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Piper Connollyperforming <a href="https://mastodon.social/tags/Roxanne" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Roxanne</a> with <a href="https://mastodon.social/tags/stewartcopeland" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#stewartcopeland</a> was a <a href="https://mastodon.social/tags/dream" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#dream</a> <a href="https://mastodon.social/tags/thepolice" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#thepolice</a> <a href="https://mastodon.social/tags/livemusic" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#livemusic</a> <a href="https://mastodon.social/tags/classic" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#classic</a> <a href="https://mastodon.social/tags/rock" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#rock</a>from Piper Connolly<a href="https://piperconnollyy.wordpress.com/2025/03/06/performing-roxanne-with-stewartcopeland-was-a-dream-thepolice-livemusic-classic-rock/" rel="nofollow noopener noreferrer" translate="no" target="_blank">https://piperconnollyy.wordpress.com/2025/03/06/performing-roxanne-with-stewartcopeland-was-a-dream-thepolice-livemusic-classic-rock/</a>

fc<a href="https://universeodon.com/tags/FortnightFridayMusic" class="mention hashtag" rel="tag">#FortnightFridayMusic</a> Feb 21 2025 The prompt is WestWall of Voodoo, “Call of the West” 1982<a href="https://universeodon.com/tags/WallOfVoodoo" class="mention hashtag" rel="tag">#WallOfVoodoo</a> cultivated an air of mystery - their album covers, their very name! - and the subject matter of their songs, <a href="https://universeodon.com/tags/StanRidgway" class="mention hashtag" rel="tag">#StanRidgway</a>'s arch vocals, the music itself were always a little offbeat and angular in a way that made it easy for them to ride the <a href="https://universeodon.com/tags/NewWave" class="mention hashtag" rel="tag">#NewWave</a> to us, via <a href="https://universeodon.com/tags/EnnioMorricone" class="mention hashtag" rel="tag">#EnnioMorricone</a> <a href="https://universeodon.com/tags/SpaghettiWestern" class="mention hashtag" rel="tag">#SpaghettiWestern</a>.This album was their commercial peak. I was going to feature a track you're less likely to have heard, but in the end had to go with "Mexican Radio." How could I resist the couplet “I wish I was in Tijuana/Eating barbecued iguana”?Another favorite of mine is their oddly compelling cover of "Ring of Fire" from their debut eponymous ep. You may have also heard frontman and artistic lead Ridgway on "Don't Box Me In" from <a href="https://universeodon.com/tags/StewartCopeland" class="mention hashtag" rel="tag">#StewartCopeland</a>'s soundtrack for the film adaptation of <a href="https://universeodon.com/tags/SEHinton" class="mention hashtag" rel="tag">#SEHinton</a>'s Rumblefish, and he continues to release solo music via <a href="https://universeodon.com/tags/bandcamp" class="mention hashtag" rel="tag">#bandcamp</a>.<a href="https://www.youtube.com/watch?v=eyCEexG9xjw&t=3s" target="_blank" rel="nofollow noopener noreferrer" translate="no">https://www.youtube.com/watch?v=eyCEexG9xjw&t=3s</a> <a href="https://universeodon.com/tags/80s" class="mention hashtag" rel="tag">#80s</a>

