hugh would bring a more sonic polish to the proceedings. Copeland would co-write one song with Sting and bring in another, Andy would bring in one song, but the band was already feeling less democratic. Sting seemed to be using the band as a showcase for his songs, and yet, the album might be their best and greatest achievement  The album featured many more synthesizer parts, and Sting even played all of the horn parts, a trade off the expanded the album, but perhaps at a cost.

    You can hear it with the opening track “Spirits In The Material World”, with it’s jagged synth, complex bass, and playful, yet disciplined drumming. The extra synths practically replace Andy’s guitar fills. The lyrics are pretty dark, and but raises the issue of our spirituality. There was even a hint of Sting’s saxophone. The second track would be their biggest single and a radio staple: “Every Little Thing She Does Is Magic”, a song he had written years before and kept in his back pocket, and it was Miles Copeland who convinced him to use. The demo was recorded in France with keyboardist Jean Roussel, the band used it, overdubbed and tied it together. “Magic” had been covered by Shawn Colvin, Ra, David Bryce, Ali Campbell, Michael Musso, Catherine Porter, The Shadows, Kyle Eastwood, The Flying Pickets, and sampled by De la Soul, Black Eyed Peas and Christopher Manias. “Invisible Sun” was a slow burn, the other single, it was built on a dark mood, Yet a number with a lifting quality in the chorus due to Andy’s guitar. A song and comment about an occupied police state. “Hungry For You (J’aurais toujours faim de toi)” manages some French lyrics, and Sting’s horn section, and layers of Summer’s guitar and a possible synth. There’s a slightly manic quality to “Demolition Man” with several guitars and more horns. Grace Jonce would soon record the number, it probably should have been one of the singles.

    Side two opens up with no less interesting material. A guitar stab opens “Too Much Information”, a driving number with more Sting horns, a comment about media saturation, right at the start of the bludgeoning computer age. Again, the concerns from Koestler were creeping through. The co-written Copeland number, “Rehumanize Yourself” has Stewart’s idiosyncratic sensibility. A keyboard drives it, while Andy’s guitar weaves around it. “One World (Not Three)” sounds like something Bob Marley could have written. A pleasantly defiant number about unity. Andy’s “Omegaman” has a strange opening with some of his most accessible verses. Ambient keyboards set up the mood for Sting’s “Secret Journey” before Andy’s guitar anchors it, and Stewart dances around the rhythm, a track that seems to characterizes a Buddhist sojourn. Stewart’s “Darkness” has a keyboard opening and work that may remind some of Tony Banks, more of Copeland’s sardonic lyrics are masked with depression. Interesting closer to the album.

    The album is sonically impressive, and Sting does manage to expand the format of the band, some consider this a prelude to what was to come, and other’s consider it their best album. But the story doesn’t end there. Sting’s interest with acting lead to a co-starring role in Brimstone and Treacle in 1982, the soundtrack featured standards performed by Sting such as “Spread A Little Happiness”. It also featured three Police numbers. “How Stupid Mr. Bates, I Burn For You,” and “A Kind Of Loving”, yet no one knew the end was near.

Synchronicity

    Sting’s marriage to Frances Tomelty was falling apart and he was on the way to courting Trudie Styler, the end of that relationship, complicated with having two children, prompted the writing of half of the material that would appear on Synchronicity, but there were two other related sources that would shape the songs. The seminal figure, psychologist Carl Jung, and another work from Arthur Koestler’s The Roots of Coincidence, and Jung’s Synchronicity itself; would be the others, Sting was looking further within, as well as questions about God and out own self-destructive nature. Hugh Padgham came back to produce - in spite of the growing tensions within the band -  Padgham would solider on with the project. Andy Summers wrote one piece, and Stewart Copeland wrote another, but Sting was the central guide for the material. In hindsight, the second half feels like a template for Sting’s future solo career. Of course, the album would hit mega status with at least four or five hit singles. This was the time where acts were expected to release albums where nearly every track could be a single, Michael Jackson had already set the template with Thriller. But this tour de force would come at a cost.

