Tuesday, 24 July 2012
86 Radioactive - Various Artists
Purchased : 30 April 1988
Tracks : D.I.S.C.O ( Ottawan) / Amigo ( Black Slate) / Johnny And Mary ( Robert Palmer) / Trouble (Gillan) / I Die You Die ( Gary Numan ) / Misunderstanding ( Genesis) / If It's Alright With You Baby ( Korgis) / The Whisper ( The Selecter) / Dancin ' On A Wire ( Surface Noise ) / Metropolis ( Gibson Brothers) / Feels Like I'm In Love ( Kelly Marie) / You're Lying ( Linx) / Use It Up Wear It Out ( Odyssey) / Enola Gay ( Orchestral Manoeuvres In The Dark ) / Lies ( Manfred Mann's Earth Band ) / Generals And Majors ( XTC ) / Paranoid ( Black Sabbath) / Unlock The Funk ( Locksmith) / You Gotta Be A Hustler ( Sue Wilkinson) / I Think It's Gonna Rain ( UB40)
After the 4 arrivals from Britannia it was back to the cassette sale at Save Records in Rochdale for what was very much a follow-up purchase to the LP covered in post 81. Again it was bought on my way up to Spotland for a coach to Scarborough for a meaningless end of season fixture which only appealed because it was our first visit there , Scarborough having become the first club to be automatically promoted from the Vauxhall Conference the previous May. Coincidentally I had acquired a giveaway "Walkman" from my mum's catalogue during the week so I didn't have to wait till getting home to play the tape much to my seating companion's silent but obvious irritation. There are no good memories of the day, the ground was nowhere near the beach and it was a wet day anyway, we lost 2-1 to an average side and the machine was such a shoddy pile of crud the batteries were exhausted after one play. I never used it again although got some mileage out of the headphones.
There was another problem in expecting to get the same Proustian rush from this one as "Night Moves". This was a Ronco compilation ( I remembered the ads for it on TV) of songs - not all hits despite the promise on the cover - from the second half of 1980. Now 1980 did ( and does ) hold some treasured memories but they're interpolated with much less happy events that cloud the picture unlike the overwhelmingly positive 1979 - the final disintegration of a valued but unsaveable friendship, being physically attacked after attending a "gig" by the school punk band, two family traumas that marred my relationship with my father for the rest of his life, the twin pressures of a burgeoning libido and the looming spectre of O Level exams the next year and a stupid practical joke that undid the good work of the previous three years among my adult friends.
In addition to that there were, as we'll see, some tracks on "Radioactive" that I absolutely loathed, nostalgia notwithstanding. 1980 was actually a great year in music which started with the 2-Tone scene at its zenith and ended with the New Romantics breaking big but you wouldn't necessarily pick that up from the eclectic selection here. Despite the cover and the "20 Electric Hits" tagline there's actually very little synthy stuff here. It's actually skewed towards dance music and there is a good reason for that. In June 1980 a Musician's Union strike took Top Of The Pops off the air for ten weeks. As a by-product the charts filled up with dance records which were less reliant on TV exposure ( The Modettes, Janis Ian and Bill Nelson were the most notable victims of the blackout ).
The LP gets off to a wretched start with Ottawan's excrutiating Euro-pap "D.I.S.C.O." , the year's Y Viva Espana bought by the chavs getting off the planes from Majorca. Only The Police and then Barbara Streisand kept it off the top spot. Ottawan were a French Boney M, a black male/female duo fronting the work of two white thirtysomething producers ( one of them the father of one of Daft Punk ) attended by the usual accusations that the young performers weren't actually on the record. The nationality of the writers is the only possible excuse for the terrible back of a fag packet lyrics but given that the number one spot had only recently been vacated by Bjorn Ulvaes's crowning glory The Winner Takes It All it's a pretty feeble one. The panpipes added to presumably give it a touch of class make it worse. Ottawan returned the following year with the near-identical "Hands Up" making number 3 then mercifully left us alone.