The Delete Bin20 Great Songs by The Police <a href="https://commons.wikimedia.org/wiki/File:Sting_Atlanta_2.jpg" rel="nofollow noopener noreferrer" target="_blank"></a><a href="https://commons.wikimedia.org/wiki/File:Andy_Summers_Atlanta_3.jpg" rel="nofollow noopener noreferrer" target="_blank"></a><a href="https://commons.wikimedia.org/wiki/File:Stewart_Copeland_Atlanta_2.jpg" rel="nofollow noopener noreferrer" target="_blank"></a>The Police in concert, Atlanta 1979; Sting (vocals, bass), Andy Summers (guitar, vocals), Stewart Copeland (drums, vocals). images: <a href="https://commons.wikimedia.org/wiki/User:Acroterion" rel="nofollow noopener noreferrer" target="_blank">Acroterion</a> (cropped). By the time The Police played Shea Stadium in August 1983 and with a number one album in the charts, they were the biggest band in the world. Somewhat unintuitively for fans soon after this pop pinnacle, they’d go on indefinite hiatus for decades. After a unique journey, it was a dignified way to bow out for three musicians – Sting, Andy Summers, and Stewart Copeland – who’d come from such disparate backgrounds as to make their union an unlikely one to begin with.  From their start, they borrowed from everything around them to go along with their punk-inspired energy while not fitting in with any scene or specific sound. Too young to be classic, too old to be punk, they rode the new wave with their heads down, keeping their jazz and prog chops strictly under wraps. What they also did was turn the idea of the pop rock power trio on its head, developing a unique sound never to be replicated by any other band since. And they had great songs to get them there. Here are 20 of them, hits and deep cuts alike, that illustrate their singular identity. *** Roxanne Bassist and singer Sting had been writing songs for several years before co-founding The Police with drummer Stewart Copeland in 1977. Soon after, the technically accomplished Andy Summers joined the band, with his background in progressive rock adding to their sonic arsenal. It was at this point that Sting’s penchant for more sophisticated and musically varied material found fertile soil.  For instance, “Roxanne” was a bossa nova number before they arranged it into the reggae-rock hybrid heard on 1978’s debut record Outlandos D’Amour. Sting’s clarion call voice is accompanied by the now familiar chopping chords and inverted pulse to accompany a story of obsession and control. After a slow-burn on the charts that took the better part of a year as it was re-released in North America, “Roxanne” was the initial vehicle in which they began their journey from clubs to stadiums and would become a live staple. Listen: <a href="https://youtu.be/3T1c7GkzRQQ" rel="nofollow noopener noreferrer" target="_blank">Roxanne</a> <a href="https://thedeletebin.com/wp-content/uploads/2024/02/roxannesingle.jpg" rel="nofollow noopener noreferrer" target="_blank"></a>Can’t Stand Losing You “Can’t Stand Losing You” follows a similar template as “Roxanne”, and then some, threatening to betray their skills as top shelf musicians in the field of raw and elemental punk aggression. The rock-reggae dynamic is in place, but also with a kind of dub-inspired ambient middle section. Luckily, dub was the accepted form of chill out music among punks by 1978. The band would expand upon that middle section on stage where it would later morph into the instrumental track “Regatta De Blanc”.  These musical additions of more ambient textures would inform their sound later on with their greater use of effects pedals and atmospherics. Lyrically, the song is marked by black humour, containing lines that are more of a parody of a particular kind of pop song than anything to take seriously. “Can’t Stand Losing You” eventually scored a number two position in the UK and played a vital role in convincing the record company to release their full-length debut. Listen: <a href="https://youtu.be/nH0vjLwMyc4" rel="nofollow noopener noreferrer" target="_blank">Can’t Stand Losing You</a> <a href="https://thedeletebin.com/wp-content/uploads/2024/02/cant-stand-losing-you-single.jpg" rel="nofollow noopener noreferrer" target="_blank"></a>Next to You Opening the Outlandos D’Amour record, this cut is a callback to their days masquerading as a punk band, with only former Police guitarist Henry Padovani having any punk cred among the three of them. Of all their fast and short early songs, this one hits the sweet spot best. Like “Roxanne” it’s also a song about obsession, a theme that writer Sting would revisit throughout the band’s discography.  On this cut, you’d never know that Andy Summers had a well-established Sixties-era R&B, psychedelic, and progressive pedigree as he lays on the appropriate punk-oriented attack to match Sting’s growl of a voice and Copeland’s ferocious drumming. Still not exactly punk rock, it delivered the same spirit. Foo Fighters covered “Next to You” on stage a number of times in the 21st century, at least once with Stewart Copeland sitting in, proving that its immediacy and punk rock attack endures. Listen: <a href="https://youtu.be/YGbnSW5VPlc" rel="nofollow noopener noreferrer" target="_blank">Next to You</a> Hole in My Life “Hole in My Life” breaks the pattern of The Police as a punk-inspired band with an affinity for reggae. As it turned out, they were no one-trick pony. Although that reggae influence is in place particularly in Sting’s vocal, James Brown-inspired funk is present here, too. The band build tension on a sweaty groove, accompanied by the YEAH vocal shots to make this one funky track indeed. It certainly demonstrates their cohesion as musicians, revealing the advanced level at which they were operating as instrumentalists.  “Hole in My Life” doesn’t necessarily find them capturing the Police sound as it would come to be. But it hints at some of the stylistic influences that would feed its DNA later found in songs like “Too Much Information” and “O My God”. It also shows how versatile they are as musicians, holding an arrangement in balance while adding dynamic flair at the same time. Listen: <a href="https://youtu.be/qPNniQ7uuHY" rel="nofollow noopener noreferrer" target="_blank">Hole in My Life</a> <a href="https://thedeletebin.com/wp-content/uploads/2024/02/police-album-outlandosdamour.jpg" rel="nofollow noopener noreferrer" target="_blank"></a>Message in a Bottle “Message in a Bottle” is where The Police begin to come into their own sound, and where the signs that they’d thrown out the pop rock power trio rulebook are most evident. Stewart Copeland’s drums are way out front. Andy Summers’ guitar provides vibrancy and colour while remaining a few steps back. Sting’s bass and Copeland’s drums are often foils for each other instead of acting as a unified rhythm section.  With those dynamics in place, “Message in a Bottle” sounds and feels like a statement of intent outside of any particular genre or scene. The song delves into more sophisticated themes of isolation and vulnerability while still retaining the appealing aggression and instrumental prowess they’d hinted at on their debut. The Police really gel here like never before on their first number one single in the UK and top ten internationally, arguably against the odds considering how many rules they’ve broken.  Listen: <a href="https://youtu.be/MbXWrmQW-OE" rel="nofollow noopener noreferrer" target="_blank">Message in a Bottle</a> <a href="https://thedeletebin.com/wp-content/uploads/2024/02/messageinabottle.jpg" rel="nofollow noopener noreferrer" target="_blank"></a>Walking on the Moon Leaning into dub music even further as many post-punk bands were doing by late 1979, “Walking on the Moon” is spare and spacious, led by a low-end riff on which Copeland’s echoey drums and splashes of serrated guitar from Summers are anchored. Serving as their second single from Regatta de Blanc, and their second number one in Britain, “Walking on the Moon” suggests the euphoric feeling of being in love, and of being in the moment, suspended in time.  This cut isn’t derived from a traditional radio-friendly pop sound at all, and even hints at Sting’s background as a jazz bassist. Yet the subject matter and the hookiness of the bass riff make it utterly compelling as a mesmeric drone that works against traditional pop immediacy. In this, it becomes something more than the sum of its parts as one listens with that low-end throb being so hypnotic as to keep us engaged throughout. Listen: <a href="https://youtu.be/zPwMdZOlPo8" rel="nofollow noopener noreferrer" target="_blank">Walking on the Moon</a> <a href="https://thedeletebin.com/wp-content/uploads/2024/02/walkingonthemoon.jpg" rel="nofollow noopener noreferrer" target="_blank"></a>Bring on the Night Andy Summers’ flowing guitar lines on this against Sting’s ominous bass sets the scene for this nocturnally-oriented cut with a literary angle. The opening lyrics borrow from T.S Eliot’s “The Love Song of J. Alfred Proofrock” in this song about retreating into the darkness of non-existence. Like “Walking on the Moon”, this cut is designed with holes in its sound that helps create the backdrop for this dark night of the soul tune, in part inspired by Norman Mailer’s The Executioner’s Song.  The Police go beyond a three-pronged attack found on their debut and enter into a world of greater sonic nuance. With that, they continue to redefine how a three-piece band operates to deliver more sophisticated material, going beyond the usual rock guitar-bass-drums dynamics to service the overall effect of pure atmosphere in support of a narrative.  