Make It New: The Police – “Outlandos d’Amour” (1978)

If I’m not mistaken, The Police are possibly the biggest new wave band that I’ve covered so far. Sure, there have been musicians like The Buggles’ Hans Zimmer who would go on to have substantial post-careers, but no band has had the omnipresence that The Police have had. Despite being able to checkmark every box on the New Wave Trope Card, they have found ways to transcend expectations, landing closer to groups like Madness and have had an impressive radio shelf life. I guarantee that you know a couple of their songs. From the minute that I put on “Outlandos d’Amour” (or “Outlaws of Love”) I was immediately vibing with the record. With that said, it was also the record that I had the most trepidation about pressing play on.

As mentioned, their reputation precedes them. I think in this case, I often conflate The Police’s five album discography with everything that Sting did after. Plain and simple, I think that Sting is one of the most boring pop stars of the late 20th century. No offense to those who like him, but he’s too slow for my taste and I was convinced that underneath a few up-tempo tracks was the atmospheric nonsense that I couldn’t stand. Even with a memorable turn on Only Murders in the Building, I’m still convinced that he is a genuinely boring man. Yes, I’m aware that David Lynch’s Dune (1984) exists, but even then… was this a man with any sense of humor?

That is why I come to you at the start of this installment of Make It New with a confession. At least for their debut album, I really like The Police. Their blend of new wave, punk, and reggae has an infectious mix that produces more than a few worthwhile tracks. And, to answer the question of if Sting has a sense of humor? “Be My Girl – Sally” is a song with a spoken interlude about defiling a blow-up doll. It’s definitely one of the few eye-raising moments on an album that includes talk of prostitution, a Rod Stewart diss track, and teenage suicide, and evidence that maybe there would be some joy in diving further into their discography. 

Before exploring “Outlandos d’Amour” in greater detail, it’s important to understand where things started. In 1976, drummer Stewart Copeland and Sting’s paths would cross for the first time. They were on tour with their other bands – Curved Air and Last Exit respectively – and decided to gather for a jam session. This would change their lives as they believed that they created a special sound. On top of Curved Air reaching the end of their career, Copeland talked about how the punk rock movement of the time intrigued him. Along with guitarist Andy Summers, they would slowly build a reputation before deciding to start recording music. Despite Copeland’s brother helping to finance them, there was concern that their sound wasn’t that interesting. Even as they incorporated elements of reggae, they struggled to have a breakthrough hit.

Much like The Jam, they were also criticized for not being “punk” enough. Despite their sound growing, they would remain a trio with a fairly conservative look. They wanted to have lyrics that were meaningful and politically charged, though this often lead to conflict. The track “Next to You” in particular was criticized by band members for sounding too much like a love song with original lyrics focused more on guns. Still, it wasn’t until Sting visited the red light district in France that he suddenly found the inspiration for their breakthrough song. “Roxanne” was a song about prostitution inspired by a poster of Cyrano De Bergerac that he found in their hotel lobby. While Copeland’s brother was initially skeptical of The Police’s success, he heard “Roxanne” and was immediately sold on their potential. He would take the single to A&M Records with the intent of having a one-off release. Instead, it came with the release of their debut album, originally titled “Police Brutality.” However, because “Roxanne” had a more romantic sound, it was changed to “Outlandos d’Amour.”

By today, their album would become a critical success. Rolling Stone would name it one of the best debut albums of all time. It was also one of four records by The Police to make their Top 500 Greatest Albums of All Time. Even then, the magazine had initially docked the band points for having a great sound but not having the best lyrical content. It was a reputation that was generally shared, causing it to be one of the band’s least successful records upon release. In fact, of their five records, it’s the only one to have never made it to number one on the Billboard Charts. To go further, those assuming that “Roxanne” would be the big hit would be wrong, as it was considered controversial for its sexual content. In Britain, “Can’t Stand Losing You” was the breakthrough – likely in part because of the single cover where Copeland was seen hanging from a noose on top of a block of ice. 

Right off the bat, I want to say that “Next to You” is a great way to start the album. Along with being one of their most remembered songs, it’s so upbeat and energetic. It’s the type of song that immediately establishes a reputation and makes you ready for an intriguing dive into their fusion style. It is true that some considered the slide guitar solo more “old wave” at the time, but otherwise, it was another defiant introduction that did its job. The longing in the lyrics and the simple choruses was infectious. 

Using “So Lonely” as essentially a complementary track would show their range beautifully. After the door-busting beginning, the chance to slow things down was an unexpected turn. Even with this, it didn’t feel out of place. It allowed The Police to emphasize their harmonies and reflect the potential of reggae to mix with punk. The verses were also pulled from a song Sting wrote for Last Exit and the style was influenced by Bob Marley’s “No Woman, No Cry.” The tempo change allowed for an entertaining build on the simple choruses and lead to what Sting considered an early example of thrash punk. Even if they weren’t the most aggressive-sounding band, they had a new sound that separated them even from ska contemporaries like The English Beat. Again, the harmonies and wailing helped make it a thrilling listen.

