reggatta de blanc

The Police took a giant step forward and made contact with this energetic white reggae S.O.S. sent out on the rising new wave.  After their debut 'Outlandos D'Amour' made them a sensation in the UK, they went to work on a new album that expanded their sound.  

Sting says:   "People thrashing out three chords didn't really interest us musically. Reggae was accepted in punk circles and musically more sophisticated, and we could play it, so we veered off in that direction. I mean let's be honest here, So Lonely was unabashedly culled from "No Woman No Cry" by Bob Marley. Same chorus. What we invented was this thing of going back and forth between thrash punk and reggae. That was the little niche we created for ourselves...The other nice thing about playing a reggae groove in the verses was that you could leave holes in the music. I needed those holes because, initially, I had a hard time singing and playing at the same time. So if we had a signature in the band it was...using silence - more is less...On the first tour we had a very short set - only about ten numbers. The songs only lasted two minutes each. And when Stewart was on form they'd last even less time. So we had about a nine-minute set, right? People would tend to want their money back after that. So we had to extend the songs ad nauseum so we could get paid at the end of the night. Eventually, all the songs began to develop a free form jazz aspect to them, and that growing sophistication was reflected on the album.  We made both albums ['Outlandos D'Amour' and 'Reggatta de Blanc'] in the same old converted dairy in Surrey, with egg cartons on the wall for insulation...I think the two albums cost about five pounds each to record ... I'd always wanted to make a connection between the energetic music of punk and more sophisticated musical forms.  There was this amazingly aggressive music full of energy on the one hand, and I wanted to take it and bridge a gap between interesting chords and harmonic variations and this wild energy.  And what eventually allowed me to do was listening to reggae.  Bob Marley especially.  I saw a rhythmic connection between the fast bass of punk and the holes in reggae.  I got interested in writing songs that combined these apparently diverse styles"

Summers elucidates:    "I wanted to exploit the openness of the band’s arrangements, so Icouldn’t play Steve Jones-style, punk power chords. . . . I’d seldom play full chords that had a major or minor third in them—which I considered old-fashioned harmony. Instead, I explored a much cooler, sort of disinterested chord style that utilized stacked fifths or an added ninth to get the harmony moving without the obvious sen-timental association of major and minor thirds...Under the influence of Bob Marley and the groove of reggae, the bass parts move away from the thumping eighth-note pattern into a sexy, loping line that is as much about notes not played as those struck.  Over the top of these patterns I begin playing high, cloudy chords that are colored by echo and delay, and Stewart counters this with back-to-front paterns on the hi-hat and snare. From a dense in-your-face assault, the songs now become filled with air and light...to bring about a sound that no trio in rock has possessed before...We can take almost any song and, as we say, 'policify' it - even a piece of material by Noël Coward or a folk song from the Scottish Isles.  From an instinctive and self-conscious journey, we discover a sound for which there is no previous formula, a space jam meets reggae meets Bartók collage with blue-eyed soul vocals."

Copeland confesses:    "I've stolen all my licks from different sources. You see, all the licks get passed back and forth, most of them, and the trick is to ‹nd new ones,turn them around a bit, camou›age them a bit...My source of licks has been South America, and, of course, the West Indies...Let’s examine this word reggae.  In the main rock and roll stuff that everything’s based on, even since the jazz days . . . there’s always abackbeat...on two and four. Now reggae turns the whole thing upside down...and invented something really different...the bass drum and the snare drum both land on the same place, [three]."

Nigel Gray produced the album with the band at Surrey Sound Studios.  The sessions featured Sting on bass guitar, lead and backing vocals, and double bass;   Andy Summers on guitar, piano, and backing vocals;   and Stewart Copeland on drums, guitar on verses and chorus of "It's Alright for You", lead vocals on "On Any Other Day", piano and intro of "Does Everyone Stare", and backing vocals on "It's Alright for You" and "Bring On The Night".  The title 'Reggatta de Blanc' embraced the label that had been thrown on the band by music critics.  