Also – this cut was a direct inspiration to the central riff and groove to Stevie Nicks’ “Edge of Seventeen”. So, there’s that, too. Listen: <a href="https://youtu.be/YVgWQyGOTvk" rel="nofollow noopener noreferrer" target="_blank">Bring on the Night</a>  <a href="https://thedeletebin.com/?post_type=post&p=26529" rel="nofollow noopener noreferrer" target="_blank">Subscribe to The Delete Bin</a> Deathwish Notable for it being one of only a few co-writes between all three members, along with the absence of a chorus, “Deathwish” is like a post-punk teenage tragedy song just before the tragedy in question happens. A companion piece to “Bring on the Night” in a way, this song deals in dark roads, fading headlight beams, and a hint of youthful nihilism that served as the last vestiges of the punk rock mentality in their music.  The Police lock into a mechanical groove that is all about building tension. As well-known as they are as purveyors of hit singles, “Deathwish” is an excellent example of The Police as a jam band, creating a sound that is primarily about a vamping groove defined by a masterclass command of tension and release held in balance – something they’re great at which their singles don’t reveal in quite this same way. Listen: <a href="https://youtu.be/Zlu74Hdvj_A" rel="nofollow noopener noreferrer" target="_blank">Deathwish</a> <a href="https://thedeletebin.com/wp-content/uploads/2024/02/police-album-reggattadeblanc.jpg" rel="nofollow noopener noreferrer" target="_blank"></a>Driven to Tears When 1980’s Zenyatta Mondatta came out, The Police had ramped up as a global phenomenon. The pressure was on as their first world tour kicked off in the early part of the year. Even as rushed as they were to follow up with a third record in the middle of tour dates, they were still able to create some of their most memorable songs. This was one of them, a lament to Third World poverty and with its ire aimed at voyeuristic media; too many cameras, not enough food.  Rooted in an amalgam of reggae, dub, and rock music, “Driven to Tears” doubles down on the echoey and phased sound they’d established on their previous record, the highlights being Andy Summers’ minimalist shards of guitar and wail of a solo, sympatico with Sting’s resigned vocal, and Copeland’s percussive accents. This cut would be a precursor to the political material Sting would pursue in his solo career, with this tune remaining to be a mainstay in his setlists. Listen: <a href="https://youtu.be/cPkChi1ckq0" rel="nofollow noopener noreferrer" target="_blank">Driven to Tears</a> Don’t Stand So Close to Me Inspired by Victor Nabokov’s Lolita, Sting’s “Don’t Stand So Close to Me” is one of The Police’s most recognizable and celebrated hits. By this time, Andy Summers’ command of effect pedals begins to take a bigger role in their sound, expanding what he’s able to do with his parts to create engaging sonic environments in which to present the songs. “Don’t Stand So Close to Me” is one of the best examples of that signature set of textures.  The low and ominous wash of sound from him sets the stage for the drama of misguided attraction, loss of innocence, and failed ethics. For a top ten hit, this is some dark subject matter. Adorned with an energetic and catchy chorus that contrasts the more sombre verses, “Don’t Stand So Close to Me” is a high point that demonstrates the pinnacle of their interplay as a band in the studio. Listen: <a href="https://youtu.be/KNIZofPB8ZM" rel="nofollow noopener noreferrer" target="_blank">Don’t Stand So Close to Me</a> <a href="https://thedeletebin.com/wp-content/uploads/2024/02/dont_stand_so_close_to_me_uk.jpg" rel="nofollow noopener noreferrer" target="_blank"></a>When the World is Running Down, You Make the Best of What’s Still Around Contemplating the end of the world was a common pursuit by the dawn of the 1980s. This one is a post-apocalyptic story about being the last person on earth, with boredom and loneliness as more formidable enemies than zombies or giant insects. But what this song also does is to explore a common theme that Sting has expanded upon on other songs – the nature of isolation and its debilitating effects on the human spirit in the modern day.  The R&B influences heard on “Hole in My Life” come through here again in Sting’s phrasing, even if it’s within the context of a more consolidated Police sound full of spacious echo and phasing. His distant vocal sounds like its being broadcast over short-wave radio brings the point about loneliness and a lack of connection into sharp relief. Listen: <a href="https://youtu.be/YC8vxXC0UMc" rel="nofollow noopener noreferrer" target="_blank">When the World is Running Down, You Make the Best of What Still Around</a> De Do Do Do, De Da Da Da For such a literary-minded songwriter, Sting takes his own medium to task on this song that was a massive worldwide hit for The Police. “De Do Do Do, De Da Da Da” expounds on the language of the heart being more meaningful than political rhetoric used to obscure truths. In addition to the pointed lyrical subject matter, The Police’s skills as instrumentalists were well on display with sophisticated chords, unique textures, and rhythmic complexity a-plenty that really stood out on the radio at the time. The middle instrumental section alone feels like they could have taken the song in any direction between the three of them. Their advanced instrumental proficiency was rightly celebrated at this point rather than denigrated as it might have been only a few years before when they were playing at CBGB for a punk audience. Times had changed and eventually so would The Police, particularly as the expectations for hit after hit plus the rigours of global tours increased.  Listen: <a href="https://youtu.be/7v2GDbEmjGE" rel="nofollow noopener noreferrer" target="_blank">De Do Do Do, De Da Da Da</a> <a href="https://thedeletebin.com/wp-content/uploads/2024/02/dedododo.jpg" rel="nofollow noopener noreferrer" target="_blank"></a>Invisible Sun The pressures on the band would continue by the time they recorded 1981’s Ghost in the Machine. In the meantime, Sting had his eye on the headlines. “Invisible Sun” was his take on sectarian violence and military intervention in Northern Ireland at the time, those conditions making it difficult for people living there to see what the future would hold for them and for generations to come.  The Police sound morphed here thanks to a greater use of synthesizers and with a less pop-oriented, more post-punk feel. Sting uses a lower register to deliver his vocal in the verses, then double-tracked in the chorus to communicate a cry for hope in the bleakness of the times. “Invisible Sun” is tellingly far less oriented around the ensemble playing of the three members. That’s played out in various degrees on the whole record, made during a tense time when the ties were fraying between bandmates. Listen: <a href="https://youtu.be/1VuDjJ9KIxM" rel="nofollow noopener noreferrer" target="_blank">Invisible Sun</a> <a href="https://thedeletebin.com/wp-content/uploads/2024/02/invisiblesun.jpg" rel="nofollow noopener noreferrer" target="_blank"></a>Spirits in the Material World A big part of the change to The Police sound by Ghost in the Machine was a switch in the production team, with Nigel Gray replaced with Hugh Padgham. Another was Sting’s tendency to record solo demos rather than working out arrangements on the floor with the band. On this cut, that resulted in more synthesized sounds closer to his initial demos to accompany his amazingly bonkers dub-inspired bassline and almost frenzied double-tracked upper register vocals.  Reduced in his role in the arrangement on this cut, Andy Summers still makes his mark via his almost classical flourishes in the instrumental break and into the last verse. Stewart Copeland holds down a pulse anchored to his hi-hat as the song’s complex rhythm shifts in unexpected ways from off-beats in the verses to on-beats in the chorus to accompany the themes of failure and disconnection in human systems and the spiritual malaise that results.  Listen: <a href="https://youtu.be/BHOevX4DlGk" rel="nofollow noopener noreferrer" target="_blank">Spirits in the Material World</a> <a href="https://thedeletebin.com/wp-content/uploads/2024/02/spirits_in_the_material_world_uk_single.jpg" rel="nofollow noopener noreferrer" target="_blank"></a>Every Little Thing She Does is Magic Sting wrote this song several years before The Police even formed, and certainly not with their sound in mind. For inclusion on Ghost in the Machine, he worked with keyboardist Jean Roussel who laid down the central piano riff around which this hit song was based. Summers and Copeland were not in favour of this outside element when it came to their material. Yet, the finished product was undeniable, even to them.  “Every Little Thing She Does is Magic” shines very brightly – a shimmering love song that sounded great on the radio at the time, and adds important colour to the album. Copeland’s drumming in particular is exceptional, adding the edge the song needs to keep it from being too soft, and still within the realm of The Police sound as listeners had come to know it.   