Top Ten Deep Cuts and B-Sides from The Police

I am one of the lucky people on planet Earth who a) was alive for the absolute heyday of the legendary English pop band The Police, and b) got to see them play live... twice, eventually. Starting in my middle school years and extending into the first couple years of high school, there was no band in the world more important to me than the one comprised of Sting, Andy, and Stewart. Not Led Zeppelin. Not the Who. For me, between 1980 and 1983, not even the Beatles held a brighter musical spotlight in my mind than the Police did.

We all know the story of the band... an unlikely pairing of three musicians, a meteoric rise to global stardom, hitting their absolute peak in popularity with their final album, and immediately imploding in a cataclysm of ego and personal problems and artistic differences. But between 1978 and 1983, they put out five albums that caused a sea change in music: Outlandos d'Amour, Regatta De Blanc, Zenyatta Mondatta, Ghost in the Machine, and Synchronicity. Those albums are packed with excellent songs, each contained pretty huge pop hits. Interestingly, my personal favorites (which is what this post is about, nothing more) were more often the deeper cuts. It was even cooler when I'd find myself listening to the stuff that didn't even get included on the album, but were left as b-sides to the pop singles.

Here, then, in chronological order and with no factor of criteria other than "I like them!", are ten great Police songs you might not have given enough attention, or even known about. Note that the only music on this list is featuring the Police as a band unit; there's no consideration to the often excellent solo work of Sting, Stewart Copeland, or Andy Summers.

"Masoko Tanga" (1978) from Outlandos d'Amour
This is so obviously a "Shit, we're out of material and have more studio time and need to fill up the album!" jam. And I'm damn glad they left it on the album, because the Police were still finding their sound on Outlandos, and "Masoko Tanga" was one of the songs that established the tribal/island/reggae influence that would continue as a hallmark for the band over time. Plus, Sting's bass. Sweet funky Jesus.

"It's Alright for You" (1979) from Regatta de Blanc
Very early on, the Police formed under the premise of being an actual punk rock band. If you listen to their earliest demos, including songs featuring their first guitarist Henri Padovani, it was all speed, all attitude, no polish. Some of that vibe continued through the first two albums. I find "It's Alright for You" to be an interesting song in that there's a specific transition in its vibe right at 2:28 from snarly rock to this great outro with glistening treble-packed Andy Summers staccato arpeggios. Gorgeous.

"Bombs Away" from (1980) from Zenyatta Mondatta
Sting, as we all know, was the primary songwriter for the Police, and no one can deny his genius (least likely himself). That having been said, a whole lot of my favorite Police tunes were among the relative few contributed by Stewart Copeland and Andy Summers. "Bombs Away" (written by Stew) not only has a great feel and a cynical lyric set, but includes one of Andy's most amazingly innovative and cool guitar solos in their entire catalog.

"The Other Way of Stopping" (1980) from Zenyatta Mondatta
This is the final track on Zenyatta Mondatta, and perhaps my favorite Police song that no one else gives a shit about. Sure, it's a Copeland-penned instrumental. Sure, Andy does this amazing multitracked solo through the long outro. But my personal reason for wanting the song on this list is my memory from the early '80s, playing Adventure on my Atari 2600, and blasting this tune in the background (on vinyl, which probably sounded amazing on my parents' stereo).

"Omegaman" (1981) from Ghost in the Machine
Ghost in the Machine was the album that turned me into a huge Police freak in 8th grade. It's weird; you had these super dark and interesting songs, sandwiching some completely trite Sting-penned disco shite. But in addition to the well-known first few songs on Ghost, there were some fascinating, texture-filled songs toward the end. One is "Omegaman", written by Andy Summers but, in my opinion, as strong and ear-catching as anything Sting was doing at the time. I've read that A&M had initially chosen it as the lead single of the album (which Sting didn't appreciate, apparently). All that aside, it's a great guitar line, it has an unsettling vibe, and I just like it. Plus, the very next track on the album is...

"Secret Journey" (1981) from Ghost in the Machine
It's a Sting track, and my favorite Sting songs are the dark ones. But as a musician and an aficionado of interesting sounds, I loved Andy's guitar synth in the intro and bridge, and just the overall feel of this mystical-sounding song.

"Shambelle" (1981) - B-Side to "Invisible Sun" (UK) and "Every Little Thing She Does Is Magic" (US) Singles
So, you're Andy Summers, and you've written a song which isn't super structured. It's more of a couple of riffs thrown together, but they sound cool. Do you have any lyrics? Would your bandmate Sting sing them on the album if you did? These questions will never be answered, because "Shambelle" (which I think has a super neat feel musically) was delegated to the B-side of some of the other tracks from Ghost in the Machine. Andy's musical studies have often found artistic merit in hypnotic repetitiveness, and this tune has that cold Ghost vibe that would have been a way, way better choice than, say, "Rehumanize Yourself" or a couple others that ended up on the album.

"I Burn for You" (1982) - Brimstone & Treacle Soundtrack
So, Sting's gonna be a movie star, which probably surprised exactly no one. But at least he pulled his own band in to contribute some songs for the soundtrack of the film. I find "I Burn for You" to be interesting in that it's a musical bridge between Ghost and Synchronicity. I always thought this was a great track, and owned the single as a kid when it was brand new.

"Miss Gradenko" (1983) from Synchronicity
By the time the Police did their final album, they had all grown tremendously as musicians, and the material they were putting out had a higher level of sophistication (and relied less on attitude). Synchronicity was a super-polished album by a band that was on the verge of collapse, and it's tough to say whether the tension among the bandmates helped or hurt the result. I immediately enjoyed Stewart's song "Miss Grandenko". It didn't really sound much like most of the band's output, with Andy showing off some flamenco fingering chops, and Stewart's acerbic lyrics painting a strangely hopeful tale of a Russian spy.

"Once Upon a Daydream" (1983) - B-Side to "Synchronicity II" Single
Sting can be one of more deceptively dark songwriters. People will include his tunes in their weddings that, if they really knew the meanings, would be horrified at the thought. But that's not a problem with "Once Upon a Daydream", a song that openly invokes multiple murders and imprisonment and ruined lives. I like it.