Summers would express at the time:  "You could say we've dove further into our 'Police style.' The new album is more sophisticated than the last one ['Outlandos D'Amour']. I think at this point we can mold ourselves into anything we want to become. There's stuff on this new record where we go out on the limb that's quite different from the first album. Generally, we're very pleased with it. It's a better album, I think." 

Copeland reveals:    "It was a real easy album for us to record; it only took three or four weeks. 'Outlandos' was recorded over a six-month period in bits and pieces. On 'Reggatta' we actually cancelled two weeks of studio time. This time the material wasn't rehearsed but the band was. We knew each other's styles because we'd been playing together constantly for eight months, which we hadn't been doing when we recorded the first album...'Reggatta de Blanc' took us three weeks to record. We just went into the studio and said 'right, who's got the first song!' We hadn't even rehearsed them before we went in."

Sting sums up: "That was where it all clicked. There was so much happening in my writing and singing, Stewart's and Andy's playing, and suddenly it all meshed together. We had reggae influences in our vocabulary and they became synthesised into our infrastructure until it was utterly part of our sound and you couldn't really call it reggae anymore. It was just the way we played. That's the great thing about rock'n'roll. It bastardises everything, and I much prefer mongrels over pure races. As a musician, you learn your craft and emulate and copy people, and suddenly there's a moment in your development when you grow up and finally become yourself. I think 'Reggatta' was that moment for us."
'Reggatta de Blanc' went to number twenty-five in the US; twenty-one in Sweden; sixteen in Germany; four in New Zealand; three in Canada; and number one in Australia, France, the Netherlands, and the UK.  It has since been certified platinum in Canada, France, the UK, and the US. 





http://www.thepolice.com/








"Message in a Bottle" became an international sensation, charting at number seventy-four in the US; forty-eight in Italy; thirty-five in Germany; eleven in New Zealand; five in Australia and France; two in Canada and the Netherlands; and number one in Ireland, Spain, and the UK.

Sting:  "I was always sort of proud of that, yeah. As a narrative, it had a beginning, middle and an end. The story actually developed. It wasn't just 'I'm lonely, isn't it terrible!' - which is what a lot of my other songs were about. If I'm lonely, but I realise everybody else is too. I feel better. I think the Germans call that Schadenfreude - enjoying the misery of others."

Stewart Copeland:   "My favorite thing about Message In A Bottle, apart from all the money we made off it, was hearing cover bands trying to play my drum parts. I'd overdubbed about six different parts, and to watch some band in a Holiday Inn struggling to play all those overdubs still gives me great joy. Now that is really Schadenfreude."

Andy Summers:   "I've always said it was Stewart's finest drum track, plus great guitar riffs, lyrics, the song - it was one track where everything came together. We had also just learned the trick of playing a song two or three times in a row to let the energy build, then we'd come straight in for another take with the tape still rolling."

https://www.youtube.com/watch?v=MbXWrmQW-OE





"Walking on the Moon" bounced to sixty-five in Canada, twenty in Spain, twelve in New Zealand, nine in Australia and France, eight in the Netherlands, two in Italy, and number one in Ireland and the UK.  


THE POLICE - WALKING ON THE MOON by FRKS




"Bring on the Night" 
https://www.youtube.com/watch?v=PuFAYAEgKMA
https://www.youtube.com/watch?v=R12FMuOWzx4








'Reggatta de Blanc'
full album:

https://myspace.com/thepolice/music/album/reggatta-de-blanc-13157

https://www.youtube.com/playlist?list=PL01F70AC6BFFF42A3





Side one
"Message in a Bottle" (Sting) – 4:51
"Reggatta de Blanc" (Andy Summers, Sting, Stewart Copeland) – 3:06
"It's Alright for You" (Sting, Copeland) – 3:13
"Bring on the Night" (Sting) – 4:15
"Deathwish" (Summers, Sting, Copeland) – 4:13
Side two
"Walking on the Moon" (Sting) – 5:02
"On Any Other Day" (Copeland) – 2:57
"The Bed's Too Big Without You" (Sting) – 4:26
"Contact" (Copeland) – 2:38
"Does Everyone Stare" (Copeland) – 3:52
"No Time This Time" (Sting) – 3:17

b-sides 
"Landlord" (Sting, Copeland) – 3:09
"Visions of the Night" (Sting) – 3:05

