By Aaron J. West
Through the Nineteen Eighties, whilst pop icons like Madonna, Bruce Springsteen, Michael Jackson, and U2 reigned ultimate, many seemed The Police because the greatest band on the planet. but after in simple terms 5 albums—and on the top in their popularity—The Police disbanded and Sting started a solo occupation that made him a world pop megastar. this present day, artists from Puff Daddy to Gwen Stefani credits The Police and Sting as significant impacts on their lonesome paintings, reflecting that The Police weren't just a well known, polished rock act, yet a powerfully influential one as well.
In Sting and The Police: jogging of their Footsteps, Aaron J. West explores the cultural and musical impression of Stewart Copeland, Andy Summers, and Sting. West information the certain hybrid personality of The Police’s musical output, which might additionally represent Sting’s post-Police profession. Sting’s long-lived solo profession embodies the facility of the crafty appropriation of musical kinds, whereas capitalizing at the smooth realities of dad song intake. The Police—and Sting in particular—were pioneers in track video, smooth label advertising, international activism, and the internationalization of dad tune.
Sting and The Police: strolling of their Footsteps will curiosity greater than simply lovers. by means of putting the band inside its a variety of musical, cultural, advertisement, and ancient contexts, Sting and The Police: strolling of their Footsteps will entice a person drawn to international renowned tune tradition.
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Additional info for Sting and The Police: Walking in Their Footsteps (Tempo: A Rowman & Littlefield Music Series on Rock, Pop, and Culture)
Although Summers conveys the energy of punk, he does not use its typical musical vocabulary. His repeated use of atonal passages echoes the musical vocabulary of 1960s psychedelia, a generation of music that he grew up with and which is historically connected to progressive rock but not punk. Possibly the finest example of Summers’s technique is found midway through “Flexible Strategies,” a B-side instrumental from Ghost in the Machine, where he overlays atonality and non-Western scales onto the rhythm-and-blues (R&B) groove of the tune.
Between them, they walked away with seven first-place finishes in our Eighth Annual Readers’ Poll: Jackson took top honors in the Artist of the Year, Soul Artist and Best Video categories, while The Police were winners in the Band of the Year, Album of the Year, Single of the Year and Songwriter of the Year divisions. (“Rolling Stone Music Awards,” 18) The Police and Sting earned more votes than popular music icons like U2, Talking Heads, Def Leppard, Billy Joel, Elvis Costello, and of course, Michael Jackson.
In most cases, they utilized technical ability as a means to create vibrant pop songs, but each member at times demonstrates technical mastery throughout their repertoire. In the case of Sting, there are moments when his bass playing displays the accuracy, lightness, and rhythmic unpredictably of the finest bassists of the era. For instance, “Deathwish,” released on the 1979 album Reggatta de Blanc, is a two-part form featuring the familiar “Bo Diddley” groove in the first verse and a more typical rock groove in the chorus.