Listen: <a href="https://youtu.be/aENX1Sf3fgQ" rel="nofollow noopener noreferrer" target="_blank">Every Little Thing She Does is Magic</a> <a href="https://thedeletebin.com/wp-content/uploads/2024/02/everylittlething.jpg" rel="nofollow noopener noreferrer" target="_blank"></a>Secret Journey In the middle of a whirlwind of becoming the biggest band in the world while the connections between bandmates were strained to their limits, Sting turned inward. “Secret Journey” is concerned with spiritual exploration, possibly to counteract the very worldly expectations set upon his shoulders and those of his band. Andy Summers distinguishes himself on this cut, his Roland guitar synthesizer creating the expansive introduction and atmospheric touches throughout. This tune tonally anchors the whole record which is decidedly less brightly lit and certainly more world-weary than Zenyatta Mondatta. This was during a time on which Stewart Copeland reflected in his excellent 2006 documentary Everyone Stares: The Police Inside Out that “it was getting lonely in this band”.   Listen: <a href="https://youtu.be/Lotcmk3NAYI" rel="nofollow noopener noreferrer" target="_blank">Secret Journey</a> <a href="https://thedeletebin.com/wp-content/uploads/2024/02/secret_jouney.jpg" rel="nofollow noopener noreferrer" target="_blank"></a>Every Breath You Take After a period apart and in pursuit of solo projects – acting, film composing, and an ambient guitar album – The Police came back strong with a new album which is arguably their best. Synchronicity stormed up the charts in 1983, with this song leading the pack. A seemingly straightforward love song on the surface, it reveals the dark theme of possession found on “Roxanne” on closer inspection, paired with yet another disturbing element – surveillance.  Andy Summers’ arpeggiated guitar lines that cut between major and minor chords set the mood and are iconic by now, while Stewart Copeland’s drums are uncharacteristically restrained – a big part of what makes this song so tense. As much as this song is well-travelled by now, it’s easy to forget that it contains some of Sting’s best singing, making great use of his full range. Listen: <a href="https://youtu.be/OMOGaugKpzs" rel="nofollow noopener noreferrer" target="_blank">Every Breath You Take</a> <a href="https://thedeletebin.com/wp-content/uploads/2024/02/the_police_-_every_breath_you_take.jpg" rel="nofollow noopener noreferrer" target="_blank"></a>Synchronicity II Inspired by Arthur Koestler’s Roots of Coincidence, Sting’s story about a put-upon middle-class family man told in contrast to images of a rising horror beneath the surface of a dark Scottish loch is a terrifying statement about the human psyche and its limits. This song is Sting at his most cinematic as the pressures build inside the central character and as the beast far away rises further to the surface as both a metaphor and a parallel for the man’s repressed rage. Musically, “Synchronicity II” is the full realization of The Police sound on an epic scale. Copeland’s drums are fully unleashed, sounding like waves crashing against a shore. Summers’ roaring riff answers Sting’s authoritative vocal, also adding in atonal squeals and bestial wails to fill in the gaps.  This is a towering rock song full of portent, which in the Cold War era certainly reflected the atmosphere of its times. Listen: <a href="https://youtu.be/o5FPPoLqkCk" rel="nofollow noopener noreferrer" target="_blank">Synchronicity II</a> <a href="https://thedeletebin.com/wp-content/uploads/2024/02/synchronicity_ii_singlecover.jpg" rel="nofollow noopener noreferrer" target="_blank"></a>Wrapped Around Your Finger The imbalanced power dynamics only hinted at in “Don’t Stand So Close to Me” come to their maturity here in this tune about mentorship, ambition, and betrayal. With lines that reflect a kind of sorcerer’s apprentice tale, “Wrapped Around Your Finger” captures the imagination with a sense of foreboding, feeling like a whole movie inside its five-minute running time.  This song is arguably the most detailed of all The Police’s hit singles when it comes to the arrangement. Stewart Copeland provides a whole orchestra of percussion behind the spare synth lines and Andy Summers’ portentous wash of treated guitar and echoey phrasing. Sting shows his maturity as a songwriter here in a cinematic tune about how quickly the tables can turn in a relationship, with parties often taking what they can from each other before moving on.  Listen: <a href="https://youtu.be/svWINSRhQU0" rel="nofollow noopener noreferrer" target="_blank">Wrapped Around Your Finger</a> <a href="https://thedeletebin.com/wp-content/uploads/2024/02/wrapped_around_your_finger_uk.jpg" rel="nofollow noopener noreferrer" target="_blank"></a>Tea in the Sahara The final track on the UK version of Synchronicity, the lyrics in “Tea in the Sahara” take on the quality of a myth, inspired by Paul Bowles’ novel The Sheltering Sky that contains this tale of an unfulfilled promise. It’s appropriately accompanied by Andy Summers’ guitar effects that evoke the unspoiled dunes of a moonlit African desert with Copeland’s interplay between hi-hat and kick drum accents supporting Sting’s heartbeat-like bassline.  Of all the songs on Synchronicity, this one reflects what the band’s sound might have been had they gathered in the studio to record a sixth record – warm, timeless, stylistically ambiguous, and wonderfully multilayered. In this expectation by 1984, we listeners were the sisters waiting in the desert for the promised prince who would never return – at least not with a follow-up album.  Listen: <a href="https://youtu.be/MRklchtGxdM" rel="nofollow noopener noreferrer" target="_blank">Tea in the Sahara</a> *** Runners up and bubbling under: <ul><li>Fall Out </li><li>Truth Hits Everybody </li><li>So Lonely </li><li>Born in the 50s </li><li>Bed’s Too Big Without You </li><li>A Sermon </li><li>No Time This Time </li><li>Voices Inside My Head </li><li>Canary in a Coalmine </li><li>Man in a Suitcase </li><li>Omegaman </li><li>Demolition Man </li><li>One World (Not Three) </li><li>Darkness </li><li>Shambelle </li><li>I Burn for You </li><li>Murder by Numbers </li><li>King of Pain </li><li>O My God </li><li>Walking in Your Footsteps </li></ul>*** When the Police gathered for their reunion tour in 2007, they knew that the material they’d created no longer belonged to them, and that there was nothing more for them to add other than by playing it together again. That realization took the pressure off them, allowing them to frame the material as the star of the show, with the three musicians who created it as merely the conduits. Given the strong personalities involved, that certainly shows the depth of value of their songs – many of them driven by conflict and dark impulses that resonated with a whole generation.  For the three musicians, the reunion seemed to do them as much good as it did for fans to hear them play these songs again. After decades of solo projects, they could view The Police in retrospect at a safe distance. It certainly underscored the point that their material stands on its own in any era whether the three play together again or not. That’s a significant achievement that goes beyond any other ambition, Shea Stadium included. To learn more about The Police, investigate <a href="https://www.thepolice.com/biography" rel="nofollow noopener noreferrer" target="_blank">thepolice.com</a> You might also want to check out YouTube host, producer, and musician Rick Beato’s series of interviews with all three members of The Police in which each of them talk about the band and their own musical approaches while in it:<a href="https://youtu.be/XIJkRhd1CTY?si=SR6nbB4LzRtVAtg1" rel="nofollow noopener noreferrer" target="_blank">Stewart Copeland</a> | <a href="https://youtu.be/efRQh2vspVc?si=ylVaU0STyfmDLnfC" rel="nofollow noopener noreferrer" target="_blank">Sting</a> | <a href="https://youtu.be/V67Fq47U4ng?si=CY5PZjaKK0oQJuoL" rel="nofollow noopener noreferrer" target="_blank">Andy Summers</a>Check out <a href="https://www.youtube.com/@StewartCopelandOfficial" rel="nofollow noopener noreferrer" target="_blank">Stewart Copeland’s YouTube channel</a> on which, among other things, he hosts impromptu jams with a lot of musicians you’ve heard of. And for an added delightful bonus, here’s some footage of <a href="https://youtu.be/XpxO1yqv5go?si=kD2WDTDefaXeRjMD" rel="nofollow noopener noreferrer" target="_blank">Stewart Copeland playing percussion on “Wrapped Around Your Finger”</a> during the band’s 2007-08 reunion tour. It is something!Andy Summers is active on Instagram. Check out his feed at <a href="https://www.instagram.com/andysummers_official/" rel="nofollow noopener noreferrer" target="_blank">@andysummers_official</a>And of course, Sting hasn’t exactly slacked off as a solo artist. His site is (perhaps predictably) <a href="https://www.sting.com/" rel="nofollow noopener noreferrer" target="_blank">sting.com</a>.EEE-OH-oh!Enjoy!<a rel="nofollow noopener noreferrer" class="hashtag u-tag u-category" href="https://thedeletebin.com/tag/20-great-songs/" target="_blank">#20GreatSongs</a> <a rel="nofollow noopener noreferrer" class="hashtag u-tag u-category" href="https://thedeletebin.com/tag/70s-music/" target="_blank">#70sMusic</a> <a rel="nofollow noopener noreferrer" class="hashtag u-tag u-category" href="https://thedeletebin.com/tag/80s-music/" target="_blank">#80sMusic</a> <a rel="nofollow noopener noreferrer" class="hashtag u-tag u-category" href="https://thedeletebin.com/tag/andy-summers/" target="_blank">#AndySummers</a> <a rel="nofollow noopener noreferrer" class="hashtag u-tag u-category" href="https://thedeletebin.com/tag/stewart-copeland/" target="_blank">#StewartCopeland</a> <a rel="nofollow noopener noreferrer" class="hashtag u-tag u-category" href="https://thedeletebin.com/tag/sting/" target="_blank">#Sting</a> <a rel="nofollow noopener noreferrer" class="hashtag u-tag u-category" href="https://thedeletebin.com/tag/the-police/" target="_blank">#ThePolice</a>