Rock Goes To College - The Police live at Hatfield Polytechnic 21.02.1979
https://www.youtube.com/watch?v=_MwKstla6w0


Can't Stand Losing You 00:00
So Lonely 05:52
Fall Out 11:58
Hole In My Life 14:43
Truth Hits Everybody 18:52
Message In A Bottle 21:42
Peanuts 26:02
Roxanne 29:45
Next To You 36:55





John Peel show on BBC Radio 1 recorded  23 July 1979 



1. The Bed's Too Big Without You (0:07)
2. Next To You (4:55)
3. Can't Stand Losing You (The Bit We Left Out) (7:14)
4. Message In A Bottle (9:10)

outlandos d'amour

The Police channeled their musical ambitions into punk and reggae to take advantage of the new wave movement on this outlandish introduction. The trio of Stewart Andrew Copeland, Gordon Matthew Sumner (Sting), and Andrew James Summers was originally formed by Copeland (who had been in Curved Air for a brief stint) and Sting (from Last Exit) with guitarist Henri Padovani in January of 1977.  Copeland says: "I actually had the name The Police, before there was a group."  

The band was conceived to capitalize on the burgeoning punk movement.  Sting confesses: "One of the biggest influences the Sex Pistols had on me was they were destroying something which had held me back.  I was much older, a much more sophisticated musician, and a more mellow person than Johnny Rotten or Sid Vicious; but I could relate to that anti-establishment feeling: the energy and aggression - hatred!"  

They toured and released one single 'Fallout / Nothing Achieving' on the independent Illegal label formed by Stewart's older brother and the band's manager Miles Copeland III.   It charted at number forty-seven in the UK; but, after Copeland and Sting took part in a short lived project known as Strontium 90 with Andy Summers (who had been in Soft Machine and the Animals) and Mike Howlett (of Gong), they decided to replace Padovani with Summers.  Copeland recalls:  "Mike Howlett wanted to steal my group; so I stole his group! ... [Andy] pulled me into a cafe and said, 'You guys have a great group except that you need to sack the guitarist and get a new one - me!'."

Summers asserts:  "As far as I'm concerned, The Police didn't really start until I joined."     Their first session with producer John Cale didn't go well; so Stewart got his brother Miles to put some money into studio time at Nigel Gray's Surrey Sound in Leatherhead.   The band produced the sessions that featured Sting on bass guitar, lead and backing vocals, and harmonica on "So Lonely";  Andy Summers on guitar, and spoken word and piano on "Sally"; Stewart Copeland on drums, percussion, and backing vocals;   with Joe Sinclair on piano on "Hole in My Life" and "Masoko Tanga"; and  Nigel Gray and Chris Gray as engineers.  The working title for the album was 'Police Brutality'.   When Miles heard 'Roxanne', he took it to A&M and they released it as a one-off single.  It failed to chart; but it provided the impetus for the completion of the album, which was then called 'Outlandos D'Amour', a sort of internationalist approximation of "outlaws of love".  The album eventually went to twenty-three in the US, twenty-two in Canada, fifteen in Australia, six in New Zealand and the UK, and number two in France and the Netherlands.






http://www.thepolice.com/








'Roxanne' was inspired by prostitutes that hung around the hotel the band was staying in Paris and a poster of 'Cyrano de Bergerac'  in the lobby.  According to Sting, the song includes a studio mistake:  "I was just about to sing the first line of this celebrated song when I noticed there was an upright piano next to the microphone. I was feeling tired - I'd been up all night for some reason - so I just sort of sat down. I though the piano lid was closed, but it was open, so I wound up playing this incredible chord with my ass. It was this atonal sort of cluster that went really nicely against the chords we were playing. We thought it was funny, so we left it in."   The BBC didn't approve of the subject matter and wouldn't play the song; but when it was re-released a year later, it charted at number thirty-two in the US, thirty-one in Canada, twenty-two in Ireland, nineteen in the Netherlands, twelve in the UK, and eight in France and New Zealand.  
http://www.youtube.com/watch?v=3T1c7GkzRQQ