We had an even briefer acquaintance with Black Slate, a mainly British reggae outfit who normally made a living as a backing band for hire to visting Jamaican stars such as Ken Boothe and Dennis Brown. In 1980 they were signed up in their own right by Ensign Records and reached number 9 with the amicable "Amigo" ( clearly pronounced as Ohmigo by the singer ). It's a very simple statement of Rastafarian faith , that Jah will right the wrongs one has suffered on earth set to a lilting tune, totally in thrall to Marley but impossible to dislike. As with so many reggae artists who had a hit in the 70s and 80s, the follow-up ( the possibly superior "Boom Boom" ) failed to make the Top 40 and their association with Ensign lasted barely a year.
Then we have an all-time classic. "Johnny And Mary" poses two questions immediately. How could this stall at number 44 despite considerable radio support ( which continues to this day) ? And how could its writer churn out such unloveable dross in the second half of the decade ? It was the lead off single from Palmer's sixth album "Clues" and its electronic sound was influenced by the recent success of Gary Numan. Numan however could never have written the gorgeous aching melody or gradually built the song up from the brutalist sequencer at the beginning to the glorious over-lapping keyboard melodies at the end. The lyric is a startlingly mature look at a relationship where the woman has started to realise she's hooked up to a man who'll never achieve his unrealistic dreams sung by Palmer with amazing worldweary restraint, none of the gimmicky ocatave-leaping of the likes of "Some Guys Have All The Luck" ( an extremely poor cousin which nevertheless cracked the Top 20 for him 18 months later ). I seem to recall reading a suggestion that it was inspired by Hitler's relationship with Eva Braun of all things. It has been the victim of numerous pisspoor covers over the years but Palmer's version remains inviolate.
One of the less well-remembered features of the 1980 charts is how many heavy rock/metal acts started having hit singles whether from the so-called New Wave of British Heavy Metal (c/o Sounds magazine ) such as Saxon and Iron Maiden or older troopers like Judas Priest and the Deep Purple diaspora. From the latter came Gillan, less than modestly named after their ex-Purple frontman. He hadn't enjoyed much success for a number of years after quitting Purple either in music or business but things started looking up in 1979 when his new band signed for Virgin and their second album "Glory Road" yielded a number 14 hit with a cover of the Elvis Presley song "Trouble". I'm not sure what additions Gillan made in order to add his name to those of Leiber and Stoller as a co-composer. It's a raucous version with Bernie Torme's guitar channelling something of the spirit of punk to go with the song's Brando-esque anti-social swagger and future soundtrack ace Colin Towns making his presence felt on the keys. It was the first and biggest of a modest string of hits for Gillan over the next two years while the singer picked up some media work through being well-spoken and articulate. The band came to a sudden end in 1983 when Gillan accepted an invitation to join Black Sabbath as lead singer, still a running sore to his ex-band mates ( two of whom , Torme and gargantuan bald bassist John McCoy , played the pub across the road from me last year ).
Having already mentioned him above Gary Numan pops up next with his fifth Top 10 hit, "I Die You Die" , a less interesting song than its nihilistic title would suggest. It's actually a whiney protest at his treatment by the music press (shades of Stereophonics's Mr Writer ) with hints at retribution - "Now I have your names". The extended intro sets it up well with Dennis Haines's florid piano contrasting with Numan's abrasive guitar but the song proper is dull , the music sounding suspiciously like "Cars" speeded up a bit with a very pedestrian drum machine. In chart terms it's significant for setting the pattern that persisted for the rest of his career, of coming in high then dropping quickly out of sight, and would extend to virtually every established artist by the end of the decade. The days of kids going into Woolworth's and spending their pocket money on a semi-random selection of what was in the charts ( so that once you were in the Top 40 you generally stayed there for a few weeks ) were numbered.
Genesis follow with "Misunderstanding ", the third single from their "Duke" album which stalled at 42 so I was actually hearing it for the first time in '88. It's a Phil Collins solo composition and pretty recognisable as such. Originally destined for "Face Value" it covers the same territory of infidelity and betrayal with the added twist that the girl is so wrapped up with the other guy she stands poor Phil up without bothering to excuse herself. Based around a simple repeating five note piano riff the song is punchy, plaintive and economical , one of their best in fact so its relative failure is puzzling. It gets a sarky thumbs-up from Patrick Bateman in American Psycho but Ellis is being a bit harsh on this one.
