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Speaker 1: Hello everybody, and welcome to the Surely You Can't Be

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Serious Podcast, discussing and debating the iconic and the forgotten

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of eighties and nineties pop culture with your co hosts

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James D. Graves and Jason Colliphans.

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Speaker 2: All right, welcome everybody. We are here for our Synchronicity

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Versus Frontiers episode. I'm so excited about this episode. I've

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been looking at these bands. Getting back to revisit them

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is going to be awesome. Jason, are you Are you

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all right? Are you there?

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Speaker 3: Yeah? I'm sorry. I'm still I'm still trying to figure

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out who the biggest a held out of these three

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guys is. I can't tell which one it is, or

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if it's all three. I'm not sure.

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Speaker 2: Yeah, I don't know. I don't know the three guys

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and the police. It's a struggle because obviously that none

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of them could get along. And I've had that same struggle, man,

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I really have. I can't tell.

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Speaker 3: Okay, I go back and forth. I'm gonna be curious

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of who.

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Speaker 2: You lean, right, That'll be a separate decision making part

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of this, I guess decide to judge, make the judgment

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of who the a hole is.

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Speaker 3: This is gonna be interesting because you and I have

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talked off air, but you and I, we don't really

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have a relationship. Prior to the study that we do

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for the podcast, we didn't really have a relationship with

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either one of these albums.

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Speaker 2: No, this was my older brother's album for sure, and

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he's eight years older than I am. So this album

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came out in eighty three, so he would have been

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just driving around this time, so he's gonna be jamming

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out to this one all the time. I know that

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we had the LP. I'm pretty confident that he also

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had the tape, and so as a new driver with

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a new car and a tape deck in it, I

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know that he listened to this a lot. But it's interesting.

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You know, we'll get into the songs a little bit later.

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But I had to ask him about listen to it.

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I was like, did you really ever listen to the

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first side? Did you listen to the As was like, yeah,

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I listened to it all the time. Like okay, because

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going back, I have some struggling with a lot of

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the first half of the album.

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Speaker 3: So okay, see, I'm going to give a shout out

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to a good friend of mine named Melissa Mingle. I

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was talking to her about this. I said, did you

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have Synchronicity? She's like, oh, of course. I said, did

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you listen to the entire album?

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Speaker 2: Just the hits?

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Speaker 3: She's like, no, I love the whole album. I'm like,

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what'd you think of the song Mother? She's like, mother, hmmmm.

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She couldn't really place it. She texted me later after

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that discussion She's like, I can't believe I missed that show.

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Speaker 2: So it was a show for sure.

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Speaker 3: I don't want to. You know, we'll get into what

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we think about these songs individually, but before we do. Yes,

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this is Synchronicity by the Police versus Frontiers by Journey

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to the biggest albums of nineteen eighty three.

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Speaker 2: Right, both released in nineteen eighty three. One of them,

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Synchronicity has the defining song for the Police. Frontiers has

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my favorite song from Journey on it. So it'll be

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an interesting matchup. Not Journey's biggest hit of all, not

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their defining song probably, but certainly one that's right up

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there close to the top.

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Speaker 3: Yeah, it's gonna be fun before we even get started.

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I mean, I thoroughly enjoy what we do for our podcast.

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But taking a deep dive into two albums that I

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didn't really have a relationship with has been a lot

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of fun. I'm anxious to get into what we think.

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Speaker 2: Absolutely yeah, the two albums that were going through I've

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probably listened to at least a dozen times each since

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we came up with this idea.

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Speaker 3: It's gonna be fun. I'm excited to do it. Rocks.

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Speaker 2: So normally I would like tell a story about what

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I was doing in nineteen eighty three, But in nineteen

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eighty three, I was in second grade, and beyond having

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the Michael Jackson experience with the Motown and the Glove,

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I don't remember anything else about that year. You have

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any recollection of nineteen eighty three what you had.

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Speaker 3: Going on, Well, I can tell you the biggest thing

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that happened in my life in nineteen eighty three was

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Return of the Jedi came out.

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Speaker 2: Oh yeah, that is the first Star Wars movie that

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I remember seeing in the theater. I have no recollection

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of seeing the other movies for the first time. I've

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got no memory of Oh my gosh, Darth Vader is

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the Skywalker's dad, Like it was just somehow that's always

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been in my memory banks. So it was Sorry for

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the spoiler alert for anybody out there. Man, dang, I

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was gonna watch that tonight.

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Speaker 3: You missed forty years too late, and I've been waiting

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for forty years to watch that movie.

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Speaker 2: Oh my gosh.

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Speaker 3: You missed one of the great movie watching experiences of

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all time. Man, I mean it rocked my world. And

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then I had to live with it for three years, you.

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Speaker 2: Know, yeah, like, what what's going to happen? Right?

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Speaker 3: I know we would talk about it on the playground.

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Do you think no way, there's no way possible.

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Speaker 2: It's not real. He was lying, lying, right, He's a

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bad guy, of course he was lying.