'Can't Stand Losing You' was banned over the cover art; but it still was a hit, going to forty-eight in New Zealand, nine in the Netherlands, seven in France and  Ireland, and number two in the UK.  Sting recalls:    "We had that publicity campaign with posters about how the BBC banned Roxanne. The reason they had a problem with Can't Stand Losing You was because the photo on the cover of the single had Stewart standing on a block of ice with a noose around his neck, waiting for the ice to melt."
http://www.youtube.com/watch?v=nH0vjLwMyc4




'So Lonely' hit number twenty-six in the Netherlands, ten in France, seven in Ireland, and six in the UK. 
http://www.youtube.com/watch?v=SaNt9-QkiHI






1978 US tour
http://www.youtube.com/watch?v=tGhgJ7zdp94





'Outlandos D'Amour'
full album:



All tracks written by Sting, except where noted. 

Side one
1. "Next to You"   2:55
2. "So Lonely"   4:50
3. "Roxanne"   3:12
4. "Hole in My Life"   4:55
5. "Peanuts" (Sting, Stewart Copeland) 4:02
Side two
6. "Can't Stand Losing You"   2:59
7. "Truth Hits Everybody"   2:55
8. "Born in the '50s"   3:45
9. "Be My Girl – Sally" (Sting, Andy Summers) 3:24
10. "Masoko Tanga"   5:42

synchronicity

The Police went out on top when they poured their personal pain into this concept album about mystical coincidence and the collective unconscious to create their sinister and sensual swansong.  After the tour for 'Ghost in the Machine' the trio went their separate ways:  Sting starred in the film 'Brimstone & Treacle',  Andy Summer recorded his first album with Robert Fripp entitled 'I Advance Masked',  and Stewart Copeland composed the score for the film 'Rumble Fish'.   Sting had also separated from his wife Frances Tomelty and gone to Jamaica, where he wrote many of the songs while staying at the former home of novelist Ian Fleming.  In December of 1982, the band reconvened at at AIR Studios in Montserrat to begin work on 'Synchronicity' with producer Hugh Padgham who had worked with them on 'Ghost in the Machine'.  Padgham remembers the tense atmosphere within the band:    “It was difficult for me to do anything about the fighting, because when I would try to say something like, ‘Come on guys, do you have to kick the shit out of each other?’ they would say, ‘You don't know anything about us.’ Relative to their being a band, I knew them for a very short space of time, and their attitude was, ‘You can't tell us what to do. Stay out of it.’...That album was perhaps one meeting away from not happening.  I remember right before that, ringing up my manager and saying, ‘I hate this,’ because sometimes the tension in the room was so horrible. But in many ways, that tension is what ended up making such a good album.”

Copeland says Sting was very controlling with his songs:   "We could see the way the trend was going, and we knew the next album would be harder than the previous album.  It was, ‘Shall we try this idea?’ ‘No, we won't. We'll try this idea, and there will not be deviation from this idea.’ That was the origin of the argument, which turned into an atmosphere of anger and confrontation. I don't hold anybody to blame for that point of view. That is a natural personality trait: To be self-contained and to have a full vision, artistically, of what you want to do. Mozart didn't collaborate. There are many musicians who have a clear picture of what they want to say, particularly if they wrote the song and lyric. So, even though I had these big battles with Sting, I don't hold them against him...what [Hugh] was good at was he knew where to put the microphone. He got a big sound. He got the ambient recording of the drums, but this is a perfect example of where putting the microphone in the right place clashed with making the band dynamic work: The big studio that George Martin built [AIR Montserrat, in the Caribbean] was at one end of the building, and I was upstairs in the old house in the dining room, all by myself with a television monitor connecting me to the studio downstairs across the way.  The first thing you have to do when you record music is lay down a drum track, but we were making it up as we went along, and I wasn't in the room with them. So, instead of finishing playing and going, ‘Hey, that was good there, and that went there,’ there is silence. I can't hear what one of them is saying unless one of them presses the talk-back button. They aren't pressing the talk-back button, but I can see that they are talking and I assume it's bad. The drums sounded incredible because that was definitely the place to get the best sound out of the drums. Inarguably, the drums sounded brilliant in that room."