    A keyboard sequencer sets the tone with “Synchronicity I”, Andy adds coloring, while Stewart brings the urgency, Sting’s layered vocals had reached a new height, and this would mirror his vocals with the upcoming solo work. The African rhythms of “Walking In Your Footsteps” played by several in the band and Sting’s pan flute gives the track it’s unusual flavor. Sting’s “O My God” has some of the best bass work, a little more of a free drum sound from Copeland, Trevor Horn provides the horn solo filled with Arabic and free jazz improvisation, a mediation directed at the flaws of the deity. Andy’s “Mother” has a Captain Beefheart quality with sitar coupled with a Russian drudge tempo. Stewart’s “Miss Gradenko” is probably the most accessible number with some vibrant cordial guitar work and playful lead from Andy. The side one closer had become a huge single and unescapable number, “Synchronicity II” has great interplay between Andy and Sting, and a venomous vocal from the leader.

    Side two opens with their most known iconic number, Spirits had debuted the first of their two classics, this album debuted the other classic “Every Breath You Take”, s stalker number under the guise of a love song, the structure of it could have easily had been a country song, but Andy’s chord inversions, and patterns give it that necessary creamy tension. The synths and piano give it a majestic quality while Sting and Copeland keep it direct. Artists who have covered the song include UB40, Big Daddy, Everclear, Ian McShane, Juliana Hatfield, Dolly Parton and Violent Femmes. The other single “King Of Pain” opens simply with piano and xylophone before the full band comes in, Andy and Stewart manage to give it an extra lift, basically another perennial classic. The forth single “Wrapped Around Your Finger” with it’s detuned bell had the fitting tone, a philosophical and bitter number, while having some stateful classical guitar and some nice contrasts towards the end. The ambient “Tea In The Sahara” with it’s simple rhythm and strange oboe from Sting, manages to be anchored from Andy’s guitar. It was inspired by Paul Bowles book The Sheltering Sky, on vinyl it made a cryptic ending, but the final track “Murder By Numbers” reconnected their free form spirit and jazz origins, Stewart’s drumming is excellent and Andy’s voicings lures the listener with Sting’s dark, ironic lyrics, all of which brings the album home.

    The album has become such a part of a cultural vernacular on par with The Beatles Abbey Road, or Led Zeppelin IV that it now seems to be taken for granted, but the band would never have been able to top it. Near the end of the Synchronicity tour and at Madison Square Garden, the bend decided not to continue.

    The legacy of The Police is significant Starting with Talking Heads, The Cars, and Elvis Costello, Men At Work, Wang Chung, Rush, The Pretenders, Squeeze, and modern acts like The Expendables, Goyte, Maroon 5, The Nanos, and Warhol’s Theory. They created a fusion of various styles that managed to feel direct and accessible. In spite of skepticism from their peers, the bands feel and Sting intelligent lyrics pointed to new directions and made you think and question the world around you. While the ethos may have been different from other Punk bands, their aim was consistent. Post Police Andy put out a number of interesting solo projects including collaborations with Robert Fripp. Stewart Copeland is renowned as a soundtrack composer, and co-founder for bands like Animal Logic, and Oysterhead. Sting’s solo career was able to recruit some of the best jazz and rock players into a varied catalog.

    But for a brief period, there was an undeniable chemistry with the band, even with all of the arguments, they pulled the best out of each other.

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.     

Perspectives: In Defense of Animal Logic

Perspectives: In Defense of Animal Logic

Piece and media by Matthew Anthony Allair

    Around ten months ago, when I was a participate of a music reaction channel with a host who is a very person. There was a reaction to the Animal Logic single “There’s A Spy (In The House of Love) 1989, and to say it was muted, if not negative, was an understatement. I actually felt sorry for the person who made the suggestion. To preface this, all music opinions are subjective, some things you like and other’s you don’t, I don’t mind that, furthermore, I don’t expect people to agree with my opinions here with the reviews or the articles, in fact, I am always prepared to get disagreement. You can’t please everyone. My issue with less with the host and more with the commentators that I felt reeked of an elitism or snob like disposition, and the reactions just seemed too kneejerk or ignorant, without understanding the intent behind the project.

    Now, I understand that most progressive rock and fusion fans have very high standards, and some tend to sneer at anything that is ‘pop music’, which I understand, but I also don’t understand as all forms of music have different intents and aims, and they should be judged on their own terms, and not based on what you wish something to be. There was a history that lead up to the formation of Animal Logic, as well as information that is little known. The Wikipedia entry for the band is woefully inadequate, and therefore it takes more work. Plus their two albums are out of print which makes this all harder. Plus, the Spotify account only covers one album as of this writing. But there are archived pieces that explain the origin of the albums and their real intent to be pop albums with a rock edge.