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Speaker 3: So yeah, nineteen eighty three, I mean I remember seeing

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Here's here's what I remember about nineteen eighty three. Okay,

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he talked, We talked a little bit about Pirate. First

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real experience with rock music. Return of the Jedi came

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out in eighty three that summer, Octopusy and Never Say

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Never Again. He had two James Bond movies in the

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theater at the same right, Trading places, right, training places.

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That's my memory. See that memory from the year, the

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first year of Boobies. Yeah, that's it. Okay, we can

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move on now. Congratulations the year d became a man.

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Speaker 2: So in nineteen eighty three, these two albums were released

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Synchronicity by the Police and Frontiers by Journey. Today we're

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going to talk about Synchronicity. Next episode, we will be

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talking about Frontiers.

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Speaker 3: As far as my relationship with this album, I knew

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everybody knew Every Breath You Take. I mean I was

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familiar with King of Pain and some others.

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Speaker 2: Of course, I say it every musical episode that we have.

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I say this, but MTV. If it was not for MTV,

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this album may not have been the album that it was.

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The fact that Every Breath You Take was maybe their

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first song that became what they called a heavy rotation

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song definitely seal the deal. Just to talk about the

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history of the band, you know, you got three guys

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who come from very different backgrounds. A couple of guys

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from England, one guy from the States who actually grew

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up in the Middle East. He's got a real, really

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neat history all to himself. But it is Sting whose given.

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Speaker 3: Name is Gordon Sumner.

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Speaker 2: Gordon Sumner School. Does he become the hero that he is?

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Does he become the rock god that he is. If

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his name is Gordon.

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Speaker 3: No way Sting is a super cool name. Gordon Sumner

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way low on the cool meter.

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Speaker 2: Yeah, it's the English teacher that you don't want to

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go sit in his class. I'll start with Andy Summers. Okay.

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So Andy Summers was the oldest member of the band,

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and he had had a significant musical career before he

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ever started with the Police. He started playing piano when

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he was sick. He got his first guitar when he

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was eleven. By the time he was sixteen, he was

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playing in jazz clubs and pretty quickly he met up

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with this guy called Zoot Money, and it was this

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kind of jazzy rock, you know, classic fifties style rock

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that they were doing in the sixties. But they were playing,

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you know, they would share the stage with bands like Pink,

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Floyd Cream, Jimmy Hendrix. He was making it big in

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the sixties when these other guys were just still kids

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in school. Really. He and Zoop Money eventually formed a

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separate band. The band that they were in split up,

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and he and Zoot Money started doing lots of drugs together,

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and so they formed the psychedelic rock band called Tatalian's Chariot,

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and so he moved out to the States and they

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tried to do their psychedelic rock thing, but eventually that

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fell apart, and then he started playing guitar with kind

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of the second rendering of the Animals. I'm sure you

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know The Animals. They had the House of the Rising

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Sign and a whole lot of other hits, right, But

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his connection with that band lasted for one album and

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then it just kind of all fell apart, and pretty

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quickly he found himself unemployed, giving guitar lessons for next

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to nothing, and then he got arrested for drug possession

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and he thought his life was over. And then he

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meets his future wife, Kate, and he's like, wait a minute,

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I'm going to change my life around. Everything's gonna be great.

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They get married, they go back to London, but by

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this time he's nearly thirty. He's twenty nine years old,

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and so for being a rock star, that's over the hill.

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Speaker 3: Right, Yeah, It's like getting in the NBA at thirty five,

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you know, right.

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Speaker 2: And he happens upon this other band and then just

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because he happens to be playing the local clubs whenever

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Rolling Stones start looking for guitarist. He's on the list

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with like Eric Clapton as a possible new guitar player

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for the Stones, which is pretty amazing, but of course

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he didn't make it. Otherwise we'd be talking about Rolling Stones, right.

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And then he gets invited to play as kind of

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the lead guitar on this orchestral piece called Tubular Bells

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by the Newcastle Orchestra. And there's a couple of other

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session musicians there, a bass player by the name of

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Sting and a drummer by the name of Stuart Copeland.

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Sting's band was called Last Exit. Stuart Copeland's band was

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called Curved Air, and they happened to do another thing together,

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just a session band for this one off show in Paris.

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Again they meet up and at this time Stuart Copeland

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has put together a punk band.

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Speaker 3: Yeah, this is interesting. This is nineteen seventy seven when

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punk is going through the roof and Stuart Copeland says

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to himself, and these guys are talentless. They don't really

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know how to play their instruments. We don't need all

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these other people involved. We just need a singer and

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a guitar player, you know, a drummer and a bass

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player and that's it.

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Speaker 2: That's all we need, and we don't need to know

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how to play, right, everybody was going to the shows

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by musicians who screamed and didn't sing and didn't know

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but three chords and barely knew how to play those,

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and somebody who just hit the drums hard. You know.

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Speaker 3: Stuart was kind of the head of the band. Initially,

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he listened to Last Exit. He contacted Sting, invited us

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thing to play with him. They had a different guitar

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player who's actually a punk guitar player, Henry Pottovanni.