Another surprising failure ( and a new listen for me ) was The Korgis's "If It's Alright With You Baby" which couldn't get any further than 56 despite following on from the Top 5 hit "Everybody's Got To Learn Sometimes" a stonewall classic that might have gone all the way with Top Of The Pops exposure. Ironically The Korgis were a duo arising from the demise of prog-rockers Stackridge who were often compared to Gabriel-era Genesis in their day. As The Korgis they specialised in lushly-textured synth ballads with ultra-saccharin vocals by James Warren ( anticipating Scritti Politti ) and the song here sticks to the template. Warren is pleading to be taken on by a girl who's been hurt by her ex amid rich harmonies and all the melody you could ask for but to no avail. A short, weaselly-looking thirtysomething, Warren was never going to be a star in the eighties but they remain an under-rated band.
The end of the halcyon days for Two Tone is marked by the inclusion of "The Whisper" the fourth and final hit for the much-maligned The Selecter which stalled at 36 . In the nineties it seemed like every time someone wanted to knock No Doubt they'd mention The Selecter as a by-word for second-rate ska. The group were the brainchild of Neol Davies a friend of Jerry Dammers who wanted his own band rather than join The Specials but they were doomed never to escape from the shadow of the latter band. The idea of Pauline Black , a black female lead vocalist who wouldn't allow her sexuality to be exploited was great but foundered on the fact she was a useless singer. Nor was Davies much cop as a songwriter and both failings are evident on "The Whisper" . Like its three predecessors it's a choppy ska romp held together by the organ of Desmond Brown with a chanted chorus affecting nonchalance at the prospect of being dumped on which Black approaches Toyah-esque distance from any recognisable key. It's not surprising the public lost interest and Brown and bass player Charley Anderson quit after this single becalming the band. Black made a better fist of things as an actress for a time but for the last 20 years has been mainly reliant on performing as The Selecter sometimes in conjunction with Davies but latterly in competition with him.
I can't think of too much to write about "Dancing On A Wire" , a mainly instrumental jazz-funk romp that got to number 59 from an act that don't currently have a wikipedia entry. Surface Noise seems to have been a nom de plume for Chris Palmer who ran a specialist record shop in Soho. I've no idea who made up the band but he gives them all a chance to shine with solos for the saxophonist , percussionist and synth player. It would have been better as a 100% instrumental because the lyrics of the periodically repeated verse rhyming wire with -you guessed it- desire and fire are terrible.
The first side ends with a non-hit from a band who seem to have been completely erased from history. "Metropolis" brought a sudden end to a run of four top 20 hits from Martinique's The Gibson Brothers. Being on Chris Blackwell's Island should have ensured them some kudos but they were also attached to the Vangarde-Klucher partnership responsible for Ottawan and that was fatal to their credibility. There was however no doubt about Alex Gibson's ownership of the remarkable bone-shaking bass voice on all their records and he's in fine form here warning of technological dystopia ( presumably inspired by the Fritz Lang film of the same name ). Musically the Latin-tinged disco of their hits is swapped for a piano-based glam rock stomp with echoes of Lieutenant Pigeon. That it didn't work commercially is stating the obvious and save for a minor hit in 83 the group fell right off the radar but it's still worth a listen.
The second side also gets off to a downer with the dismal "Feels Like I'm In Love" which got all the way to the top in September. Its singer Kelly Marie had achieved some success on the Continent after a winning run on Opportunity Knocks earned her a recording contract in 1976. This discofied cover of a Mungo Jerry B-side was a sleeper hit getting a toehold on the charts through strong sales in her native Scotland and then taking off. Everything about it is ugly from the dated Moroder-esque synth track, repeating the Anita Ward trick of using electronic percussion noises as a hook to Marie's piercing holler of a voice. Her own appearances, big of bone and nose in a variety of horrible jumpsuits and trying not to bump into the prancing gaylords beside her added to the pain. We can only be grateful that her days in the sun were brief and though she was clearly spiritual godmother to Sonia and The Reynolds Girls, SAW didn't try to revive her fortunes.
Next we're reminded that before his makeover into a Michael Jackson wannabe responsible for some of the most boring singles of the eighties and long before his ghastly wife appeared on our TV screens, David Grant was once part of a decent group. Linx seemed to be on a mission to prove that British funk and intelligent songwriting could go together and though "You're Lying" isn't their best song it got the ball rolling for them by reaching number 15. Musically it doesn't stray too far from Chic particularly Peter "Sketch" Martin's nimble bassline but the stinging lyric about deception and betrayal ( which could be in a romantic or business context ) and complex call-and-response vocal arrangement make it interesting.
