Outlandos D'Amour [Digipak]

Police - Outlandos D'Amour [Digipak]

Outlandos D'Amour [Digipak]
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CD Details

Artist: Police
Edition: Music CD
Format: Original recording reissued, Original recording remastered
CD Release Date: 2003-03-04
Music Label: Interscope Records
Soundtracks:
  1. Next To You
  2. So Lonely
  3. Roxanne
  4. Hole In My Life
  5. Peanuts
  6. Can't Stand Losing You
  7. Truth Hits Everybody
  8. Born In The 50's
  9. Be My Girl - Sally
  10. Masoko Tanga

Music reviews of Outlandos D'Amour [Digipak]

Music Review: A Foundation Album for a Hall of Fame Career
Rating: 5 Stars

It is hard to believe that a band can become a Hall of Fame band with just five studio albums to their name, but the Police are such a band. This is an honor that the Police are most worthy of. The Police were sort of an off-shoot of the Punk Rock movement of the late 1970s. The band would eventually encompass other influences - namely Classic Rock, Reggae, Jazz, Dance, and even Folk. For the most part, it is fair to say there was a Punk Rock and Reggae influence on the band for their first two albums" - "Outlandos D'Amour" and "Regatta de Blanc". Both of these albums were terrific efforts - mostly because The Police used applied their unique style to a formula that worked. The album that would start it all would be their debut, "Outlandos D'Amour". This album would lay the foundation for what would become a worthy Hall of Fame career.

One thing where the Police really show their potential is through their instrumentation. While many identify the band with Sting's distinctive voice, he often goes underrated for being an outstanding Bass player. While Sting's Bass provides a lot of the nucleus that will drive the Police's sound, it is important to know that Andy Summers and Stewart Copeland play equally key roles on the band's sound. Andy Summers provides the right chords from an Electric Guitar standpoint when needed while Stewart Copeland shows why he is the best in the business.

While this first album does have a "raw" sound, it is the contributions of all three members that really make the Police something special. Here is a brief synopsis of each of the tracks.

"Next to You": This is classic sounding Punk song. This song deals with loneliness - a theme heard on several songs on this album. It has a very raw sound to it, but it is what gives this song its charm. We immediately hear good synchronization between Sting's Bass and Copeland's drumming. Summers' guitar work midway through the song provides a perfect bridge.

"So Lonely": This song was a song that has remained a classic throughout the Police's career. Again this has a raw sound. From the title, it clearly deals with the theme of loneliness. The main verses have a slight Reggae feel to it. Summers' guitar is flawless on the chorus. Copeland's drumming is outstanding throughout - especially as it builds up toward the finale of the song.

"Roxanne": The only thing negative about this song is that it has been overplayed way too much. While Sting's vocals are the highlight, Summers' delivers an Reggae-styled guitar chords throughout the song giving it a nice signature.

"Hole in My Heart": This song takes a little getting used to. This is another raw song shows another nice fusion between Punk and Reggae. Like "So Lonely", this song deals with the topic of loneliness and like "So Lonely", this song has a nice build up at the end.

"Peanuts": Best song on the album and perhaps one of the best Police songs ever. This is a complete effort by the whole band. The band stays true to their Punk influences on this one as it takes aim at the gossip that infiltrates the media. The horn sounds at the end really give this song its own signature. While Sting is the primary songwriter on all ten tracks, this is the one track that Stewart Copeland contributes to.

"Can't Stand Losing You": We hear the cross between Reggae and Punk in this song. This song also hits the loneliness theme. This song also has a very raw feel. Like "So Lonely", this has gone on to become a classic. While this is a very good song, this song when done live is even better.

"Truth Hits Everybody": This song has a Punk feel to it. This song is underrated as it is a complete effort by the band - from Sting's vocals, to Andy Summers' spot-on guitar work to some ferocious drumming by Stewart Copeland.

"Born in the 50s": While the title suggests talking about the 50s, it really talks more about life in the 1960s (i.e. growing up in the 60s, one was born in the 50s). There are references to the Kennedy Assassination, the Communists, Nuclear War, and the Beatles. I've heard references that this song drags a bit. I tend to agree to some extent with those references, but this is still not a bad tack.

"Be My Girl - Sally": While Sting is the primary songwriter on all ten tracks, this is the one track that Andy Summers has a contribution. The song is one of the most unique ones in the Police catalog. It combines Punk sound with a spoken poem read by Andy Summers embedded midway through the song. Despite the "raw" sound of the musical part, there is a good segue between the music and spoken word. This is another underrated track. It is innovative songs like this that helped set the foundation for the Police's Hall of Fame career.

"Masoko Tanga": A lot of people forget that the Police have done several instrumentals throughout their career. Whether this song classifies as a true instrumental is still up for debate as Sting delivers some Caribbean-Sounding reggae words throughout the song. Sting also demonstrates some of his strongest Bass work on the album in this song. This song really picks up midway through the song. Again - another underrated track by the Police.

One thing worth noting about this album being available in a "digipak" - I am not a big fan of it. I still prefer the classic clear jewel case for durability as the "digipak"s tend to wear very quickly. Overall, this is a very good album. It has one of the most unique sounds and clearly sets a foundation for the next four albums made by the Police. Highly recommended.
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Description of Outlandos D'Amour [Digipak]

Limited Edition Japanese pressing of this album comes housed in a miniature LP sleeve. 2007.
Outlandos D'Amour is a product of the late-'70s British punk scene, but the Police were never really punks. The album lacks the class-conscious awareness that fueled early Clash albums or the angry, antimusical nihilism of the Sex Pistols. The material, although constructed with guitar, bass, and drums, often at tempos that would never be matched in their later studio recordings, stands apart. Andy Summers' guitar textures are here more traditional and without their later ethereal quality, but his chord choices on "Roxanne," for example, or his expansive solo lines on "So Lonely" would have baffled most of the burgeoning punk guitar school. So, too, would Stewart Copeland's drumming, enriched as it is by a multinational upbringing and stage experience in the last gasps of the progressive-rock movement. The rhythms of reggae are woven into the music and Sting's vocals pay conscious tribute to Bob Marley. The songs are mostly about love, or a lack of personal connection, and are frequently obsessive; the hits alone are worth the price of the album. --Al Massa
Britain's Police got its start in the late-'70s days of punk, but the trio's background in jazz, fusion, and rock belied the punky image suggested by the band's dyed-blond hair. Indeed, where many punks were inspired amateurs, the Police (Sting on bass and vocals, Andy Summers on guitar, and Stewart Copeland on drums) were accomplished players who quickly developed a sophisticated approach to the power-trio format. Still, this debut album is filled with growing pains, with a handful of tracks far more interesting than the rest. The Police's primary stylistic innovation was to put the pulse of reggae into a rockier context, a strategy evident in the up-tempo "Can't Stand Losin' You" as well as in the band's first hit single, "Roxanne," a love song to a prostitute that would remain Sting's best- known tune until he wrote "Every Breath You Take." To this day, the first two notes of "Roxanne" are among the most recognizable melodic hooks in contemporary music. --John Milward

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