Rupert ReynoldsIf anyone is disenchanted (musically speaking) try a Drumeo video <a href="https://youtu.be/BrbLyEKC524?si=CiMN2cqWn4RlKqwd" rel="nofollow noopener noreferrer" translate="no" target="_blank">https://youtu.be/BrbLyEKC524?si=CiMN2cqWn4RlKqwd</a>in which <a href="https://hachyderm.io/tags/StewartCopeland" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#StewartCopeland</a> heard Limp Bizkit for the first time, and <a href="https://hachyderm.io/tags/improvised" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#improvised</a> a drum track. 73 and he's still got it! :-)

zeruch<a href="https://mastodon.social/tags/StewartCopeland" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#StewartCopeland</a> (of The Police, Animal Logic, Oysterhead) Hears Limp Bizkit For The First Time (and doesn't vomit): <a href="https://www.youtube.com/watch?v=BrbLyEKC524" rel="nofollow noopener noreferrer" translate="no" target="_blank">https://www.youtube.com/watch?v=BrbLyEKC524</a> <a href="https://mastodon.social/tags/drums" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#drums</a>

Noticias Rock CLStewart Copeland es desafiado a tocar «Rollin» de Limp Bizkit y esto fue lo que pasó | vía <a href="https://mas.to/tags/Naci%C3%B3nRock" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#NaciónRock</a><a href="https://www.nacionrock.com/stewart-copeland-es-desafiado-a-tocar-rollin-de-limp-bizkit-y-esto-fue-lo-que-paso/" rel="nofollow noopener noreferrer" translate="no" target="_blank">https://www.nacionrock.com/stewart-copeland-es-desafiado-a-tocar-rollin-de-limp-bizkit-y-esto-fue-lo-que-paso/</a><a href="https://mas.to/tags/drumeo" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#drumeo</a> <a href="https://mas.to/tags/stewartcopeland" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#stewartcopeland</a> <a href="https://mas.to/tags/videos" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#videos</a>