The other number one on the LP is Odyssey's "Use It Up Wear It Out" which displaced ELO's (with Olivia Newton-John) "Xanadu" in July , a strange coincidence since both singles are a case of the artist's only chart topper coming with their worst record. Odyssey were a U.S. vocal trio comprising the Lopez sisters and a regularly substituted male accomplice. They were dependent on external songwriters but usually made good choices so I don't know what went wrong here. The lyric is a compilation of all the worst disco cliches - "shake your body down" "do it all night long" etc ( the very stuff Linx were trying to get away from ) set to a bubbling salsa percussion track with annoying whistles and even more aggravating weedy synth solo. I hated it then and still do now.
"Enola Gay" of course we've covered before right back in post 2, in fact it was the first song I wrote about on this blog so we move straight on to the non-hit "Lies" by Manfred Mann's Earth Band. Despite three big hits in the seventies the band couldn't get arrested in the following decade with TV, radio and the music press completely ignoring them. The song , unsubtly subtitled "Through The Eighties", came from thunderingly obscure ( then as now ) British bluesman Denny Newman and is a rather clumsy future shock warning along the lines of In The Year 2525 with direct quotes from Big Yellow Taxi and My Generation. The music is full on prog-rock with multiple mazy synth lines going off in all directions. Despite a good vocal from Chris Thompson it's not a comfortable listen.
"Generals And Majors" is another song we covered way back so it's on to "Paranoid" re-released on its tenth anniversary and a hit all over again although peaking ten places lower at number 14. Although often regarded as the ultimate headbangers anthem it's thoroughly untypical of metal, as ferocious and economical as any any punk single and sporting a lyric as dark and desperate as Joy Division albeit couched in the terms of a working class Brummie rather than an arty Mancunian desk jockey. I wouldn't imagine it was the cheapest track to licence so its appearance here is doubly odd.
A stylistic swerve takes us to the heavy funk of Locksmith's "Unlock The Funk" which just missed out on the Top 40 . Locksmith were a US outfit under the wings of jazz drummer Harvey Mason who'd worked with Herbie Hancock and was similarly interested in branching out into funk. Both the music and lyrics are heavily influenced by Parliament and with little melody in the track it's not of much interest to me.
The penultimate track is a curiosity. Sue Wilkinson's "You Gotta Be A Hustler" was performed, written and published by the young lady and sounds like it was recorded at home. Any admiration for her apparent self-sufficiency is tempered by the fact that Slade were heavily involved. It was released on Chas Chandler's Cheapskate label and Don Powell played the minimal percussion on the track. The song is best described as an anti-feminist anthem advising women to sleep around to advance delivered in appropriately breathy tones. It reached number 25 on the back of considerable support from Radio One's neanderthals Travis and Burnett. I actually bought it as a Christmas present for my friend Michael, the hint of naughtiness ( it was originally titled "You Gotta Be A Scrubber" ) being enough to interest 15-year old boys but it sounds pretty terrible now. Sue of course joined her soulmates Joy Sarney and Mer Wilson in One Hit Wonderdom. I recall a news story not long after where she had to fly over to Spain following her brother's untimely death there but can't recall any further details. She went on to work in TV production and apparently died of cancer in 2005.
The closing track is UB40's dreary version of Randy Newman's "I Think It's Going To Rain Today" a double A-side with "My Way Of Thinking" ( which got the radio play ) for their second single which peaked at number 6. You could say it's a song that suits a doleful treatment but it's still uninspired and Brian Travers's sax seems anxious to return to "Food For Thought". It's most significant for being the harbinger of what was to come from one of 1980's most exciting new bands.
The album's variable quality was reflected in its disappointing chart performance , peaking at number 13 and quickly disappearing. It's a compilation of highs and lows which sort of sums up 1980 itself for me.