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Speaker 2: Right, well, he really wasn't anything. He just knew all

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the right people, like he knew all the punk bands.

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And so as Sting is on his way over, Stuart

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Copeland shows Henry Pottavanni how to play the three chords

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that he's going to need to know how to play

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to be a punk band, and as it manages to

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fool Sting for at least a little bit in order

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to get him to agree to sign up to be

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in this punk band. And they go out and play

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and they're doing awful punk. But people can kind of realize, hey,

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these guys actually a couple of them seem to really

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know what they're doing, and that guy can actually sing

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a little bit.

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Speaker 3: When they first started, Henry Pottovanni he was rubbish. Stuart

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and Sting just pretended to be rubbish, right right.

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Speaker 2: They would follow bands that new four chords and they

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would be a band that new four hundred chords.

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Speaker 3: They were trying to capitalize on that punk movement, which

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is crazy because they don't sound punk at all.

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Speaker 2: Oh no, no, no, no, I mean the farthest from it. Eventually,

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you know they, I don't know what honestly possessed Stuart

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to try to get in contact with Andy Summers, the

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guitar player, and say, hey, we'd like you to join

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the band with us. Obviously they'd had these two sessions.

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They saw that he was a talented musician. But but

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why do that? I think maybe they were looking for

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a future beyond punk. I guess I don't know. But

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after just a couple of shows playing together as a foursome,

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Andy Summers simply said, I'm not going to play with

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this other guitarist. Just it's not going to happen, You're right,

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So he was ready to be out of the band.

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He's thinking things over. He's on this train and he

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gets off the train and at the same time that

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he gets off the train, Stuart Copeland gets off another

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car on the train and they laugh about the fact

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that they've you know, coincidentally met each other, and they

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have this intense conversation and then they call up Henry

241
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and say sorry, buddy, no longer in the band.

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Speaker 3: And he was okay with that.

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Speaker 2: He has this very French attitude about the whole thing,

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is like, who cares, you know, whatever it is, what

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it is, you know whatever.

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Speaker 3: But he never really I'd never really buy it when

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people say that, like, yeah, I was originally in Van Halen,

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but I got out before they made a bazillion dollars.

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But it's okay, no big deal to me.

250
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Speaker 2: But he actually he went to become a guitarist for

251
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Wayne Country and the Electric Chairs, who at the time

252
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that had happened, were a better known band than the

253
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Police was. It's funny because the guy who didn't know

254
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how to play anything got to be in the better

255
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band at the time.

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Speaker 3: Next up on the Countdown a few by Wayne Country

257
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and the Electric Chairs. I think it's interesting in the

258
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early days when they finally get the threesome together. They

259
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start playing clubs around London. Yeah, and there's like six

260
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people in the audience, including the guy's wives and girlfriends.

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They were like, they were a nothing band.

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Speaker 2: Andy's been all over and he's been in the UK,

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he's been in the US, and now he's back, you know,

264
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scrounging and he's with this band and going in and

265
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playing these punk clouds and the punk audience, for.

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Speaker 4: Lack of a better word, are punks, and so they

267
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had there was this trend that started where they would

268
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spit on the musicians, Like I think it started with

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just you know, spitting their beer on them, but then

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it just turned into spit like they just hawk Loovi's

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at the band and and he was just like, you

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know what, I was tired of getting spit on.

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Speaker 2: I did not want to do this anymore.

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Speaker 3: I don't blame him at all. We talked a little

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bit about this in our Neirvana Pearl Jam episode. You

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listen to that, go back into the archives and listen

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to that. But people acting crazy, punching, people spitting up.

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But that's not my scene at all. I don't blame

279
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him one bit for that.

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Speaker 2: I can handle a mosh pit. If somebody spits on me,

281
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they're going to get a fist in the face. So yeah,

282
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they started doing better music. And then Stuart Copeland comes

283
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in one day and he's bleached his hair blonde, and

284
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they're like, what in the world did you do? And

285
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then within a week Sting and get both done the

286
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same thing, and so weird. It was weird. It was

287
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kind of like the makeup for kiss. It gave them

288
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this identity. You know, they're they're the blonde trio over

289
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here at Bleached Blonde Trio.

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Speaker 3: And Stuart's brother, who is their manager, says, well, we

291
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got to get you to the States. When they go

292
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over to the States, they play a club in New

293
00:14:24,399 --> 00:14:27,440
York City and it's like craziness, Like New York City

294
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loves them. And they sort of bounced around this little

295
00:14:29,440 --> 00:14:31,919
three week mini tour on the Northeast and they do

296
00:14:32,039 --> 00:14:34,960
really well in the States. Andy Summer's wife was in

297
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labor back in London, getting ready to have his daughter. Yeah,

298
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and he calls her and he says, I can't be there.

299
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He goes, there's a thousand people here, and they had

300
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just been playing in front of six or seven or

301
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ten back in London.