Summers considers:   "It was pretty tough making that album. Once we got back on the road it's different. You tend to loosen up. It's basically a sort of ongoing party. The studio is a more isolating experience where basically it's just the three of you around and whatever people you need technically. You're really faced with each other in a much more naked way.  There's so much at stake and at that point of course we were also vying for front space, arguing over whose tune would be recorded. We were in an extremely pressured situation. So much was expected of us. So many people, futures, jobs were so relying on the three of us ... It’s a great question for a band, because all bands go through this stuff. It’s very difficult. There are only so many power plays, rivalries...I have affection for all of that. There were a lot of nice feelings. People like to always think about The Police like we were three guys who wanted to kill each other. It’s not really true. It was like three brothers, we were so bonded. We’re never going to get away from that, ultimately. You enter an incredible life experience together. You go through things like we went through as a band, and people started to split apart, become more like oil and water. But early on, you see the sweetness that was there. It was the three of us against the world, trying to establish ourselves, and that’s the experiment of a band...My answer’s always that all of the best rock bands, or probably all bands, go through a certain amount of conflict. All bands. That’s the spark. You reach these tight places of compromise that ignite to the public. If you’re watching mellow guys on the stage, it doesn’t get anybody excited. If you’ve got three live wires fighting for that space, it gets across to the audience."

Sting muses:     "I'll argue till the cows come home about something I believe in, and so will Andy and Stewart.  'Synchronicity' went through all kinds of horrendous cogs and gears to come out, emotionally and technically, the way it did...The title of the album refers to coincidence and things being connected without there being a logical link.  I do my best work when I'm in pain and turmoil ... A lot of people go through that phase of thinking they have to be in some sort of crisis to write. But we did have a lot of tension between us, which helped in a way... To make a lifetime's career out of that tension wasn't possible. We all had to back away from it." 

'Synchronicity' connected with fans around the world, racing to number eleven in Austria; six in France; four in Germany and Sweden; two in the Netherlands; and number one in Australia, Canada, New Zealand, the UK, and the US.  In the UK, it made its debut at number one.  In the US, it was one of five albums to break the hold that Michael Jackson's 'Thriller' had on the number one spot for most of 1983, taking the number one spot for six weeks from late July to early September and again from mid-September to late November for a total of eleven weeks at number one.  'Synchronicity' garnished five Grammy nominations, including one for Album of the Year.  








http://www.thepolice.com/








"Every Breath You Take" became one of the biggest hits of all time, going to number eight in Austria, Belgium, and Germany; six in New Zealand and Switzerland; three in Italy, the Netherlands, and Spain; two in Norway and Sweden; and number one in Canada, Ireland, South Africa, the UK, and the US.  It the US, it spent eight weeks at number one, making it the biggest hit ever for a trio.  "Every Breath You Take" won Grammys for Song of the Year and Best Pop Performance by a Duo or Group with Vocals.  It was also nominated for Record of the Year.  