Monday, 16 July 2012
85 Suzanne Vega - Suzanne Vega
Purchased : April 1988
Tracks : Cracking / Freeze Tag / Marlene On The Wall / Small Blue Thing / Straight Lines / Undertow / Some Journey / The Queen And The Soldier / Knight Moves / Neighbourhood Girls
This was the first of the regular purchases I had to make from Britannia - was it 3 or 6 a year ? I can't now remember.
Suzanne emerged from the Greenwich Village folk scene with this debut LP in 1985 and found seemingly instant fame particularly in this country where she was regarded as single-handedly resurrecting the acoustic singer-songwriter tradition of James Taylor and his ilk. Of course we already had Billy Bragg but he was too political and his singing voice too unmellifluous to really qualify. Suzanne never welcomed this idea , looking acutely uncomfortable when Terry Wogan crassly put it to her - why was he so bad on TV ? - on his chat show but it undoubtedly won her a lot of attention in the middle of the decade and propelled this LP into the album charts before any of her singles had become hits.
For a start there are no wholly acoustic tracks on this LP . There's quite a large supporting cast, the production isn't exactly minimalist and most of the tracks feature some synthesiser work. On the other hand Suzanne did write and play acoustic gutar on each track. Suzanne said her inspiration for the songs came partly from personal experience , partly from observation of others and partly from her imagination. Her voice is attractive but limited, occasionally impassioned but usually diffident and sometimes arch ( when she sounds very like Laurie Anderson ) .
Suzanne's lyrics are not always easy to interpret. I reckon I've got about half of the songs pinned down but I could be miles off on all of them. The opening track "Cracking" where Suzanne mainly speaks the lyric in a carefully neutral tone seems to be about emerging from a failed relationship into the cold day of renewed singlehood. There are plenty of icy metaphors and the whole first side has something of the chill of the New York winter about it. Like the majority of the tracks here there are no drums but Suzanne and her guitar are accompanied by Paul Dugan's understated bass, a simple counter-melody on synth and the odd electric guitar chord from Jon Gordon.
"Freeze Tag" links both the preceding track with a continuation of the winter theme and the one that follows with the line "I will be Dietrich" and seems to be about the uncertainty of whether to commit to a new relationship or stay in playful mode. The music reflects this with Vega and Frank Christian's guitars circling each other almost stumbling at times while Dugan's barely-there vertical bass holds the ring.
Then the decision is made with "Marlene On The Wall", the album's hit single ( at the second time of asking in April 1986 ) a self-conscious farewell to the single life signified by the picture of Marlene Dietrich on the wall. I'm still a bit dubious about songwriters ( going back to Kim Carnes I guess ) using classic film stars as metaphors or even adjectives but this is one of the more palatable examples. Here the rhythm section of Sue Evans on drums and Frank Gravis on bass first appear to give the track more muscle and Jon Gordon is allowed a brief electric solo in the middle eight. The lyric has a fair amount of sexual inuendo - "don't give away the goods too soon", "she records the rise and fall" but there are also disturbing hints of violence "the fingerprints on me from you" that anticipate Tori Amos.
They also lead onto "Small Blue Thing" the second , less succesful single which I actually prefer. A self-effacing confession of vulnerability sung with icy clarity it seemed the perfect soundtrack for the unusually harsh winter of 1986 but that wasn't enough to get it into the Top 40. The music is generally quiet ( though punctuated with sudden loud chords ) but full of foreboding particularly in the chorus where Evans's percussion chops in like threatening footsteps.
Then Suzanne abruptly toughens up and switches to third person narrative with "Straight Lines" the nearest thing to an upbeat rock track on the LP. It's the story of a woman giving up on the frustrated dreams of youth and embracing reality by the symbolic act of cutting her hair. The music switches between relatively in-your-face verses with the full rhythm section and a harsher tone both in Vega's voice and her stark three-note riff and softer synth-led chorus.
Side Two is more diffuse, the songs more self-contained. "Undertow" has the largest cast on the album with violin and cello added to give the chorus an extra emotional swell. It's a complex song with Suzanne reverting to first person and confessing to over-posssessiveness, masochism and anorexia in the course of the lyric. The statement line "I am friend to the undertow" is open to a number of interpretaions but may reflect her desire to be perceived as an outsider , a stance taken much more overtly on the standalone single "Left Of Centre" that followed this LP and perhaps necessary for an artist that straddled the line between the Smiths-loving student audience and the yuppie crowd. I imagine the whole song to be addressed to a new lover giving them a "warts and all " picture as a test.