302
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Speaker 2: It's so crazy to think about all of these bands

303
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that we talk about started at one place and then

304
00:14:52,480 --> 00:14:54,679
end up being megastars, and it's for a lot of

305
00:14:54,720 --> 00:14:58,399
them a really quick turnaround. And obviously the States tour

306
00:14:58,480 --> 00:15:02,120
did a whole lot for the police. But like before this,

307
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there was a time where Sting didn't have a place

308
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to stay sometimes, and so he spent the night with

309
00:15:09,000 --> 00:15:12,720
Andy and Kate, his wife allt Kate was pregnant, and

310
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Andy says, I can still remember us drifting off to

311
00:15:16,080 --> 00:15:20,360
sleep listening to Sting play this little ditty on his

312
00:15:20,840 --> 00:15:23,840
acoustic guitar that he had just come up with that night,

313
00:15:24,320 --> 00:15:31,480
singing rocksand and who would have known that it turned

314
00:15:31,519 --> 00:15:33,759
out to be the way that it was. You know,

315
00:15:33,879 --> 00:15:36,879
Bob Garcia was the guy who was in charge at

316
00:15:36,879 --> 00:15:39,759
that point. He was listening to this song and his

317
00:15:39,919 --> 00:15:42,759
dog started howling at the sound of the song, right,

318
00:15:43,000 --> 00:15:44,840
And he says, so at that moment, I knew that

319
00:15:44,879 --> 00:15:46,960
it was a hit. As it turns out, he was wrong.

320
00:15:47,480 --> 00:15:50,480
They released that single, it didn't do very well until

321
00:15:50,559 --> 00:15:53,240
they had that United States tour, and then they re

322
00:15:53,240 --> 00:15:56,080
released it the next year and it made them the

323
00:15:56,200 --> 00:16:00,360
name that they are. So after rock Sande had become

324
00:16:00,399 --> 00:16:03,639
the success, they sat down that had the band meeting

325
00:16:03,720 --> 00:16:08,399
that you know that David Lee Roth hated. But these guys,

326
00:16:08,519 --> 00:16:12,759
these guys were all smart, driven guys, and so they

327
00:16:12,799 --> 00:16:16,600
sat down and they said, listen, we are no longer

328
00:16:16,679 --> 00:16:19,519
going to be chasing the moment. We're no longer going

329
00:16:19,559 --> 00:16:22,519
to be pretending to be a punk band or pretending

330
00:16:22,559 --> 00:16:25,519
to be a whatever style of the band is today.

331
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We are going to be the one that makes the moment.

332
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And man, I gotta I say, that's what they did before.

333
00:16:32,360 --> 00:16:34,120
And since I can't think of a single band that

334
00:16:34,159 --> 00:16:36,399
I would say, oh, these guys sound like the Police, No,

335
00:16:36,679 --> 00:16:39,679
they are a unique band all on their own.

336
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Speaker 3: Yeah, I'm with you. Thing's voice really sets them apart.

337
00:16:44,279 --> 00:16:45,960
He has one of the most unique voices in the

338
00:16:46,039 --> 00:16:53,000
nineteen eighties for sure. Oh yeah, all right, So man,

339
00:16:53,000 --> 00:16:54,320
you're gonna have to help me with these titles. I

340
00:16:54,360 --> 00:16:55,519
don't even know how to pronounce these.

341
00:16:55,919 --> 00:16:59,759
Speaker 2: Okay, Yeah, So we have a lot of very unique

342
00:17:00,240 --> 00:17:04,119
album titles, and forgive us for messing them up. But

343
00:17:04,559 --> 00:17:08,720
Sting was a very well read guy who wasn't afraid

344
00:17:08,759 --> 00:17:13,039
of being pretty esoteric in his lyrics and his album titles.

345
00:17:13,279 --> 00:17:15,799
So their first album was outlandis de.

346
00:17:15,799 --> 00:17:18,240
Speaker 3: More and that's the one that had rock sande.

347
00:17:18,200 --> 00:17:20,920
Speaker 2: Right, and then they had Regatta do Blanc.

348
00:17:21,160 --> 00:17:23,680
Speaker 3: Okay, you may remember that for like Message in a Bottle,

349
00:17:23,759 --> 00:17:24,519
Walking on the Moon.

350
00:17:24,920 --> 00:17:28,240
Speaker 2: Next two albums, You've got Zenyata Mandada, which I mentioned

351
00:17:28,440 --> 00:17:31,000
long ago, came out on my birthday in nineteen eighty.

352
00:17:30,920 --> 00:17:33,319
Speaker 3: That's right, don't stand so close to me. Do Do

353
00:17:33,640 --> 00:17:37,720
Do Do Da Da da right right right.

354
00:17:38,200 --> 00:17:41,440
Speaker 2: And then in nineteen eighty one you had Ghost in

355
00:17:41,480 --> 00:17:42,160
the Machine.