Copeland remembers:  “The demo was Sting singing over a Hammond organ, which was rare at that time, because by then, we all had home studios, so we'd show up with these fully mastered demos. In the case of ‘Every Breath,’ what he brought to the band was much more simple, so we did a lot to it, as we did in the early days. We threw out the Hammond Organ part completely, since we don't have an organist in the group, but we do have a great guitarist who would be underutilized in such an important song. Andy went away and worked out that guitar part, and suddenly it all made sense. We knew it was a big song, but it sounded too pedestrian, in spite of the great lyric, and it wasn't until Andy came up with the guitar part that it clicked in.  When Andy came up with that guitar part, I felt personally that I didn't have to come up with one of those interesting rhythm turn-arounds, like in ‘Can't Stand Losing You’ or ‘Roxanne,’ because it seemed like the guitar part was the trick. So we had the song and we had the trick, and all we had to do was make your foot tap to it...The drum part was completely assembled with overdubs."
Summers considers it "a seminal moment. That's the one that got us there in the end. I was probably very involved in the whole studio process. The entanglement of our three psyches would have been more the real atmosphere. I certainly wasn't thinking of it as this great historical moment and I'm make this guitar lick now that Puff Daddy's gonna use 11 years from now. I was probably more concerned with the immediate environment ... When we recorded it in Montserrat, the guitar sounded fantastic. We went to Canada to mix it, and the engineer took that big fat guitar riff and mixed it way down till it sounded terrible - really thin, with too much echo. I said we had to go back to the demo, and sure enough we remixed it and got it right. The rest is history."   
Sting says:   "On one level it's a sinister song, on the other hand it's quite seductive." 

http://www.youtube.com/watch?v=OMOGaugKpzs


Every breath you take
Every move you make
Every bond you break
Every step you take
I'll be watching you
Every single day
Every word you say
Every game you play
Every night you stay
I'll be watching you
Oh can't you see
You belong to me
How my poor heart aches
With every step you take
Every move you make
Every vow you break
Every smile you fake
Every claim you stake
I'll be watching you
Since you've gone I've been lost without a trace
I dream at night, I can only see your face
I look around but it's you I can't replace
I feel so cold and I long for your embrace
I keep calling baby, baby please...
Oh can't you see
You belong to me
How my poor heart aches
With every step you take
Every move you make
Every vow you break
Every smile you fake
Every claim you stake
I'll be watching you
Every move you make
Every step you take
I'll be watching you
I'll be watching you
Every breath you take
Every move you make
Every bond you break
Every step you take (I'll be watching you)
Every single day
Every word you say
Every game you play
Every night you stay (I'll be watching you)
Every move you make
Every vow you break
Every smile you fake
Every claim you stake (I'll be watching you)
Every single day
Every word you say
Every game you play
Every night you stay (I'll be watching you)
Every breath you take
Every move you make
Every bond you break
Every step you take (I'll be watching you)
Every single day
Every word you say
Every game you play
Every night you stay (I'll be watching you)
Every move you make
Every vow you break
Every smile you fake
Every claim you stake (I'll be watching you)
Every single day
Every word you say
Every game you play
Every night you stay (I'll be watching you)







"King of Pain" reigned at number fifty-seven in Germany, seventeen in the UK, ten in France, seven in Ireland, three in the US, and number one in Canada.  

There's a little black spot on the Sun today
It's the same old thing as yesterday
There's a black hat caught in a high tree top
There's a flag pole rag and the wind won't stop
I have stood here before inside the pouring rain
With the world turning circles running 'round my brain
I guess I'm always hoping that you'll end this reign
But it's my destiny to be the king of pain
There's a little black spot on the Sun today 
(that's my soul up there)
It's the same old thing as yesterday 
(that's my soul up there)
There's a black hat caught in a high tree top 
(that's my soul up there)
There's a flag pole rag and the wind won't stop 
(that's my soul up there)
I have stood here before inside the pouring rain
With the world turning circles running 'round my brain
I guess I'm always hoping that you'll end this reign
But it's my destiny to be the king of pain
There's a fossil that's trapped in a high cliff wall 
(that's my soul up there)
There's a dead salmon frozen in a waterfall 
(that's my soul up there)
There's a blue whale beached by a springtide's ebb 
(that's my soul up there)
There's a butterfly trapped in a spider's web 
(that's my soul up there)
I have stood here before inside the pouring rain
With the world turning circles running 'round my brain
I guess I'm always hoping that you'll end this reign
But it's my destiny to be the king of pain
There's a king on a throne with his eyes torn out
There's a blind man looking for a shadow of doubt
There's a rich man sleeping on a golden bed
There's a skeleton choking on a crust of bread
King of pain
There's a red fox torn by a huntsman's pack 
(that's my soul up there)
There's a black winged gull with a broken back 
(that's my soul up there)
There's a little black spot on the Sun today
It's the same old thing as yesterday
I have stood here before inside the pouring rain
With the world turning circles running 'round my brain
I guess I'm always hoping that you'll end this reign
But it's my destiny to be the king of pain
King of pain
King of pain
King of pain
I'll always be king of pain
I'll always be king of pain
I'll always be king of pain
I'll always be king of pain
I'll always be king of pain

