The reggae-influenced minimalist pop sound of this highly talented UK trio was one of the musical high points of the late 70s and early 80s. Their individual talent and egos ultimately overcame them and they fragmented, although each of the strong-willed former members never ruled out the possibility of a rematch.
The Police’s line-up featured Stewart Copeland (b. 16 July 1952, Alexandria, Virginia, USA; drums, percussion, vocals), Andy Summers (b. Andrew James Somers, 31 December 1942, Poulton Le Fylde, Lancashire, England; guitar) and Sting (b. Gordon Matthew Thomas Sumner, 2 October 1951, Wallsend, Northumberland, England; bass/vocals). Masterminded by Miles Copeland, ex-Curved Air member Stewart Copeland and ex-Last Exit bass player Sting first came together with the vastly experienced Summers in Mike Howlett’s Strontium 90 project. The trio bonded so well that original guitarist Henry Padovani (b. 13 October 1952, Bastia, Corsica) was given no alternative but to leave. He had previously played on their independent chart hit ‘Fall Out’, released on Miles Copeland’s Illegal label. Summers, a former session musician and seasoned perfomer with Zoot Money, Dantalian’s Chariot, Eric Burdon And The New Animals, Soft Machine and Kevin Ayers, blended instantly with Copeland’s back-to-front reggae drum technique and Sting’s unusual and remarkable voice. Summers added a spare clean guitar utilizing a flanger with echo, a sound he arguably invented and most certainly popularized; he spawned many imitators during his career with the Police. The mixture of such unusual styles gave them a totally fresh sound that they honed and developed over five outstanding albums; each record was a step forward both in musical content and sales.
Astonishingly, their A&M Records debut ‘Roxanne’ failed to chart when first released, but this now-classic tale of a prostitute was a later success on the back of ‘Can’t Stand Losing You’. Their heavily reggae-influenced Outlandos D’Amour (1978) and Regatta De Blanc (1979) dominated the UK charts for most of 1979 and contained such chart-toppers as ‘Message In A Bottle’ and ‘Walking On The Moon’. Sting’s simple but intelligently written lyrics were complete tales. Zenyattà Mondatta was their big breakthrough in America, Europe, Japan, and indeed, the rest of the world. The band’s third UK number 1, ‘Don’t Stand So Close To Me’, a tale of the temptations of being a schoolteacher (Sting’s previous occupation), was closely followed by the lyrically rich yet simply titled ‘De Do Do Do, De Da Da Da’. The following year, having now conquered the world, the trio released Ghost In The Machine, which contained Sting’s most profound lyrics to date and was enriched by Hugh Padgham’s fuller production. The major hit singles from this album were the thought-provoking ‘Spirits In The Material World’, ‘Invisible Sun’, a brooding atmospheric comment on Northern Ireland, and the joyous Caribbean carnival sound of ‘Every Little Thing She Does Is Magic’, which provided their fourth UK number 1.
Following yet another multi-million seller, the band relaxed in 1982 to concentrate on solo projects. Copeland resurrected his Klark Kent alter ego, releasing Klark Kent, and wrote the music for the movie Rumblefish. Summers had a book of photographs published to coincide with an exhibition of his camera work, and also recorded an album with Robert Fripp. Sting appeared in the film adaptation of Dennis Potter’s Brimstone And Treacle and had the UK gutter press speculate on his sexual preferences. The Police reconvened in 1983 and released the carefully crafted Synchronicity; almost as if they knew this would be their last album. The package was stunning, a superb album containing numerous potential hit singles, and a series of expertly made accompanying videos. The brooding tale of obsession ‘Every Breath You Take’, probably their greatest song, stayed at number 1 in the UK for four weeks, and for twice as many weeks in the USA, while the album stayed at the top for an astonishing 17 weeks. The collection varied from gentle songs such as ‘Tea In The Sahara’ and ‘Wrapped Around Your Finger’, to the mercurial percussive energy of ‘Synchronicity II’. The trio played their final live shows in June 1986, sharing top billing with U2 on Amnesty International’s 25th anniversary tour. A month later they reconvened to record an updated version of ‘Don’t Stand So Close To Me’ for the compilation album Every Breath You Take: The Singles.
Several greatest hits packages and a live album have periodically rekindled interest in the band, with the first reunion coming in March 2003 when the three members played a mini-set to celebrate their induction into the Rock And Roll Hall Of Fame. A further reunion took place in February 2007, at the Grammy Awards in Los Angeles, following which, after months of speculation, the trio embarked on a world tour. Such was the demand that by December it was confirmed as the highest grossing tour of the year.
To finish on such a high and to retire from the studio as undefeated champions must have left each member with a good feeling. In retrospect, it is better to have produced five excellent albums than a massive catalogue of indifferent collections. Like the Beatles, the Police never outstayed their welcome, and thus will always be fondly remembered even if the reunion does not produce any new material.