356
00:17:42,400 --> 00:17:44,559
Speaker 3: Okay, so Ghost of the Machines. Really, when I kind

357
00:17:44,559 --> 00:17:47,279
of pick them up, that's spirits in the material world.

358
00:17:47,759 --> 00:17:49,559
And the big hit on that one was every little

359
00:17:49,559 --> 00:17:50,920
thing she does is magic.

360
00:17:51,160 --> 00:17:53,880
Speaker 2: So Ghost in the Machine was a book by Arthur Koestler,

361
00:17:53,920 --> 00:17:58,480
who also wrote The Roots of Coincidence, which is about synchronicity,

362
00:17:58,559 --> 00:18:02,160
a psychologists philosopher who wrote a couple of books that

363
00:18:02,200 --> 00:18:06,000
inspired Sting enough to name his albums. So they do

364
00:18:06,039 --> 00:18:08,559
their US tour and then they do a world tour,

365
00:18:08,640 --> 00:18:11,079
and by world tour, I mean literally world tour. They're

366
00:18:11,119 --> 00:18:13,759
going to Egypt, they're going to India, they're going to

367
00:18:13,799 --> 00:18:16,880
places that no other bands are going to, and so

368
00:18:17,039 --> 00:18:20,640
they're gone for months on end, and Andy's got this,

369
00:18:20,759 --> 00:18:23,680
you know, new baby daughter at home and wife at home,

370
00:18:24,400 --> 00:18:28,319
and after the tour, you know, you would expect, hey,

371
00:18:28,759 --> 00:18:31,480
go home and see my wife and kid. But he

372
00:18:31,559 --> 00:18:35,640
decides to spend another three weeks in Bali with Stuart,

373
00:18:36,039 --> 00:18:39,680
and as it happens, John Belushi is staying at Bali

374
00:18:39,759 --> 00:18:43,319
at the same time, and they immediately hit it off.

375
00:18:43,359 --> 00:18:46,440
They're like, oh, hey, this guy's hilarious, and he's like, yeah,

376
00:18:46,440 --> 00:18:47,200
I'm hilarious.

377
00:18:49,400 --> 00:18:50,640
Speaker 3: I have not heard this story.

378
00:18:50,880 --> 00:18:53,759
Speaker 2: Yeah, and then they find this restaurant in Bali that

379
00:18:53,920 --> 00:19:02,279
serves omelets with mushrooms. Magic mushroom.

380
00:19:02,440 --> 00:19:05,240
Speaker 3: Oh my gosh, that's a very John Belushi thing to

381
00:19:05,759 --> 00:19:06,960
order off the menu, right.

382
00:19:07,240 --> 00:19:10,039
Speaker 2: Absolutely, yeah, I'm pretty sure he must have been the

383
00:19:10,079 --> 00:19:13,640
guy that introduced him to this place. So, so, needless

384
00:19:13,680 --> 00:19:15,599
to say, things weren't going very well. By the time

385
00:19:15,640 --> 00:19:25,960
Andy got back home after doing the US tour, doing

386
00:19:26,000 --> 00:19:29,160
the World's Tour. It's safe to say that the relationship

387
00:19:29,440 --> 00:19:32,119
among the band members was getting pretty strict. I'd like

388
00:19:32,160 --> 00:19:33,480
to avatas for a new fine.

389
00:19:33,640 --> 00:19:36,519
Speaker 3: Yeah, they had this sort of brotherly like relationship. They

390
00:19:36,519 --> 00:19:41,920
couldn't ever compromise, right, Right, So there's three very strong willed,

391
00:19:42,119 --> 00:19:49,039
very capable musicians, and every single thing has to be perfect,

392
00:19:49,400 --> 00:19:52,000
but it has to be that guy's version of perfect. Well, no,

393
00:19:52,079 --> 00:19:53,400
it's my version of perfect.

394
00:19:53,759 --> 00:19:54,000
Speaker 2: Right.

395
00:19:54,039 --> 00:19:55,519
Speaker 3: It would come to blow us, They would come to

396
00:19:55,640 --> 00:19:57,799
I mean fisticuffs.

397
00:19:57,200 --> 00:19:59,079
Speaker 2: Right, And you know, we talked about trying to figure

398
00:19:59,079 --> 00:20:01,319
out who the a whole was at the beginning of this.

399
00:20:01,680 --> 00:20:06,279
Right from what I can gather, Stuart was very aggressive

400
00:20:06,680 --> 00:20:12,599
and Sting was passive aggressive, and Andy was kind of the

401
00:20:12,680 --> 00:20:15,119
mediator between the two of them, but he had his

402
00:20:15,200 --> 00:20:19,440
own you know, he'd stick his heels in frequently as well. So, yeah,

403
00:20:19,480 --> 00:20:22,559
you've got guys who are all very talented, very intelligent,

404
00:20:22,599 --> 00:20:25,400
who are all driven, who all have their own idea

405
00:20:25,440 --> 00:20:27,920
about the way things go. And I mean you pointed

406
00:20:27,960 --> 00:20:30,640
out to me like Stuart's got to be thinking, you know,

407
00:20:30,680 --> 00:20:33,720
what's with Sting writing all the songs? This is my band.

