Ghost In The Machine: 1981/82

Police use reggae-based rhythm for an arresting hybrid sound...

Not for many years has a group broken away from conventional rock formats as successfully as The Police. The three Englishmen are not alone in marrying reggae to rock, but they are probably the most innovative.

Although much of their material is based on a reggae beat, they've avoided pale imitation and created instead a distinctive hybrid.

All three are stimulating performers, who seem to strive restlessly to make their music challenging. As with some of the great trios of the past, there's a continually fascinating exchange between guitar, bass and drums without the overloading that often comes with an additional guitarist.

Singer and bass player Sting's husky, sombre voice is a natural asset, complementing the exotic, doom-laden atmosphere created by the instruments. There's a pivotal tension in the rhythm, Sting sometimes restricting his bass to two or three notes, Andy Summer's echoing chords slashing through the off beat and making unusually creative use of cymbals Stewart Copeland's tireless and intricate drumming.

Apart from the usual love topics, two related themes consistently crop up in The Police's work. On one hand, there is a spirit of social and political internationalism both in the music and the lyrics. On the other, there's an alienation from conventional systems a sense of foreboding as the era of electronic Big Brother approaches.

Although there's nothing new about either theme, the overall mood in The Police's case is as distinctive as the musical style. Even though the musicians draw so much from reggae inspirational, rejuvenating force for most audiences in this country there's very little optimism in their music.

When Sting encouraged the Compton Terrace audience to sing "one world is enough" chorus of 'One World (Not Three)' it was almost a didactic formality rather than a building brick for the future.

In such circumstances, the musical patterns tended to be the most constructive aspect.

The Police's basic three instruments were augmented Saturday afternoon by a synthesizer and a three-man horn section.

Even as a bass player, Sting was a strong presence. Playing a custom-built upright bass, built without the usual sound box, and a bridgeless bass guitar, he was a contrast to the supporting role bassists usually occupy.

The capacity crowd was fairly passive. People swayed contentedly to the beat and sang along when Sting told them to.

The debut album recently released by the Go-Go's characterized the five-woman Los Angeles group as a rather ordinary, teen-oriented pop outfit, conventional in all but its sex.

The group's live show was a pleasant surprise, revealing a cleaner, punchier approach than on the record.

The musicians were competent instrumentally, but lead singer Belinda Carlisle still needs to work on her finishing. In bouncy little flame-coloured skirts, they were effervescent on stage, and the mood quickly spread through the audience.

(c) The Arizona Republic by Andrew Means