CMC Volume 12 - Undercover

UNDERCOVER

CMC Volume 12 – September 2006

Songs of The Police that you may not know (other than perhaps Mighty Tom).

I believe it was inevitable that one of us would produce a collection that might be considered a retrospective. My latest collection isn’t really intended as a retrospective, a greatest hits, or anything other than a bunch of songs by the same artist. I did intend these songs, as the title of the collection suggests, to be from The Police catalog of lesser known songs, hence Undercover. They are certainly not the greatest hits of The Police. You know those songs. The Police were arguably the most popular band of the early 80’s, and their album Synchronicity spawned more radio hits than you can count. None of these songs comes from that album. These songs come from all the albums that proceeded Synchronicity, and the songs herein are songs from those albums that I doubt ever got airplay, and so presumably are not well known. But they are great, or fun, or both.

The Police

You can read all you might ever want to know at Allmusic. For me, The Police were perhaps the first group that I got into more than from listening to the radio or the albums that my family had. My brother Tom was a huge fan of The Police and my interest bloomed as a result of the tapes he gave me. The first CD I ever bought (in 1989, along with my Sharp cd boombox) was Outlandos d’Amour, their first album. It was on sale at Kmart for $9.99, where I bought aforementioned boombox.

More than nostalgic, for me they also represent a high level of the music that I am drawn to most. As a pop/rock (no not the exploding candy) band they bring everything to the table: excellent musicianship and excellent lyrics tied to an undeniable pop aesthetic. They were experimental, though not in the same way that The Beatles were. They were really a sort-of jazz combo that portrayed themselves as a reggae punk group. Over the years, they became less punk and less reggae, evolving into something a bit more refined and probably more Sting-ey.

The enjoyed some interesting successes, winning Grammys for Best Rock Instrumental twice, a category I believe has long been supplanted by Hip Hop or Latin categories. They were as big as a band can be when they exploded, a victim seemingly of Sting’s vast ego. He went on and created a fair amount of really good music himself, though he has becoming more and more boring over the years, in my opinion. The other two did their own thing and I believe they have gotten over hating each other, for what little that really matters. At Live Aid in 1985 they performed immediately before U2, symbolically handing the baton to the next biggest band in the world.

But on to the good stuff….

The Band

Sting (Gordon Sumner) – bass (often upright), vocals

Andy Summers – guitar, vocals

Stewart Copeland – drums, vocals

The Songs

Track One

“Be My Girl – Sally” from Outlandos d’Amour (1978)

I’m not entirely certain this is even really a song. This is very much an Andy Summers track, possibly part of a song that never really got fleshed out. It’s pretty much a chorus and a spoken word piece about a blow-up sex doll followed by the chorus again. Funny, a novelty, and showing them at their quirkiest. Imagine Sting being that silly today. Also notice the funny scream at the end which very much matches one found in the song Synchronicity II from 5 years later (another suburban family morning….in a cottage on the shore of a big Scottish lake…..packed like lemmings into shiny metal boxes….you know the one).

I was blue and lonely, I couldn't sleep a wink
And I could only get unconscious if I'd had to much to drink.
There was somehow, something wrong somewhere, and each day seemed grey and dead
The seeds of desperation were growing in my head.
I needed inspiration, a brand new start in life,
Somewhere to place affection, but I didn't want a wife.
And then by lucky chance I saw [in] a special magazine
An ad. that was unusual, the like I'd never seen,
"Experience something different with our new imported toy,
She's loving, warm, inflatible and a guarantee of joy."
She came all wrapped in cardboard, all pink and shrivelled down
A breath of air was all she needed to make her lose that frown.
I took her to the bedroom and pumped her with some life,
And later in a moment that girl became my wife.
And so I sit her in the corner and sometimes stroke her hair
And when I'm feeling naughty I blow her up with air
She's cuddly and she's bouncy, she's like a rubber ball,
I bounce her in the kitchen and I bounce her in the hall.
[And now my life is different since Sally came my way]
I wake up [in the] morning and have her on a tray
She's everything they say she was and I wear a permanent grin,
And I only have to worry in case my girl wears pins.

Track Two

“So Lonely” from Outlandos d’Amour (1978)

This is a song much more illustrative of their skills, though still from their formative years. Some great lyrics throughout, and some very tight and excellent playing. Stewart Copeland was the master of the high hat, though other songs in this collection will show that off even more, and in addition to that he played exceedingly tight across the entire drum kit. The guitar in this song has sort of a jazz guitar sound though applied in with a pop sensibility. Sting’s bass seems to just be keeping it all afloat; letting the other two carry the interest while he sings. Not sure who’s playing harmonica.