408
00:20:33,880 --> 00:20:36,839
I formed this band. And then Andy's got to be

409
00:20:36,880 --> 00:20:40,279
thinking what is with these guys. I'm the guy who has,

410
00:20:40,400 --> 00:20:43,000
you know, another decade worth of experience over them. I'm

411
00:20:43,039 --> 00:20:45,960
the guy that's played with other bands, I'm the guy who's,

412
00:20:46,039 --> 00:20:49,680
you know, the probably the best musician in the band.

413
00:20:50,200 --> 00:20:52,799
And then of course Sting is thinking, I'm the guy

414
00:20:52,799 --> 00:20:54,279
who writes all of the hits.

415
00:20:54,960 --> 00:20:58,039
Speaker 3: Everybody had a reason to dig their heels in and

416
00:20:58,079 --> 00:21:00,480
claim leadership role in the band.

417
00:21:00,839 --> 00:21:03,519
Speaker 2: Right, and so it kind of became a thing. Like

418
00:21:03,599 --> 00:21:06,319
there's a great interview with Martha Quinn after one of

419
00:21:06,359 --> 00:21:09,160
their shows and they keep bickering back and forth, and

420
00:21:09,279 --> 00:21:11,839
she's trying to ask questions and she's finally like, so

421
00:21:11,880 --> 00:21:13,559
do you guys mind just answering to some of my

422
00:21:13,640 --> 00:21:14,680
questions at the moment?

423
00:21:17,640 --> 00:21:20,200
Speaker 3: Questions Thomas, Okay, I'll.

424
00:21:20,079 --> 00:21:24,079
Speaker 2: Tell you what. Should we film me whipping Sting? How

425
00:21:24,079 --> 00:21:25,920
about it you and see me be singing? Then Sting

426
00:21:26,000 --> 00:21:29,640
throws his drink in Stuart's face and they take off

427
00:21:29,799 --> 00:21:34,079
like Sting thing's running and Stuart's ready to whoop some a.

428
00:21:35,000 --> 00:21:39,160
Speaker 3: It really was legit to drink in the face. I'm

429
00:21:39,160 --> 00:21:41,920
getting out of here. Stuart's knocking over the table. Martha

430
00:21:42,000 --> 00:21:44,400
Quinn is just like, what is going on right here?

431
00:21:44,480 --> 00:21:47,240
Speaker 2: Yeah, She's like, okay, I guess we're done. She was

432
00:21:47,440 --> 00:21:48,039
not happy.

433
00:21:49,720 --> 00:21:52,759
Speaker 3: So, yeah, they had a tough relationship these guys were

434
00:21:52,880 --> 00:21:55,519
like brothers and a lot of times they couldn't stand

435
00:21:55,519 --> 00:21:55,880
each other.

436
00:21:56,039 --> 00:21:58,720
Speaker 2: So they get together for their fifth album, right and

437
00:21:58,759 --> 00:22:02,160
without hesitation, they are at the very top of the game.

438
00:22:02,200 --> 00:22:06,359
They are regarded as the best band in the world

439
00:22:06,799 --> 00:22:09,759
at this moment. That they get together for their fifth album,

440
00:22:10,160 --> 00:22:13,680
and in recording the album, they go to the most

441
00:22:14,079 --> 00:22:16,880
beautiful place in the Caribbean that you could go to.

442
00:22:17,000 --> 00:22:19,359
I mean, it's just how perfect could it be? But

443
00:22:19,400 --> 00:22:20,039
what happens?

444
00:22:20,839 --> 00:22:24,279
Speaker 3: So, yeah, I heard Stuart Copeland talking about this. So

445
00:22:24,319 --> 00:22:26,759
they're at Montserrat. This is island in the Caribbean. This

446
00:22:26,920 --> 00:22:28,920
is the same place that they record A Ghost in

447
00:22:28,960 --> 00:22:31,880
the Machine. Same producer, Hugh patrim He said every day

448
00:22:31,880 --> 00:22:35,400
they'd wake up in their little bungalows and they'd see

449
00:22:35,400 --> 00:22:37,799
the water and they'd see the beach and it'd be beautiful.

450
00:22:37,880 --> 00:22:40,640
And he said, you'd just be whistling this happy tune

451
00:22:41,039 --> 00:22:43,039
on your way at the studio, and then by the

452
00:22:43,079 --> 00:22:46,079
time you got to the studio, this black cloud came

453
00:22:46,119 --> 00:22:48,319
over and you want to kill everybody while you're there.

454
00:22:49,640 --> 00:22:51,200
I don't know if you know this or not. Stem

455
00:22:51,440 --> 00:22:54,000
wrote a lot of the songs for this album, in

456
00:22:54,079 --> 00:22:58,240
Jamaica at GoldenEye, where Ian Fleming wrote most of the

457
00:22:58,319 --> 00:22:59,519
James Bond novels.

