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The Return Of The Police: Sting, Summers And Copeland Are Back!
By Bill Knell
The Police reunited for an appearance on the 2007 Grammy Awards Show. Anyone familiar with Sting, Andy Summers and Stewart Copeland knew that a Grammy Awards Show would never be reason enough for the original band members to come together and suddenly decide to perform on television. It was obvious that this was some kind of reintroduction to the band. That suspicion was confirmed a day later when a press conference was held in Los Angeles to announce that tickets would soon be available for an upcoming tour. A group known for surprising the media, their fans and sometimes even themselves, had done so handily. It was that way since the beginning.

The original band was formed by Stewart Copeland as a trio that became a foursome sometime in the spring of 1977. By early summer, Strontium 90 appeared on the scene as a reinvented version of the same group. After having undergone some personnel shifts and adjustments, the band members were Sting, Stewart Copeland, Andy Summers and Henry Padovani. As Strontium 90, the band recorded a few demo tracks, played gigs in London and Paris and worked on perfecting their sound. Sometime in the summer of 1977 they began calling themselves The Police, a name originally chosen by Stewart Copeland.

Looking to get their sound on vinyl, The Police tried laying down some studio tracks in late July of 1977 with the help of producer John Cale, a Welsh musician and one of the founding members of The Velvet Underground. The recording sessions went nowhere and revealed that Henry Padovani lacked the guitar skills needed to keep up with the others. As a result, Padovani left the band in early August. By the fall of 1977, The Police became the threesome of Sting, Summers and Copeland that we know so well. The trio with a unique sound bigger than the band was tailor made for the small clubs and venues of England's Punk and new wave scene. As a result, they became popular with British Fans.

After giving the recording studio another try, The Police had better luck. Roxanne was released as a single in early 1978. Can’t Stand Losing You, So Lonely and their first album, Outlandos d'Amour, followed later that year. Through a deal brokered by Stewart Copeland’s brother, Miles, A&M Records signed The Police to a recording contract and released Outlandos d'Amour in the USA.

In 1979, the band toured the USA to support their newly released singles and the first album. The press loved to describe them as three guys from England with bleached blond hair playing rocked up Jamaican Rebel driving around the USA in a cannibalized, overdue rental van filled with stolen instruments.

The blond hair was actually the result of a commercial they did to earn some quick money. Afterward, they decided to stay with the look. The trio did drive around from gig to gig in a leased Ford Cargo Van that had seen better days and was long past the original return date. The van contained 'borrowed' instruments and equipment. Actually, according to statements made by the band members during that time, they rented the instruments in New York City for a club date and forgot to return them until their tour was finished. It’s said the band made good on the extra charges for the van and instruments.

Their second album, Regatta De Blanc, was released in the fall of 1979. Walking on the Moon and Message in a Bottle received a huge amount of airplay and helped fill most of their shows to overflowing. In November of 1979, I was lucky enough to squeeze into My Father’s Place on Long Island to watch an amazing performance by The Police. The event was simulcast on WLIR, Long Island’s New Radio Station at that time. A friend later provided me with an audiocassette of the performance. I wore that cassette out.

The third album by The Police, Zenyatta Mondatta, was released in October of 1980. The record hit number one in the UK and number five in the USA against tough competition which included AC/DC, Pink Floyd, the Rolling Stones, John Lennon, Queen and Bruce Springsteen to name a few. Songs like Driven To Tears and Don't Stand So Close To Me could be heard playing constantly on the radio. Despite all that radio play, people didn’t tire of their sound and always seemed to want more.

Sting’s newly acquired Star Power as the band front man, an actor and solo musician in his own right gave him a constant edge over Steward Copeland. Copeland was his most vocal critic in the band and the two actually got into fistfights on several occasions. It probably didn’t help that managers, concert promoters, publicity agents and record companies all knew there would be no Police or paycheck without Sting and likely took his side on many issues. That must have driven Copeland nuts. Despite the infighting, the band members were still able to agree enough at that time to get down to business and move the band forward.

In 1981, just one year after their third album was released, their fourth album hit the stores. Ghost in the Machine flew to a ranking of number one in the UK and number two in the USA. Spirits In The Material World, Every Little Thing She Does Is Magic and Invisible Sun captured the imagination of fans and were placed in constant rotation on radio stations from coast to coast in the USA. These songs proved that the band could make occasional changes in their sound without evolving away from their fan base as others had.

In 1983, the band released Synchronicity, their fifth and final album to date. It reached number one in the UK and number one in the USA. The album won the group several Grammy Awards and lots of critical acclaim. Songs like Every Breath You Take, King of Pain and Wrapped Around Your Finger became instant favorites that crossed over musical formats and received a huge amount of airplay. Synchronicity II became a favorite song of rock and new disc jockeys. Today, that album is considered

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