"Some Journey" could have come from the pen of Donna Tartt's Richard Papen with his "fatal longing for the picturesque at all costs". It's about rejecting or at least feeling disappointed with the safe prosaic boy next door and longing for the wisp of exotic romance - the "eastbound train", the "lady fair all dressed in lace". The music is suitably restless with Jon Gordon's rhythm guitar scratching away beneath the surface sheen of Mark Isham's synth work. The song closes with a coda provided by Darol Anger's electric violin which immediately suggests The Waterboys.
"The Queen And The Soldier" is the longest track but one of the more disappointing. It's an extended fairy tale metaphor for a battle of wills in a relationship that suggests a familiarity with the works of Leonard Cohen. It's noteworthy that Suzanne's male soldier is brave and stoic while the queen is capricious and immature but otherwise it doesn't have anything really interesting to say. Suzanne's guitar is abetted by Steve Addabo's 12-string and C P Roth's organ and piano to fill out the sound but it's just a bit too long and there's no chorus.
"Knight Moves" is another challenging song to interpret although Suzanne has said that the title refers to a male acquaintance whose life progressed in the non-linear fashion of the knight on a chess board, the jerky rhythm of the verses reinforcing this idea. The bulk of the lyric seems to be about a sudden discovery that she's not the only woman in her lover's life and the delivery switches between anger and sorrow. The last verse is pretty incomprehensible but doesn't spoil the song.
That just leaves "Neighbourhood Girls" which has an atypical jazzy feel and slide guitar from Frank Christian suggestive of Steely Dan. The lyric recited in Laurie Anderson fashion initially suggests it's about prostitution but later verses suggests it's more about the sort of restless bohemian who has to leave their neighbourhood to find themselves with Suzanne as fascinated observer regretting the departure. It's not my cup of tea musically but rounds the album off on an interesting note.
We'll be meeting Suzanne again but for now this was a very assured and still impressive debut.
Wednesday, 4 July 2012
84 Every Breath You Take The Singles - The Police
Purchased : April 1988
Tracks : Roxanne / Can't Stand Losing You / Message In A Bottle / Walking On The Moon / Don't Stand So Close To Me 86 / De Doo Doo Doo De Da Da Da / Every Little Thing She Does Is Magic / Invisible Sun / Spirits In The Material World / Every Breath You Take / King Of Pain / Wrapped Around Your Finger
This was the third album bought in Britannia's introductory offer.
I had been waiting for a Police compilation for some time before this came out in 1986. They always had a reputation for putting out dodgy albums half comprised of dross written by either of Andy Summers or Stewart Copeland and when I borrowed a tape of "Regatta De Blanc" during my university days I heard it for myself. So a compilation of their mostly excellent singles was irresistible.
This was put out when the band were on their last legs. After completing promotional duties for his decent but not as successful as expected solo LP The Dream Of The Blue Turtles Sting reunited with the other guys. The original idea was to re-record all their old hits but after subjecting "Don't Stand So Close To Me" to this treatment the idea was thankfully abandoned and the other songs left as they were. Without formally confirming their dissolution the band then went their seperate ways for the next 20 years.
The album is arranged in rough chronological order i.e the singles released from their last two LPs have been shuffled slightly but don't overlap. For capacity reasons "Fall Out" , "So Lonely", "Bed's Too Big Without You" and "Synchronicity II" are omitted. However having 6 songs on each side still means that the sound is compressed - this is one of those LPs that you're always having to turn up.
I've always been rather dismayed by the visceral hatred some hold for the band ; this re-surfaced when the band's number ones were discussed on Popular. Taking their cue from Peelie ( did he ever explain his dislike of the group ? ) their detractors see them as the "anti-punks", the great betrayers of the New Wave who took the sound of the underground back into the stadiums and the Billboard charts. Their ages ( especially Summers ) , musicianship and the Copelands' CIA connections are also held against them.
If you've read some of the earlier posts you will have noted that 1979 was a special time for me so it would be hard to improve on the opening quartet of tracks which were all hits that year ( although the first two were re-releases from 1978).
