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Outlandos D'Amour is a product of the late-'70s British punk scene, but the Police were never really punks. The album lacks the class-conscious awareness that fueled early Clash albums or the angry, antimusical nihilism of the Sex Pistols. The material, although constructed with guitar, bass, and dJ
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Amazon.com essential recording Outlandos D'Amour is a product of the late-'70s British punk scene, but the Police were never really punks. The album lacks the class-conscious awareness that fueled early Clash albums or the angry, antimusical nihilism of the Sex Pistols. The material, although constructed with guitar, bass, and drums, often at tempos that would never be matched in their later studio recordings, stands apart. Andy Summers' guitar textures are here more traditional and without their later ethereal quality, but his chord choices on "Roxanne," for example, or his expansive solo lines on "So Lonely" would have baffled most of the burgeoning punk guitar school. So, too, would Stewart Copeland's drumming, enriched as it is by a multinational upbringing and stage experience in the last gasps of the progressive-rock movement. The rhythms of reggae are woven into the music and Sting's vocals pay conscious tribute to Bob Marley. The songs are mostly about love, or a lack of personal connection, and are frequently obsessive; the hits alone are worth the price of the album. --Al Massa
Britain's Police got its start in the late-'70s days of punk, but the trio's background in jazz, fusion, and rock belied the punky image suggested by the band's dyed-blond hair. Indeed, where many punks were inspired amateurs, the Police (Sting on bass and vocals, Andy Summers on guitar, and Stewart Copeland on drums) were accomplished players who quickly developed a sophisticated approach to the power-trio format. Still, this debut album is filled with growing pains, with a handful of tracks far more interesting than the rest. The Police's primary stylistic innovation was to put the pulse of reggae into a rockier context, a strategy evident in the up-tempo "Can't Stand Losin' You" as well as in the band's first hit single, "Roxanne," a love song to a prostitute that would remain Sting's best- known tune until he wrote "Every Breath You Take." To this day, the first two notes of "Roxanne" are among the most recognizable melodic hooks in contemporary music. --John Milward
""They would get bigger, but they never sounded fresher. The Police were punks who could play their instruments, absorbing reggae into the spare, bouncy sound of their debut album. "Roxanne," "Next to You" and "So Lonely" proved that Sting was already a top-notch pop songwriter." "
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