I'll always be king of pain

http://www.youtube.com/watch?v=0mgSCKXSp9M
http://www.youtube.com/watch?v=pP8374qSmew






"Synchronicity II" crawled from the slime at the bottom of a dark Scottish lake to hit number twenty-one in Canada, seventeen in the UK, sixteen in the US, and twelve in Ireland.

Another suburban family morning
Grandmother screaming at the wall
We have to shout above the din of our Rice Crispies
We can't hear anything at all
Mother chants her litany of boredom and frustration
But we know all her suicides are fake
Daddy only stares into the distance
There's only so.much heartache he can take
Many miles away
Something crawls from the slime
At the bottom of a dark Scottish lake
Another industrial ugly morning
The factory belches filth into the sky
He walks unhindered through the picket lines today
He doesn't think to wonder why
The secretaries pout and preen like
cheap tarts in a red light street
But all he ever thinks to do is watch
And every single meeting with his so-called superior
Is a humiliating kick in the crotch
Many miles away
Something crawls to the surface
Of a dark Scottish loch
Another working day has ended
Only the rush hour hell to face
Packed like lemmings into shiny metal boxes
Contestants in a suicidal race
Daddy grips the wheel and stares alone into the distance
He knows that something somewhere has to break
He sees the family home now looming in his headlights
The pain upstairs that makes his eyeballs ache
Many miles away
There's a shadow on the door
Of a cottage on the shore
Of a dark Scottish lake

Many miles away, many miles away


THE POLICE - SYNCHRONICITY II by FRKS





"Wrapped Around Your Finger" came to its fruition at number thirty-two in Germany, twenty-five in Italy, twenty-two in New Zealand, seventeen in the Netherlands, ten in Canada, eight in the US, seven in the UK, six in France, two in Spain, and number one in Ireland.  

You consider me the young apprentice
Caught between the Scylla and Charybdis
Hypnotized by you if I should linger
Staring at the ring around your finger
I have only come here seeking knowledge
Things they would not teach me of in college
I can see that destiny you sold
Turned into a shining band of gold
I'll be wrapped around your finger
I'll be wrapped around your finger
Mephistopheles is not your name
I know what you're up to just the same
I will listen hard to your tuition
You will see it come to it's fruition
I'll be wrapped around your finger
I'll be wrapped around your finger
Devil and the deep blue sea behind me
Vanish in the air you'll never find me
I will turn your flesh to alabaster
Then you'll find your servant is your master
You'll be wrapped around my finger
You'll be wrapped around my finger

You'll be wrapped around my finger

http://www.youtube.com/watch?v=svWINSRhQU0










'Synchronicity' 
full album:

All songs written by Sting, except where noted.


"Synchronicity I" - 3:23
"Walking in Your Footsteps" - 3:36
"O My God" - 4:02
"Mother" (Andy Summers) - 3:05
"Miss Gradenko" (Stewart Copeland) - 2:00
"Synchronicity II" - 5:02
"Every Breath You Take" - 4:13
"King of Pain" - 4:59
"Wrapped Around Your Finger" - 5:13
"Tea in the Sahara" - 4:19
"Murder by Numbers" (Words: Sting, Music: Summers) - 4:36