The album naturally starts with "Roxanne" their breakthrough hit in May 1979 after a string of flops. I must confess to not quite getting it at the time but it sounds pretty classic now. All the trademarks of their early sound are in place , the sparse staccato guitar jabs, simple bass lines, off-centre drumming somewhere between reggae and rock , that instantly recognisable rasping yowl of a voice , the odd glitch left in and acres of space emphasised by the tango rhythm with its dramatic pauses. The song is a plea from a lovesick man to a prostitute to give up and settle down with him. It was apparently inspired by the whores around the band's hotel when they played Paris but it's notable that fellow Geordies Mark Knopfler and Neil Tennant have also written songs about the oldest profession. The revved up chorus owes something to punk but it's the stark minimalist verses that make the song.
It was the second re-release from their "Outlandos D'Amour" LP, "I Can't Stand Losing You" that established them as a major chart force by peaking at number two in July. The song is written from the point of view of a loser trying the ultimate emotional blackmail on his ex by threatening suicide. I thought it was the most exciting record I'd heard in years with the taut verses leading to a chorus which if anything notches the tension up even higher. The production is razor-sharp and Summers switches between skank and power-chording until the last verse when he drops out altogether to be replaced by a single ominous synth chord.
It was then a near-formality that their first "new" single of the year would get to number one in September, a strong contender for my favourite number one of all time. "Message In A Bottle" brings back fond memories of amusingly earnest playground discussions about whether they were punk or mod ( Sting's appearance in the then-current Quadrophenia muddied the water on this point ) among the badge-sporting brigade. The song uses an extended shipwreck metaphor to describe the pain of loneliness and the revelation of the third verse that there are millions of other sufferers predicates the growth in single-person households in the decades to follow. Summers drops the skanking for ringing arpeggios to produce that killer tumbling riff that introduces the song and then augments the chilling "Sending out an S.O.S." mantra at the end with brief but lyrical soloing.
The follow-up, "Walking On The Moon" in December also got to number one, albeit briefly before it was knocked aside by Another Brick In The Wall. It's their most overtly reggae single and even 30+ years on seems a weird song to top the charts with its airy sparseness , a drum track consisting almost entirely of hi-hat and the song's dissolution into an echo-laden mantra for the last minute. Perhaps mindful that the public would only accept so many songs about loneliness and desperation from one of the world's best looking men, Sting writes a happy song about the sensation of weightlessness experienced in young love with a chorus ( sung in a dodgy Jamaican accent ) celebrating irresponsibility. While not being my favourite single of theirs it stands alongside anything from Unknown Pleasures as illustrating the post-punk experimentation of the time.
The reverie is then rudely interrupted by the arrival of "Don't Stand So Close To Me 86" their re-recording of their biggest hit about a teacher's affair with a schoolgirl from the summer of 1980. After the previous track it's a really unwelcome jolt to hear the fruit of the band's collaboration with the king of 80s over-production Laurie Latham. The original sinister synth intro is discarded in favour of a grinding guitar sounding like The Pyschedelic Furs before a brief interlude with ticking clock that sounds suspiciously like Sting's solo hit Russians and then the song finally begins. Despite the slowed-down tempo and heartbreakingly pedestrian drum track ( Copeland disowned the record almost immediately after release ) the verses survive relatively unscathed but the chorus is absolutely butchered. It sounds like there was a deliberate intention to drain every last vestige of melody and the result is excrutiating. Oh and that awful line about Nabokov remains, indeed emphasised by the insertion of the word "famous"
The original song was the lead single for the third album "Zenyatta Mondatta" a painfully flimsy collection ( I'm looking forward to it cropping up on Then Play Long ) which illustrates the point that bands tend to produce their poorest work when at the peak of their fame (see also Prince Charming , Monster, Stay On These Roads, Seven And The Ragged Tiger , Be Here Now ). The second single from it was the much-derided "De Do Do De Da Da Da", in truth a fairly thoughtful song about the power of words with the chorus as antidote but the message didn't get through. It didn't help that the music seemed lightweight too, its mid-tempo chug disappointing despite some nice clipped rhythm guitar from Summers.The single also clipped their commercial wings to some extent by failing to get past number five in the Christmas chart.