458
00:23:00,119 --> 00:23:03,519
Speaker 2: Yes, he wrote, he sat down and wrote at Ian

459
00:23:03,599 --> 00:23:06,440
Fleming's desk, wrote Every Breath You Take.

460
00:23:07,079 --> 00:23:09,480
Speaker 3: Take was written at the same desk that The Spy

461
00:23:09,519 --> 00:23:10,680
Who Loved Me was written.

462
00:23:10,839 --> 00:23:11,680
Speaker 2: That's crazy.

463
00:23:11,960 --> 00:23:14,480
Speaker 3: How about that is crazy?

464
00:23:16,559 --> 00:23:21,359
Speaker 2: So they end up being in separate rooms, and Pagem said, well,

465
00:23:21,400 --> 00:23:23,440
we wanted to put them in the place that gave

466
00:23:23,519 --> 00:23:26,839
them the best sound for each of their instruments, and

467
00:23:26,960 --> 00:23:28,640
also so that they wouldn't kill each other.

468
00:23:28,880 --> 00:23:30,279
Speaker 3: And also for social reasons.

469
00:23:30,359 --> 00:23:34,400
Speaker 2: It's for social reasons, social distancing. There's some social distancing

470
00:23:34,519 --> 00:23:38,480
going on back in nineteen eighty three. So they had

471
00:23:38,720 --> 00:23:42,079
they had Stuart Copeland in the living room, they had

472
00:23:42,160 --> 00:23:45,440
Sting in the recording booth, and Andy Summers that was

473
00:23:45,480 --> 00:23:47,519
the only one that was actually inside the studio itself.

474
00:23:47,559 --> 00:23:48,079
It's crazy.

475
00:23:48,160 --> 00:23:51,039
Speaker 3: They gathered in December of nineteen eighty two to record

476
00:23:51,079 --> 00:23:54,680
this album which would be released June one, nineteen eighty three.

477
00:23:54,400 --> 00:23:57,559
Speaker 2: And as you mentioned, Sting came with almost all of

478
00:23:57,599 --> 00:23:59,799
his songs already demoed.

479
00:23:59,440 --> 00:24:02,119
Speaker 3: Out to talk about that, because that is a big deal.

480
00:24:02,279 --> 00:24:06,799
Sting shows up with like ten songs, perfectly produced, ready

481
00:24:06,880 --> 00:24:10,720
to go, like, hey, guys, check this out. It's completely done.

482
00:24:10,799 --> 00:24:12,599
I don't need your help on any of this. And

483
00:24:12,640 --> 00:24:15,279
it's right every breath you take, and it's King of

484
00:24:15,319 --> 00:24:18,640
Pain and it's synchronicity too. I can see where these

485
00:24:18,640 --> 00:24:20,480
guys would be like, that song is really good, but

486
00:24:20,559 --> 00:24:23,640
that's not me. And and Stuart made the comment He's like,

487
00:24:24,160 --> 00:24:25,920
it was a great song, I just needed to make

488
00:24:25,960 --> 00:24:28,559
my mark on it, and Sting wouldn't let me, and

489
00:24:28,640 --> 00:24:30,680
that became World War three. I mean, I can see

490
00:24:30,680 --> 00:24:32,039
where that would be irritating, right.

491
00:24:31,960 --> 00:24:34,240
Speaker 2: Oh sure, yeah, I mean, okay, I'll go ahead and

492
00:24:34,240 --> 00:24:37,920
get I'll disclosed. I'll disclose my judgment. I watched Stuart

493
00:24:37,920 --> 00:24:41,799
Copeland's documentary. I watched Andy Summers documentary. I didn't watch

494
00:24:41,799 --> 00:24:44,599
the Sting documentary, but I'm pretty familiar with Sting. When

495
00:24:44,640 --> 00:24:47,880
I started, I had in my head that Andy Summers

496
00:24:47,920 --> 00:24:50,799
was probably the jerk. After doing the research that I have,

497
00:24:50,960 --> 00:24:53,000
I got to say, Andy Summers is probably the guy

498
00:24:53,000 --> 00:24:54,839
that was maybe the little bit of the dork, but

499
00:24:54,920 --> 00:24:58,359
the guy that tried to make peace between the other

500
00:24:58,400 --> 00:25:01,640
two guys most of the time. I think Sting tried

501
00:25:01,680 --> 00:25:05,640
to be polite but firm about what he wanted, and

502
00:25:06,279 --> 00:25:08,759
rightly so, because he's the guy that's writing all of

503
00:25:08,759 --> 00:25:12,359
their hit songs. And I think Stuart Copeland was being

504
00:25:12,359 --> 00:25:15,319
a potty little brat. That's my I'm calling Stuart Copeland

505
00:25:15,519 --> 00:25:17,799
the ahole. Sorry, Stuart, if you happen to be listening

506
00:25:17,799 --> 00:25:20,119
in I haven't met you. It's not appropriate for me

507
00:25:20,160 --> 00:25:22,440
to say these things about you. But I'm just going

508
00:25:22,519 --> 00:25:23,680
by what I've seen.