Well someone told me yesterday
That when you throw your love away
You act as if you don't care
You look as if you're going somewhere

But I just can't convince myself
I couldn't live with no one else
And I can only play that part
And sit and nurse my broken heart

So lonely

Now no one's knocked upon my door
For a thousand years or more
All made up and nowhere to go
Welcome to this one man show

Just take a seat they're always free
No surprise no mystery
In this theatre that I call my soul
I always play the starring role

So lonely

(guitar solo)

So lonely

Lonely, I'm so lonely
I feel so alone
I feel low
I feel so
Feel so low
I feel low, low
I feel low, low, low
I feel low, low, low
I feel low, low, low
I feel low, low, low
I feel low, low, low
Low, I feel low
I feel low
I feel low
I feel so lonely
I feel so lonely
I feel so lonely, lonely, lonely, lone
Lonely, lone
I feel so alone, yeah

So lonely...

Track Three

“Can’t Stand Losing You” from Outlandos d’Amour (1978)

A song exhibiting their undeniable reggae inspiration. It’s a song that you may know, though it is far less popular than the true hit from this album – Roxanne. I love the interplay between the bass guitar and drums at the beginning. Again, tight drumming and playing in general throughout. Some great lyrics too in the verses, though the ‘I Can’ts’ may get on your nerves. The bridge sections is what a lot of their instrumental pieces sounded like, however you may describe it.

I've called you so many times today
And I guess it's all true what your girlfriends say
That you don't ever want to see me again
And your brother's gonna kill me and he's six feet ten
I guess you'd call it cowardice
But I'm not prepared to go on like this

[I can't, I can't
I can't stand losing
I can't, I can't
I can't stand losing
I can't, I can't
I can't]
I can't stand losing you
[I can't stand losing you
I can't stand losing you
I can't stand losing you]

I see you've sent my letters back
And my LP records and they're all scratched
I can't see the point in another day
When nobody listens to a word I say
You can call it lack of confidence
But to carry on living doesn't make no sense

[I can't, I can't
I can't stand losing
I can't, I can't
I can't stand losing
I can't, I can't
I can't stand losing
I can't, I can't
I can't stand losing
I can't, I can't
I can't stand losing
I can't, I can't
I can't stand losing]

I guess this is our last goodbye
And you don't care so I won't cry
But you'll be sorry when I'm dead
And all this guilt will be on your head
I guess you'd call it suicide
But I'm too full to swallow my pride

[I can't, I can't
I can't stand losing...]

Track Four

“Regatta de Blanc” from Regatta de Blanc (1979)

After kicking off their second album with “Message in a Bottle” they hit you with this, a quasi-instrumental jam filled with more crisp drumming and some spacey layered guitar. The phrase “Regatta de Blanc” was intended as a loose translation of White Reggae, though what it has to do with reggae I don’t pretend to grasp. Sting sings several Spanish phrases before things get going (marimba, arriba, don? cabeza). It’s pretty much a spirited romp. And they got a Grammy for this.

Track Five

“The Bed’s Too Big Without You” from Regatta de Blanc (1979)

I love the sentiment of this song. A great idea, namely that life just isn’t the same when she’s gone, no matter how hard he tries, and pulled off in some clever ways. All he made was one mistake, and now he’s alone, making love to his pillow.

There’s a bit of reggae guitar in this one too, though there’s enough other stuff going on that it allows the other flavors to mix. The drumming throughout is great, and the funky bass guitar and drum “solo” is quite tasty.

Interesting how, even with only three instruments, they often let the bass guitar go silent for stretches. And the bass guitar part changes significantly from part to part.

Bed's too big without you
Cold wind blows right thru' my open door
I can't sleep with your memory
Dreaming dreams of what used to be

When she left I was cold inside
That look on my face was just pride
No regrets no love no tears
Living on my own was the least of my fears

Bed's too big without you
The bed's too big without you
The bed's too big
Without you

Since that day when you'd gone
Just had too [sic] carry on
I get thru' day but late at night
Made love to my pillow but it didn't feel right

Every day, just the same
Old rules for the same old game
All I gained was heartache
All I made was one mistake

Now the bed's too big without you
The bed's too big without you
The bed's too big
Without you

Bed's too big without you
The bed's too big without you
The bed's too big without you
Without you
Without you

Track 6

“Bring On the Night” from Regatta de Blanc (1979)

One of my favorite Police songs of all time. The combination of the lyrics and the overall feel of the song are just magical for me. Some great guitar parts, including the reggae guitar in the chorus, but especially the guitar part in the verse. Almost nothing but high hat throughout, with just the occasional tom and cymbal thrown in as it winds up, and the bass guitar generally providing a rough backbone for it all to hang on.

The afternoon has gently passed me by
The evening spreads its sail against the sky
Waiting for tomorrow
Just another day
God bid yesterday goodbye

Bring on the night
I couldn't spend another hour of daylight
Bring on the night
I couldn't stand another hour of daylight

The future is but a question mark
Hangs above my head there in the dark
Can't see for the brightness
Is staring me blind
God bid yesterday goodbye

Bring on the night
I couldn't spend another hour of daylight
Bring on the night
I couldn't stand another hour of daylight

Bring on the night
I couldn't spend another hour of daylight
Bring on the night
I couldn't stand another hour of daylight

I couldn't stand another hour of daylight

Track Seven

“Man in a Suitcase” from Zenyatta Mondatta (1980)

A kind-of punk song with the reggae guitar, finally putting together the pieces of what they had promised. The punk has been slowed down, but the brevity of the song, and the repetition of verses makes it seem punk to me. The background airport sounds remind me of the voice from the beginning of Jane’s Addiction Stop.

