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Rating: 1979: The Police, with their debut album, conquered England and America almost without realizing it. The three can't walk down the street without being ambushed by hordes of girls who station themselves at strategic points to pounce on them (as shown at the beginning of the video for "Message in a Bottle"). Countless concerts and collective hysteria, which in 1979, had only one precedent, dated 1963-65. Not surprisingly, the press began to speak of "Policemania".
Being mature people - Copeland, the youngest of the three, is already 27 - they manage to withstand the madness surrounding them and, above all, manage the record label's pressure for a new album after the impact of the first. The three enter the studio without a song ready - unlike what happened with "Outlandos" - and produce an album of great depth, certainly superior to "Outlandos", with a production (thanks to Nigel Gray) that set a standard, but without the emotional impact of the raw debut record - not even in its best moments. They decided to do something more sedate and renounced their punk energy. For many, it was a mistake.
The album's title comes from a jam session (which won a Grammy for best instrumental track in 1980) that the three used to include in their concerts during "Can't Stand Losing You". Here it is placed second - frankly without much sense.
In third place, we find "It's Alright for You", a devastating rhythmic masterpiece, a piece of "Outlandos" mistakenly found in "Reggatta...". It would have been the perfect intro, yet here it is in third place to leave the honor to their majesty ... "Message in a Bottle", one of the band's classics, with lyrics that symbolically talk about one of Sting's most beloved themes: his inner loneliness. A great song without a doubt, but its fame truly surpasses its value. On the album, the track is sung really dully and with a Copeland that's really too invasive with his drum counterpoints on the verses. Over the years, the three will understand the mistake and transform the track into a superb masterpiece in three phases: 1. Fast verses (with Copeland working in support). 2. Furious chorus with a Copeland dictating the rhythm with his legendary left arm. 3. Pause with Sting repeating the title and Summers' ingenious counterpoints. It's a real shame that the magnificent whip-like version from the "Synchronicity Concert" was never recorded in the studio. (You can find it on YouTube and compare it with the recorded version).
"Bring on the Night", "Bed's too Big Without You" and "Walking on the Moon" are three Pop (authored) songs that show the more refined Police compared to "Outlandos". They would be just three Pop songs if it weren't for Summers' reggae rhythm (especially in "Bed's Too Big ...", a masterpiece literally based on an idea), and Copeland's imaginative work (especially in "Walking on the Moon", a remarkable track also for its extraordinary sound clarity).
The Police co-write "Deathwish", with a splendid riff but a mediocre vocal melody, which makes the track anonymous. Copeland's track "Does Everyone Stare" mirrors it: beautiful melody (with Sting in great shape) but mediocre music.
The rest shows a virtuosity for its own sake and the lesser inspiration this album has compared to "Outlandos...".
A notable album, produced masterfully, but also slightly boring. Certainly inferior to "Communique", the album published that year by the friendly-rivals Dire Straits, with whom The Police established a sort of friendly competition.
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