    Let’s look at the core players. Stanley Clarke had become a legend by the eighties. Clarke’s tenure with Chick Corea’s Return To Forever from 1972 until 1977 had produced some incredible work, during this period, Stanley had also done side projects, but his1976 album School Days had gotten him notable attention. The final Return To Forever line did reunite to record’s Corea’s 10 minute track “Compadres” for his album. During these period’s Clarke performed with Jeff Beck in the 70s and helped co found the brief New Barbarians with Ron Wood, and Keith Richards. Clarke was already leaning towards more rock and pop material at the time he collaborated with George Duke on the Clarke / Duke Project. Whose first album in 1981 did have a fusion and pop accent - they did two albums. 

    Later on, aside from Clarke playing with Paul McCartney for his Tug Of War and Pipes Of Peace sessions, Clarke did keep releasing solo albums that featured elements that kept up the tradition of his jazz fusion era, but he was open to interpreting pop material as well. As much as their future collaboration were already underway, Stewart Copeland already had played drums on a track on Stanley’s 1988 album, If This Bass Could Only Talk.

    As far as Stewart Copeland is concerned, after his run with The Police had technically ended. Stewart worked on some innovative projects, most notably his soundtrack to Coppola’s Rumble Fish in 1983, an album that featured the unusual single “Don’t Fence Me In” with Stan Ridgeway - from Wall Of Voodoo. Yet it was the instrumental material that is compelling, hybrids of reggae, off kilter pop, and jazz, was a continuation of the more idiosyncratic original material he brought to the Police. This led to other scoring work on other films, Namely Wall Street, Talk Radio, Taking Care of Business, She’s Having A Baby, and television shows like The Equalizer, and the pilot for Babylon 5. His 1985 album The Rhythmatist was a result of a pilgrimage to Africa where he worked with African players, featuring local drums and percussion as well as vocals. Stewart did session work for Peter Gabriel on his So album a year later.  But the desire to find and form a new pop rock project was there by the time of the preliminary collaborations in 1987 with what would become Animal Logic. 

    The intent was very much stated in the press kits and few interviews available. Clarke and Copeland shifted through hundreds of audition packages, when a two song demo from Deborah Holland, an L.A. based Piano teacher and singer stood out and that began the collaboration. Keep in mind that for the stature of Clarke and Copeland to help elevate this lady to notable attention is pretty significant. Many singers and musicians may be excellent and talented, yet never catch any professional breaks to platform their work. Their choice of Holland for the project was a real vote of confidence on their part. Even for their first set of shows in Brazil, Andy Summers was briefly in Animal Logic, but Andy wanted to just focus on jazz music not pop. 

Let’s look at the players, Stanley’s bass work on the first album really pops, and Stewart’s characteristic high hat and cymbal work - as well as his unusual fills - creep in on various tracks. Guitarist Michael Thompson’s guitar work, with its clean chorus tones, has a very crystalline bite on many numbers, and he brings the added edge with his over driven leads. Yes legend Steve Howe offers some fine second support especially on a number like “As Soon As The Sun Goes Down”. You also have other players like the music scene iconic L. Shankar on electric violin, and Jazz legend Freddie Hubbard on the closing track. 

The first Animal Logic album is uneven, I admit, but there’s some real gems, especially with the last half of side one, and the first half of side two. The first single “There’s A Spy (In The House Of Love)” is not the best impression, but it did manage to chart well enough. You have to find the gems amongst the dross with most bands.

Generally, singles are not a best representation of an album, just the intended gateway. 

The first several tracks are a slow burn, which makes it all a little deceptive, But “I’m Through With Love, As Soon As The Sun Goes Down,” and the side two opener “I Still Feel For You” have real vibrancy. Richard’s banjo work on “Elijah” gives it an extra sheen and lift, “ Someone To Come Home To” builds into something powerful with the chorus and great guitar work and bass leads from Clarke, and Copeland comes to life in the last half, the album closer, the ballad “I’m Sorry Baby (I Want You In My Life)”, is a musically pensive, compelling piano piece with a fine Hubbard solo and tasteful bass lead by Clarke. Deborah’s vocals are strong, aside from the jazz inflections, I also hear a slight county music drawl to her vocal approach, while the lyrics are pretty much in the area of relationships, she can offer a fresh twist of a lyric.