Ted Tocks CoversTed Tocks Covers - Year 7 - Day 101Walking on the MoonOn this day 45 years ago ‘Walking on the Moon’ became the second song from The Police album, Reggatta de Blanc to reach #1 in the U.K. “Some may say I’m wishing my days away No way, and if it’s the price I pay Some say tomorrow’s another day You stay, I may as well play”<a href="https://thecanadian.social/tags/thepolice" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#thepolice</a> <a href="https://thecanadian.social/tags/Sting" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Sting</a> <a href="https://thecanadian.social/tags/andysummers" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#andysummers</a> <a href="https://thecanadian.social/tags/stewartcopeland" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#stewartcopeland</a> <a href="https://tedtockscovers.wordpress.com/2024/12/07/walking-on-the-moon-i-may-as-well-play-musicislife-tedtockscovers-thepolice/?_gl=1%2A1jh6e4i%2A_gcl_au%2AMTE4OTg2NjI5OS4xNzI2ODMxNDg5" rel="nofollow noopener noreferrer" translate="no" target="_blank">https://tedtockscovers.wordpress.com/2024/12/07/walking-on-the-moon-i-may-as-well-play-musicislife-tedtockscovers-thepolice/?_gl=1%2A1jh6e4i%2A_gcl_au%2AMTE4OTg2NjI5OS4xNzI2ODMxNDg5</a>