Finishing the trio of opening songs that would also become their biggest hits of the time was their signature song “Roxanne.” While it would be considered even more of a departure, it was a song presented in a tango style that featured choppy guitars. Sting had envisioned it as a bossa nova, but Copeland convinced him to change it. Despite not being the band’s biggest hit at the time, it managed to convey their ability to make versatile pop. Among the more amusing details of the song is that prior to recording, Sting accidentally sat on the piano, causing the band to laugh. It’s heard at the beginning of the track and is immortalized in the liner notes by crediting Sting as playing “butt piano.” It was the proof of concept the band needed for a career and, when they would reunite for The Grammy Awards in 2007, was their central song.

The middle stretch is maybe the closest the listener gets to seeing a side of Sting that might’ve developed if he never matured. It’s easy to forget that The Police were designed as a punk band because of later work being more self-serious. However, I look at “Peanuts” and am surprised to see how antagonistic it is. Sting claims that he wrote it because of his disappointment in Rod Stewart, his idol, at the time and wished better for him. However, irony would strike as The Police would sell 70 million records and be considered “The Biggest Band in the World.” Of every song, “Peanuts” is the one song that Sting regrets, saying that he doesn’t relate to it now that he’s also famous.

I don’t really have strong feelings about the next single “Can’t Stand Losing You,” which is more directly a punk song. Sting claims that teenage suicide had always been more seen as a joke, and it explains why he’s a tad blasé towards a taboo subject. With that said, the single cover is very striking and leads to a lot of attention. It’s hard to imagine them as an edgy band, but “Outlandos d’Amour” definitely had its moments where listeners were surprised by their choice of subjects. As critics would suggest, they weren’t the densest approaches, but they had moments that were fun to listen to. “Born in the 50’s” is another example and reflects the band looking backward on their upbringing. It’s typical nostalgia that also works at establishing identity, though by this point the album is in its ephemeral portion. It’s fun ephemera, but it’s doubtful that the radios will play “Be My Girl – Sally” when Sting dies. 

All in all, I think that the most impressive thing is how even in a class of New Wave, The Police stand out. I think that they fit the bill perfectly because of their ability to mix genres and be essentially unclassifiable otherwise. Listening to “So Lonely,” it’s clear that they aren’t strictly punk or reggae. They’re somewhere in new ground. They are making a new and exciting sound that doesn’t even line them up too well with The 2-Tone Ska Movement of the time. You might be able to mistake them for a more manic version of The Specials, but that would be giving them too much credit. I love how “Outlandos d’Amour” isn’t also topically in line entirely with punk or reggae ethos either. It’s a blender of topics that I think work given the somewhat somber undertone of certain tracks. 

Another interesting detail is something that reminds me of Gary Numan. Whereas the “Cars” singer earned his look due to insecurities, The Police would develop their look by accident. When being asked to film a Wrigley Spearmint chewing gum commercial, director Tony Scott asked them to dye their hair. They agreed. Ironically, it would be shelved, leaving them with a look that would come to define them in their early run. Similarly, one of The Police’s final shows found Sting with orange hair because of him filming Dune around the same time.

The success that followed was unprecedented. Their next four records would all become number one hits with their 1983 final album “Synchronicity” featuring some of their biggest songs. Like most new wave bands, the careers were short-lived and done by the mid-80s. Similarly, they would have rare reunions throughout the subsequent years but wouldn’t be able to reignite their glory days. Their reunion in 2007-2008 was the third most successful world tour of the year. This 30th-anniversary celebration was undercut by the news that Sting would refuse to reunite for future shows and that this was the end.

One of the few things that made The Police’s demise even more intriguing was the fact that their Post-“Synchronicity” years weren’t entirely awful. The band openly admitted to liking each other but found their approaches a bit divisive. There’s a sense that they were less annoyed by each other and just wanted to go in different creative directions. Each of them would do film work, including Sting earning several Oscar nominations for Best Original Song. I am also a fan of Copeland’s work as a composer on the film Rumble Fish (1983) and the video game Spyro the Dragon. There was a brief reunion in 1986 where they rerecorded a handful of songs, including their final hit song “Don’t Stand So Close to Me.” However, the joy was short-lived as Copeland fell off a horse and hurt his back, making recording difficult. Sting would later admit that the whole project was an empty gesture on his part.

Even decades later, it’s easy to believe that The Police were one of the most successful new wave bands of all time. The record books suggest this several times over. Not only that, but Sting has had one of the most successful post-careers of any musician I’ve mentioned so far. The biggest testament is that their music is inescapable. Where many bands are likely to have one Top 40 song be played to death, The Police have so many including “Roxanne.” As ironic as it is that they couldn’t last longer, it’s amazing how well things turned out in quick proximity. Even the suggestion that four of their five records were big hits and also critical masterpieces, it’s unlikely that I’ll find a band that reaches those heights as swiftly as they did.

More importantly, I think listening to “Outlandos d’Amour” did the trick. It’s made me curious to listen to more. They weren’t as rooted in novelty or any gimmick that might date them. Even if the idea of “white guys doing reggae” has become a tired trope, The Police aren’t doing it in ways that can be seen as condescending. They brought something organic and I think influenced a new generation of music, for better or worse. I’m surprised that Sting would ever sing about blow-up dolls and how annoying Rod Stewart is, but that’s more a byproduct of my ignorance. With that said, I do miss this side of him. If he has some rib-ticklers later in his career, someone tip me off. He seems like he’d nail the punchline.

Coming Up Next: The Human League – “Dare!” (1981)