The first album was also a product of its time with the production flourishes. Paul McCartney’s Flowers In The Dirt was very synth heavy in its pop sheen. And even Neil Young had added some synths as extra coloring on his comeback album Freedom. People just didn’t see that a more stripped down, organic approach was just looming in the new decade. Madonna, Michael Jackson, and Tears For Fears were still the predominant forces at that moment and products of the eighties. 

Let’s talk about guitarist Michael Thompson a little, his work on the album was pretty phenomenal. Copeland and Clarke would continue to use Thompson – No relation to the legend Richard Thompson – He would soon work with David Foster, he would work with Babyface and namely additional guitar Clapton’s “Change The World”, and Quincy Jones would tap him to work on Q's Jook Joint in 1995. Thompson would work with Robert “Mutt” Lange on Shania Twain’s Up album. He worked with Michael Jackson, Whitney Houston, Celine Dion, Toni Braxton, Phil Collins, Rod Stewart, Michael Bolton, The Scorpions, Madonna, Mariah Carry, and En Vouge, and so on…all showing his range. He had studied at Berkeley College of Music and had studied under Pat Metheny before branching out. 

A second album would be released in 1991, this would often be characterized as a sophomore slump, but Animal Logic II has a similar yet muscular sound, and some of the material I like better as much as I lean towards the first album, it's worth it. The record label did do press promotion for it.  Aside from the core of Copeland, Clarke and Holland. Guitarist Rusty Anderson was brought in, with extra contributions from Thompson, Piano legend Mike Garson of David Bowie - Alladin Sane stature was brought to add his distinctive sound on two tracks. As well as another notable player, the well-regarded David Lindley, was brought in. Keyboardist Todd Cochran appeared on many tracks, as well as Saxophone from Doug Nowine, George Duke plays on one track and Jackson Browne does backup vocals two others, Deborah and Jackson's chemistry is notable on "Another World". So, there's some steady pool of talent involved.

Again, this album opens with a slow burn, and I can understand the complaints by some about it sounding a little bland. But there’s some life and funk infusion with “Love In The Ruins (Doctor Dear Doctor)” as well as Garson’s Piano work. The single “Rose Colored Glasses” is catchy, and has some exuberant feelings, Often, it’s the deeper cuts towards that are the most compelling. There’s a folk and funk infusion with “If I Could Do All Over Again”, as well as playful saxophone leads, Copeland really cuts loose on this, Clarke drives the bridge section. There’s also vibrant slow burn with “I Won’t Be Sleeping Anymore” with a great chorus, and Holland delivers one of her strongest vocals. “Talking Is Good” has a playful Reggae feeling and George Duke accents the sentiment. Stanley Clarke drives “Stone In My Shoe” throughout as well as some incredible bass leads in the second, and Copeland seems responsive, "Stone" pretty much feels like an improvisational vamp. 

Once again, not a perfect album, but overall, a very enjoyable listen. 

The other problem with the album was the timing. This was released around the same period as the music scene was shifting, Nirvana, The Seattle scene and ‘grunge’ was starting to creep through the public consciousness, for example, another band from the same period Jellyfish had released their first album in 1990, Bellybutton, their follow-up release in 1993, the masterful Spilt Milk would suffer from the commercial changes. A Lot of bands prior to 1990 struggled with the industry shifts. 

Now the history with Rusty Anderson is a little confusing as he isn’t always listed as a guitarist on the album, Rusty went on to work with Paul McCartney’s band, but as a teen Rusty’s band Eulogy opened for countless bands, after the Animal Logic sessions, Rusty worked with a wide range of acts. In 1993 his other band Ednaswap opened for Sublime, Social Distortion, No Doubt and Weezer. He has worked on sessions with Elton John, New Radicals, Willie Nelson, Tim McGraw, Michael Buble, Jewel, Stevie Nicks and Joe Cocker Rusty has continued on as a composer and Producer.