AlexFür alle mit Spaß an Musikmachen und oder Schlagzeug: <a href="https://youtu.be/xBY2zO6E4kI" rel="nofollow noopener noreferrer" translate="no" target="_blank">https://youtu.be/xBY2zO6E4kI</a>Und natürlich dich <a href="https://troet.cafe/@Kegelrobbe" class="u-url mention" rel="nofollow noopener noreferrer" target="_blank">@Kegelrobbe</a> :).<a href="https://mastodon.de/tags/Musik" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Musik</a> <a href="https://mastodon.de/tags/StewartCopeland" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#StewartCopeland</a> <a href="https://mastodon.de/tags/ThePolice" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#ThePolice</a>

S★m V★rm★This was just fascinating <a href="https://fosstodon.org/tags/drums" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#drums</a> <a href="https://fosstodon.org/tags/music" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#music</a> <a href="https://fosstodon.org/tags/StewartCopeland" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#StewartCopeland</a> <a href="https://fosstodon.org/tags/ThePolice" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#ThePolice</a><a href="https://www.youtube.com/watch?v=xBY2zO6E4kI" rel="nofollow noopener noreferrer" translate="no" target="_blank">https://www.youtube.com/watch?v=xBY2zO6E4kI</a>

Boomerissimo.itUn salto dal parrucchiere cambia tutto<a href="https://mastodon.uno/tags/thepolice" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#thepolice</a> <a href="https://mastodon.uno/tags/sting" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#sting</a> <a href="https://mastodon.uno/tags/andysummers" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#andysummers</a> <a href="https://mastodon.uno/tags/stewartcopeland" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#stewartcopeland</a> <a href="https://mastodon.uno/tags/rock" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#rock</a> <a href="https://mastodon.uno/tags/thepoliceband" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#thepoliceband</a><a href="https://boomerissimo.it/2024/10/03/the-police-trasformati-da-una-gomma-miracoli-della-pubblicita/" rel="nofollow noopener noreferrer" translate="no" target="_blank">https://boomerissimo.it/2024/10/03/the-police-trasformati-da-una-gomma-miracoli-della-pubblicita/</a>

Dark Side of SynthThe Police Grooves & Fills | Stewart CopelandLegendary Stewart Copeland from The Police – live from the iconic Village Studios in Los Angeles!<a href="https://youtu.be/xBY2zO6E4kI?si=1TwUh24EXSKb1WpA" rel="nofollow noopener noreferrer" translate="no" target="_blank">https://youtu.be/xBY2zO6E4kI?si=1TwUh24EXSKb1WpA</a><a href="https://mastodon.social/tags/drums" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#drums</a> <a href="https://mastodon.social/tags/drumming" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#drumming</a> <a href="https://mastodon.social/tags/StewartCopeland" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#StewartCopeland</a> <a href="https://mastodon.social/tags/ThePolice" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#ThePolice</a> <a href="https://mastodon.social/tags/music" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#music</a> <a href="https://mastodon.social/tags/rock" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#rock</a> <a href="https://mastodon.social/tags/reggae" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#reggae</a> <a href="https://mastodon.social/tags/pop" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#pop</a> <a href="https://mastodon.social/tags/darksideofsynth" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#darksideofsynth</a>

Welcome to the BoomtownThis week’s <a href="https://mstdn.social/tags/80sSoundtrackSaturday" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#80sSoundtrackSaturday</a> is Stan Ridgway and Stewart Copeland with “Don’t Box Me In” (1983) from the Rumble Fish <a href="https://mstdn.social/tags/soundtrack" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#soundtrack</a>. <a href="https://mstdn.social/tags/StewartCopeland" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#StewartCopeland</a> <a href="https://mstdn.social/tags/StanRidgway" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#StanRidgway</a> <a href="https://mstdn.social/tags/80s" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#80s</a> <a href="https://mstdn.social/tags/80smusic" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#80smusic</a> <a href="https://mstdn.social/tags/80smovie" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#80smovie</a>

Pablonius MonkTwo new books: Stewart Copeland on The Police and Ann Powers on Joni MitchellStewart Copeland speaks to NPR's Leila Fadel about his memoir, Stewart Copeland's Police Diaries, which chronicles his time as a drummer for the legendary band.There's also a biography of Joni Mitchell's expansive career called Traveling.<a href="https://www.npr.org/2024/07/12/1196978399/nprs-book-of-the-day-stewart-copeland-joni-mitchell" rel="nofollow noopener noreferrer" translate="no" target="_blank">https://www.npr.org/2024/07/12/1196978399/nprs-book-of-the-day-stewart-copeland-joni-mitchell</a><a href="https://mastodon.social/tags/NPR" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#NPR</a> <a href="https://mastodon.social/tags/ThePolice" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#ThePolice</a> <a href="https://mastodon.social/tags/StewartCopeland" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#StewartCopeland</a> <a href="https://mastodon.social/tags/JoniMitchell" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#JoniMitchell</a> <a href="https://mastodon.social/tags/Music" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Music</a>