Side Two has three tracks each from their latter two LPs but not quite in release order. "Every Little Thing She Does Is Magic" their fourth and probably least-remembered number one was the second single released from "Ghost In The Machine " in October 1981. The album saw a considerable broadening out of the sound with much more keyboard evident to the distress of Summers . The single was actually an old song re-worked and its romantic nature is at odds with the political and philosophical concerns of the rest of that LP . It's about a man hankering after a girl who he feels is out of his league. It follows a familiar template of broody verses breaking into an expansive chorus this time a calypso perhaps influenced by being recorded in Montserrat. It's a decent song but there's an air of forced jollity about it strengthened by the knowledge that the synth and piano parts by Jean Roussell were added to the track despite opposition from Summers and Copeland.
The first single from the LP in the UK was "Invisible Sun" in September 1981 which did direct battle with Sting's successor as teen pin-up Adam Ant's Prince Charming and lost, in part due to a BBC ban on its video for incorporating footage of the Northern Ireland Troubles a topic never more sensitive than in 1981 following the death of Bobby Sands MP.
The song's lyrics contain no geographical or historical reference to Ulster but its pondering of what enables people to carry on living in hopelessly bleak environments was obviously applicable there. It's actually one of their best singles with a superb production from the band and Hugh Padgham setting a dehumanised droning Sting vocal against an industrial throbbing synthesiser. Summers is appeased by being allowed to lay down some coruscating guitar solos after the second chorus and at song's end.
The third single ( released in December before " ...Magic" had left the charts ) was "Spirits In The Material World" an under-rated song which for me captures what was a bleak time both personally and politically. My last remaining close friend had just abruptly terminated our connection ( see the 1982 posts for more details ) leaving a void which has perhaps never been fully filled and I felt something like a ghost forced to live on in a world which no longer seemed to have a place for me. Sting was actually influenced by the rather pessimistic philosophy of Arthur Koestler that destructive tendencies in the brain could not be overcome though the chorus at least seems to be a defiant rejection of this idea. The arrangement is very complex and saw huge disagreement between Summers and Sting with the latter seemingly wanting to erase his bandmate from the track altogether by over-dubbing his guitar parts with synth. Sting also plays the sax on this ska-influenced track. Excepting the limited edition "Six Pack" which was allowed to chart in 1980 and the re-release of debut thrash "Fall Out" it was the first Police single to fall short of the Top 10 since "Roxanne" but the compressed release schedule was probably to blame.
There was a performance of "Spirits ..." for Swap Shop - I don't think it's on youtube yet - which captured the spirit of the band at the time. Only Copeland made any attempt to disguise the miming; Summers strummed the synth parts on what looked like a toy gutar while Sting stood stock still at the mike without touching the bass slung round his shoulders. It began to look unlikely that they would make another album together as Sting pursued his acting career and the other two began more leftfield musical projects but they duly regrouped for the "Synchronicity" album in 1983 and that provides the final three tracks here.
Summers seemed to have beaten back the advance of the synths and "Every Breath You Take" is based on his riff with strings and piano discreetly filling in the spaces. As usual with such megahits I'm not going to waste much time on trying to dissect it. . As has been well established it's a sinister song about obsession and stalking rather than the love song its dimmer champions take it to be and provided the group with their last valedictory number one in May 1983.
"King Of Pain" the fourth release from the LP was the last hit of the group's original lifespan reaching number 17 in January 1984. Its release was probably an A & M decision as no video was made for it. It's a curiously unsatisfying song with a very bleak lyric stringing together disturbing images from legend and the natural world and an interesting arrangement with Copeland's marimba and Summers convincing impersonation of The Edge.
It should be a classic but it isn't and I think it's the weak chorus that lets it down.
The LP concludes with the mellow but haunting tones of "Wrapped Around Your Finger" a dense allegorical song about a relationship where the balance of power eventually shifts illustrated by the gradual rise in tempo in the last verse and the inversion to " You'll be wrapped around my finger " in the ensuing chorus. Summers again seems to have been relegated to a bit part with Sting's keyboards playing the main riffs. Released just after I left school in 1983 it reached number 7 its sales perhaps depressed by the album's recent release.
This compilation itself reached number one suggesting that other people had been biding their time for it as well . It could have been a bit better but remains a fitting epitaph to a great group.
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