The band broke up after sales were softer, and as Clarke and Copeland were committed to other projects, Animal Logic didn't continue. The story didn’t exactly end there. In 2022, Animal Logic reformed for several dates, and recorded and released two new songs. It’s pretty evident that Clarke and Copeland mjust have liked working with Holland enough to try again. Thet new single “Can You Tell Me” had some inventive drumming from Copeland and featured ex-Flecktones player Howard Levy on Harmonica. The other track, “Ordinary” is merely decent, but whimsical. Holland has not lost her touch as a singer. Debroah Holland did a new interview around that period. I am aware the band may not be for everyone, and if you seek more adventurous fare, you can always check out Oysterhead with Les Claypool, Stewart Copeland, and Phish’s Trey Anastaio. My only complaint about Les is that so many of his outside projects - due to his idiosyncratic vocal sound - sound like Primus adjacent - but they are a good band. 

All video music samples are in compliance with "Fair-Use".

Samples from both albums have been included here, as well as the new single. Only the second album is featured on Spotify, and the titles are out of print. The new songs were featured on Bandcamp before it appeared on Spotify. 

The platform of Animal Logic did give Holland an independent solo career, she released five solo albums, continued to work with Stewart Copeland, she has been involved with the folk trio, The Refuges, she just released I Made It This Far in 2025. She has remained a steady talent that didn’t fall into the cliches of self-destruction and drug use that plagued so many others. She may not have been on par with Harriet Wheeler from The Sundays, another peer from that period, but Holland should not be dismissed. After receiving a master’s degree for CSU Los Angeles, she joined the faculty, running the masters in commercial music program, from 1998 until 2010. 

Again, this is all subjective, not everyone is going to like the same things, which I understand, and I don’t expect anyone to agree with me, all I ask for is some objective fairness. 

Additionally, it was not only Debroah who benefited from the project, but at least two guitarists who ended up with viable careers. That’s saying a lot. Clarke understood one key jazz tradition – to give unknown players the opportunity to be spotlighted and prove what they could do. Clarke and Copeland demonstrated the real spirit of paying it forward, that doesn’t always happen. 

Her time in Animal Logic left her with opportunities for a viable career, and great esteem from the critical community, Clarke and Copeland’s vote of confidence in her paid off back then, and I hope others take that inconsideration when judging the band.

Retro Reviews: Bob Marley and the Wailers: Uprising

 I decided to launch a new series to imagine myself as a critic at the end of the 60s and start of the 70s, 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.

Bob Marley and The Wailers – Uprising (1980)

****

Producer: Chris Blackwell, Bob Marley

Musicians: Bob Marley, Aston “Family Man” Barrett, Carlton Barrett, Carlton “Santa” Davis, Tyrone Downie, Alvin Patterson, Junior Marvin, Earl Lindo, Al Anderson, Rita Marley, Marcia Griffins, Judy Mowatt

Songs; Coming In From The Cold, Real Situation, Bad Card, We and Dem, Work, Zion Train, Pimper’s Paradise, Could You Be Loved, Forever Loving Jah, Redemption Song

Reviewed by Matthew Anthony Allair

    Since the early to mid-Seventies, Bob Marley ascension on the America and global stage has been significant in the field of Jamaican or Reggae music, after the juggernaut that was Exodus from 1977, he has put equally solid releases as Kaya, and Survival. While past producers like Lee Perry have helped, Chris Blackwell has given Bob a massive platform. There had been other stars prior to Marley in that field, Jimmy Cliff and Desmond Dekker come to mind. But few artists have reached the consciousness have reached the public in the way that Bob was able to and popularize this music genre in the same way. Much of Bob’s vibe reminds me of Stevie Wonder, another figure who’s music can transform the most hardened of people. Most of the original line up of the Wailers have long since moved on, but Bob has managed to draft a circle of equally talented players. Now that we are entering this new decade, What does Bob have to say about the current state of the world? Does the album have any fresh insights?

    The tone is set up with the easy groove of “Coming In From The Cold”, and some playful keyboard interplay, after stripped down opening guitar, one feels like that are in assured hands. Bob’s spiritual and social comment comes into play with “Real Situation”, a song that offers a spoonful of sugar to the anti-war sentiment, the B-3 is especially playful on this. There’s almost a gospel aspect that opens “Bad Card”, which touches on domestic bliss. The next track, “We and Dem” seems to have a slightly similar take to Pink Floyd’s “Us and Them”, with his own appeal about ‘working this out’, There’s also some nice scat vocal and guitar that floats seamlessly on the track. The track “Work” manages to be the darkest and most dramatic number to round out side one, there’s also some nice lead and acoustic interplay on it, and the keyboards give it a more contemporary sound.