This is from an album that spawned Don’t Stand So Close to Me and De Do Do Do De Da Da Da. The first of those is the only pop song that makes good use of a Nabokov/Lolita reference that I know of.

I'd invite you back to my place
It's only mine because it holds my suitcase
It looks home to me alright
But it's a hundred miles from yesterday night

Must I be the man in a suitcase
Is it me, the man with the stranger's face
Must I be the man in a suitcase
Is it me, the man with the stranger's face

Another key for my collection
For security I race for my connection
Bird in a flying cage you'll never get to know me well
The world's my oyster a hotel room's a prison cell

Must I be the man in a suitcase
Is it me, the man with the stranger's face
Must I be the man in a suitcase
Is it me, the man with the stranger's face

I'd invite you back to my place
It's only mine because it hold my suitcase
It looks like home to me alright
But it's a hundred miles from yesterday night

Track Eight

“Canary in a Coalmine” from Zenyatta Mondatta (1980)

Great energy in this one, with great lyrics with some great guitar and bass.

First to fall over when the atmosphere is less than perfect
Your sensibilities are shaken by the slightest defect
You live you life like a canary in a coalmine
You get so dizzy even walking in a straight line

You say you want to spend the winter in Firenza
You're so afraid to catch a dose of influenza
You live your life like a canary in a coalmine
You get so dizzy even walking in a straight line

Canary in a coalmine
Canary in a coalmine
Canary in a coalmine

Now if I tell you that you suffer from delusions
You pay your analyst to reach the same conclusions
You live your life like a canary in a coalmine
You get so dizzy even walking in a straight line

Canary in a coalmine
Canary in a coalmine
Canary in a coalmine

First to fall over when the atmosphere is less than perfect
Your sensibilities are shaken by the slightest defect
You live your life like a canary in a coalmine
You get so dizzy even walking in a straight line

Canary in a coalmine...

Track Nine

“Secret Journey” from Ghost in the Machine (1981)

Ghost in the Machine reduced the reggae influences and got deeper lyrically and more synthesized than their previous albums. It included great songs like ‘Every Little Thing She Does is Magic”, “Invisible Sun”, and “Spirits in the Material World” but nearly every other song on the album is excellent too, even without radio airplay.

This particular song could be seen as the precursor to Wrapped Around Your Finger, with some very similar themes. More complete use of the drum kit, including cowbell, and guitars that seem to fill up all the spaces in between.

Upon a secret journey
I met a holy man
His blindness was his wisdom
I'm such a lonely man

And as the world was turning
It rolled itself in pain
This does not seem to touch you
He pointed to the rain
.
You will see light in the darkness
You will make some sense of this
And when you've made your secret journey
You will find the love you miss

And on the days that followed
I listened to his words
I strained to understand him
I chased his thoughts like birds
.
You will see light in the darkness
You will make some sense of this
And when you've made your secret journey
You will find the love you miss
.
You will see light in the darkness
You will make some sense of this
You will see joy in this sadness
You will find this love you miss

And when you've made your secret journey
You will be a holy man

Track Ten

“Hungry For You (J'aurais Toujours Faim De Toi)” from Ghost in the Machine (1981)

It may have made more sense to have this as track 9, with Secret Journey having more of that album ending gravity, but as I started with something unexpected, I figured I would end similarly.

Sting getting his France on with some sax thrown in for good measure.

Rien de dormier cette nuit
Je veux de toi
Jusque'a` ce que je sois sec
Mais nos corps sont tout mouille's
Comple'tement couvert de sueur
Nous nous noyons dans la mare'e
Je n'ai aucun de'sir
Tu as ravage' mon coeur
Et mois j'ai bu ton sang

Mais non pouvons faire ce que nous voulons
J'aurais toujours faim de toi
Mais non pouvons faire ce que nous voulons
J'aurais toujours faim de toi

Tout le monde est a` moi
Je l'ai gagne' dans un jeu de cartes
Et maintenant je m'en fous
C'e'tait gagne' trop facilement
Ca y est alors ma belle trai^tresse
Il faut que je bru^le de jalousie
Tu as ravage' mon coeur
Et moi j'ai bu ton sang

Mais non pouvons faire ce que nous voulons
J'aurais toujours faim de toi
Mais non pouvons faire ce que nous voulons
J'aurais toujours faim de toi

Mais non pouvons faire ce que nous voulons
J'aurais toujours faim de toi
Mais non pouvons faire ce que nous voulons
J'aurais toujours faim de toi

No matter what I do
I'm still hungry for you
No matter what I do
I'm still hungry for you

Rien de dormir cette nuit
Je veux de toi jusque'a` ce que je sois sec
Mais nos corps sont tout mouille's
Comple'tement couvert de sueur

[Hungry for you, I'm hungry for you, I'm still hungry for you...

So that’s it. You knew their greatest hits and now you know a bit more, hopefully creating a deeper appreciation across their brief but excellent catalog.