Ghost In The Machine: 1981/82

Pop success hasn't hurt rock-reggae trio's performance...

It doesn't seem that long ago when the Police were considered a New Wave or even punk band.

The tag of New Wave may have been justified by the band's fusion of rock and reggae yet they never really approached the anti-social postures or highly alienated sound that define hard-core punk bands.

But that was four or five years ago. Their approach now is still confusing in that they combine mainstream but intriguing pop tas ties which have won them a nation al following ("Don't Stand So Close to Me." "Every Little Thing She Does is Magic") with idealistic. political statements ("One World (Not Three)," "Invisible Sun").

That's not to say that they are no longer satisfying, especially in concert.

Wednesday night, in a Star Course-sponsored event at the Assembly Hall, it wasn't their song selection that seemed to matter - it was their musicianship which made much of their new album, 'Ghost in the Machine' (which is their most down beat) rise to the occasion and seem more dynamic.

For the opening entertainment, though, quantity, not quality, was the premium. Joan Jett and the Blackhearts certainly did not behave like the basic, low-key, reserved warm-up act. Joan and the boys grinded out their loud, distorted "kick ass" rock'n'roll including an appropriate cover of the Stones' classless classic, 'Star Star'.

From the other extreme, the Police performance was not a straight rock show but a conglomeration of styles that has progressed over their four albums. The presence of a three-piece horn section Wednesday accented that evolution and the growing complexity of the band's sound.

In many numbers, though, the brass was lost hopelessly in the mix which washed out any of their added texture.

But the real question is whether or not they have been slowly losing their initial rock-reggae trademark at the expense of that dreaded creativity drain, commercial success.

The answer seems to be yes and no. On their last album, rough edges that would have been heard on their first three releases were softened by horns, keyboards and an overall slower tempo.

In concert, though, everything came together behind the busy, intricate drumming of Stewart Copeland. For 'Message in a Bottle' - the show's opener, he was at his finest, adding fills that made the recorded version seem pale by comparison.

While Copeland was the cohesive factor, Sting performed as the quintessential frontman, humouring the audience and himself while alternating between two ultra- modern, streamlined basses.

Sting explored a wide range of vocal extremes the whole concert, from a low monotone on 'Da Do Do Do, Da Da Da Da' to a screech on 'Demolition Man', perhaps the best group effort of the night with Sting getting downright funky on bass quite a change from many of his minimal reggae riffs and the horns jumping out to elevate the song.

The normally reserved Andy Summers also stepped out in 'Demolition Man' for a frenetic lead and for a mid-song jig along with Sting during 'One World (Not Three)'. Summers was caught up in his guitar work most of the show, leaving the theatrics to Sting.

When the horn section joined in on some older Police numbers, Summers' guitar suddenly was put in a different perspective and the days of the Police as a simple but powerful trio seemed forever gone.

Well, as long as they keep playing 'Roxanne'...

(c) The Daily Illinois by Paul Budin