    The second half opens with the equally dynamic “Zion Train”, which seems to harken back to the theme of “People Get Ready”, Bob’s vocal is especially impressive on this. “Pimper’s Paradise” feels like the first track to take a non to the earlier Wailer’s line up. The next track is the obvious perennial single, “Could You Be Loved”, is the most memorable and has a catchy energy. “Forever Loving Jah” has a strong showcase for the I Threes. But the closing acoustic number, “Redemption Song” is magical and channels the spirit of Dylan, but in Marley's own way, easily the biggest surprise on the album, and probably will be regarded one of Bob's more memorable songs.

    Overall, a good case to what Bob Marley might bring to the new decade.

Retro Reviews: Patti Smith: Horses

 I decided to launch a new series to imagine myself as a critic at the end of the 60s and start of the 70s, 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. 

Patti Smith – Horses (1975)

****

Producer: John Cale

Musicians: Patty Smith, Lenny Kaye, Ivan Kral, Jay Dee Daugherty, Richard Sohl

Songs and Music: Gloria (part1: In Excelsis Deo, Part II: Gloria), Redondo Beach, Birdland, Free Money, Kimberly, Break It Up, Land (Part1 Horses / Part 2; Land of A Thousand Dances / Part 3 La Mer(de)), Elegie

Reviewed by Matthew Anthony Allair

    Patti Smith is a new singer who has assembled a sympatric band, is some respects this feels revolutionary, on the other hand, this feels like an continuation of a cross between Jim Morrison and the Doors and Gil Scott Heron’s recent work. To add credence to the album Horses is producer John Cale from the Velvet Underground. The keyboard player Richard Sohl and drummer Jay Dee Daughery offers solid support. The duel guitar work of Lenny Kaye and Ivan Kral, whom also plays bass guitar, gives the backing material a kind of real life, and all the players follow the lead of Patti. The album seems to dabble into the avant-garde, and free jazz association, but it a rock or pop setting. None of this in a literal sense, but in the spirit of experimental music, hence, this won’t be for everyone, but this will reward anyone looking for anything a little different.

    The opening track “Gloria (Excelsis Deo)” basically vamps off of the Them and Van Morrison song, and build into a spirit of deification. But it’s really the words that are a revelation as she opens with “Jesus died for somebody’s else’s sins, but not mine.”, which feels like a shot across the bow that this is something different. The Reggae infused “Redondo Beach” has a lite feel, the musical setting is a little deceptive as it deals with a dark subject. The piano is often a key feature as demonstrated by the epic “Birdland”, a cross between a narrative and vocal, for the first half the guitar interplay is light, In some respects Patti’s vocal attempts may be more successful than some of the things that Morrison was attempting, the problem with the Doors was that they tempered their sound by 68 for something more accessible. By the halfway mark, Kaye is really playing off what Patti is doing, her confusion builds up as it progresses. The mental images she is invoking becomes provocative. The song was inspired by Peter Reich’s ‘A Book Of Dreams’ and deals with parental loss. Sohl’s piano work on “Free Money” feels rather introspective before the full band shifts gears. Daugherty’s drumming gives this extra life. Many of these may be three or four chord vamps, but they feel sophisticated in their approach.

    The second half opens with the rhythmic pulse of “Kimberly”, probably one of the most pop feeling tracks, but the content is indeed deep. Another New York peer, Tom Verlaine, helped co write “Break It Up”, a song with a eerie setting and some drama within the band., the drama also reminds me of some of the material from Springsteen’s Born To Run several months earlier. The other epic “Land: Horses / Land Of A Thousand Dances / La Mer(de)” offers the same vamps, but seems to be build on instinct, The connection between Rock and RNB of the past runs very profoundly with some of the numbers, the song seems to be about longing, the build up of creative energy, and the euphoria of relationships, the idea of tearing something down that is old, to allow for something new.  The album closer and dark, “Elegie” sums of the feeling of the album, I believe an upright bass is used for the ambiance of the track. All of these portraits don’t offer any easy answers to the human condition, but she does channel the feeling of another New York peer, Lou Reed, and the Velvet’s connection starts to make more sense.

    Why this would only have a select audience is baffling to me, as musically it is quite accessible, and most people could gloss over the lyrical content, but we shall see. 

    She seems grounded in the real. Recommended.