Berenixium TunesThe Equalizer - Carl Kinsman - <a href="https://ravenation.club/tags/SoundCloud" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#SoundCloud</a> <a href="https://ravenation.club/tags/Music" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Music</a> <a href="https://ravenation.club/tags/StewartCopeland" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#StewartCopeland</a> <a href="https://ravenation.club/tags/TheEqualizer" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#TheEqualizer</a> <a href="https://soundcloud.com/analogv/the-equalizer-theme-cover-by-carl-kinsman" rel="nofollow noopener noreferrer" translate="no" target="_blank">https://soundcloud.com/analogv/the-equalizer-theme-cover-by-carl-kinsman</a>

Welcome to the BoomtownThis week’s <a href="https://mstdn.social/tags/80sSoundtrackSaturday" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#80sSoundtrackSaturday</a> is from Stewart Copeland and Adam Ant with the title track to Out of Bounds (1986). <a href="https://mstdn.social/tags/AdamAnt" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#AdamAnt</a> <a href="https://mstdn.social/tags/StewartCopeland" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#StewartCopeland</a> <a href="https://mstdn.social/tags/80s" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#80s</a> <a href="https://mstdn.social/tags/80smusic" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#80smusic</a> <a href="https://mstdn.social/tags/80smovie" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#80smovie</a> <a href="https://mstdn.social/tags/soundtrack" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#soundtrack</a>

Peter :nonazis: :fckafd:Interessantes Interview mit <a href="https://nrw.social/tags/StewartCopeland" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#StewartCopeland</a> von <a href="https://nrw.social/tags/thepolice" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#thepolice</a> im <a href="https://nrw.social/tags/rollingstonemagazine" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#rollingstonemagazine</a> <a href="https://www.rollingstone.de/the-police-stewart-copeland-wir-hatten-kurze-haare-wir-waren-der-feind-2783351/" rel="nofollow noopener noreferrer" translate="no" target="_blank">https://www.rollingstone.de/the-police-stewart-copeland-wir-hatten-kurze-haare-wir-waren-der-feind-2783351/</a>

Flashback 80’s With PurpleHappy Birthday to Stewart Copeland born on this day in 1952<a href="https://mastodon.social/tags/StewartCopeland" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#StewartCopeland</a> <a href="https://mastodon.social/tags/ThePolice" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#ThePolice</a>

Chang TerhuneMan the fade-out of this is fucking amazing <a href="https://mastodon.social/tags/thepolice" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#thepolice</a> <a href="https://mastodon.social/tags/sting" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#sting</a> <a href="https://mastodon.social/tags/stewartcopeland" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#stewartcopeland</a> <a href="https://mastodon.social/tags/andysummers" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#andysummers</a><a href="https://music.youtube.com/watch?v=AbcHbAFxUHI&si=9qo1qUSzD6XbO841" rel="nofollow noopener noreferrer" translate="no" target="_blank">https://music.youtube.com/watch?v=AbcHbAFxUHI&si=9qo1qUSzD6XbO841</a>

binaryphileWhen I was much younger, I recall grooving to <a href="https://fosstodon.org/tags/StewartCopeland" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#StewartCopeland</a>'s <a href="https://fosstodon.org/tags/SpyroTheDragon" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#SpyroTheDragon</a> soundtrack while playing.Just bought the <a href="https://fosstodon.org/tags/NintendoSwitch" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#NintendoSwitch</a> remaster and now I'm lucky enough to groove to it again while I watch my daughter play. 🍀

🤘 The Metal Dog 🤘<a href="https://mastodon.social/tags/TheMetalDogArticleList" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#TheMetalDogArticleList</a> <a href="https://mastodon.social/tags/BraveWords" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#BraveWords</a> PROFESSOR OF ROCK Looks Back On THE POLICE's Breakthrough Success With Two Radio Unfriendly Songs; Video Interview With Drummer STEWART COPELAND Streaming<a href="https://bravewords.com/news/professor-of-rock-looks-back-on-the-police-s-breakthrough-success-with-two-radio-unfriendly-songs-video-interview-with-drummer-stewart-copeland-streaming" rel="nofollow noopener noreferrer" translate="no" target="_blank">https://bravewords.com/news/professor-of-rock-looks-back-on-the-police-s-breakthrough-success-with-two-radio-unfriendly-songs-video-interview-with-drummer-stewart-copeland-streaming</a> <a href="https://mastodon.social/tags/ThePolice" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#ThePolice</a> <a href="https://mastodon.social/tags/RadioUnfriendly" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#RadioUnfriendly</a> <a href="https://mastodon.social/tags/ProfessorofRock" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#ProfessorofRock</a> <a href="https://mastodon.social/tags/StewartCopeland" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#StewartCopeland</a> <a href="https://mastodon.social/tags/NewInterview" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#NewInterview</a> <a href="https://mastodon.social/tags/BreakthroughSuccess" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#BreakthroughSuccess</a> <a href="https://mastodon.social/tags/80sRock" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#80sRock</a>

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