509
00:25:23,720 --> 00:25:25,880
Speaker 3: I can't argue with that assessment, although I think all

510
00:25:25,920 --> 00:25:29,960
three of them had their turn as Captain ahole right

511
00:25:30,799 --> 00:25:32,759
right when you've got I mean, if you're playing a

512
00:25:32,759 --> 00:25:35,640
flag football game in the backyard and Joe Montana shows

513
00:25:35,720 --> 00:25:39,119
up and you're the quarterback, yeah, you've got to move

514
00:25:39,200 --> 00:25:41,160
over for Joe of Montana right right hand.

515
00:25:41,319 --> 00:25:44,400
Speaker 2: Joe Montana the ball, and if he happens to pass

516
00:25:44,440 --> 00:25:47,000
it to you, feel lucky that you've got to get

517
00:25:47,039 --> 00:25:49,359
the ball passed to you by Joe Montana in your

518
00:25:49,400 --> 00:25:49,960
own yard.

519
00:25:50,599 --> 00:25:53,200
Speaker 3: Yeah, And that was hard for guys like Stuart Copland,

520
00:25:53,200 --> 00:25:56,720
who is a super talented drummer, but he's just not

521
00:25:56,759 --> 00:25:59,960
a great singer, great great songwriter and that's not right.

522
00:26:00,200 --> 00:26:03,359
Speaker 2: Knock on him is just not He's not a pop songwriter.

523
00:26:03,559 --> 00:26:06,880
I mean Sting had a pop song sensibility that he

524
00:26:06,920 --> 00:26:10,200
didn't have and that Andy Summers kind of had. But

525
00:26:10,720 --> 00:26:13,599
I mean he went on. He went on to score movies.

526
00:26:13,680 --> 00:26:15,920
So did Andy Summers. He scored some movies as well.

527
00:26:16,279 --> 00:26:21,400
They both are extremely talented musicians, just they don't have

528
00:26:21,680 --> 00:26:25,359
that special little thing that draws people into the music, right,

529
00:26:25,400 --> 00:26:29,400
They don't have the hook. Do you ready to start

530
00:26:29,440 --> 00:26:30,680
start talking about synchronicity.

531
00:26:30,799 --> 00:26:33,799
Speaker 3: Let's let's jump in song by song, track by track,

532
00:26:33,880 --> 00:26:35,519
let's break it down. I want to know what you think.

533
00:26:35,920 --> 00:26:39,640
Speaker 2: Okay, So the album itself is called synchronicity. It's based

534
00:26:39,640 --> 00:26:43,880
in a concept where you have two seemingly unrelated events

535
00:26:44,319 --> 00:26:47,039
which somehow are meaningful to each other.

536
00:26:47,240 --> 00:26:48,720
Speaker 3: Can you explain that anymore than.

537
00:26:48,720 --> 00:26:51,480
Speaker 2: Well, okay, yes, I will explain it more when we

538
00:26:51,519 --> 00:26:54,039
talk about synchronicity too here in just a little bit.

539
00:26:54,079 --> 00:26:55,799
Speaker 3: Okay, Yeah, I think I think I know where you're

540
00:26:55,799 --> 00:26:56,119
going with this.

541
00:26:56,240 --> 00:26:58,480
Speaker 2: Cool. As I mentioned before, it's based on this book

542
00:26:58,519 --> 00:27:01,799
called The Roots of Coincidence, which it says, hey, science,

543
00:27:01,839 --> 00:27:04,839
you should be paying attention to things that are unexplained,

544
00:27:04,920 --> 00:27:09,440
like paranormal phenomenon, supernatural type of things. These things don't

545
00:27:09,440 --> 00:27:11,680
happen very often, but they happen, and it's something you

546
00:27:11,720 --> 00:27:14,200
need to be aware of. And a lot of people

547
00:27:14,200 --> 00:27:16,680
wrote it off, but obviously it had a strong impact

548
00:27:16,720 --> 00:27:19,880
on Sting because you've got two different songs named for

549
00:27:19,960 --> 00:27:23,920
the concept on the album. The album itself nominated for

550
00:27:24,039 --> 00:27:28,680
five Grammys one to three. Yeah, musically it does this amazing.

551
00:27:28,799 --> 00:27:30,880
Like I said, you will not find a band. I mean,

552
00:27:30,920 --> 00:27:33,160
if you do, tell me about it. I'd love to

553
00:27:33,160 --> 00:27:35,160
hear a band that I go, oh wow. These guys

554
00:27:35,160 --> 00:27:37,599
are as good as the Police. Now. They did something

555
00:27:37,599 --> 00:27:40,920
where they merged genres of music that nobody had ever

556
00:27:40,960 --> 00:27:43,799
put together before, and they didn't. And you know, like

557
00:27:44,119 --> 00:27:46,319
they're kind of known for this reggae sound, but this

558
00:27:46,440 --> 00:27:48,799
album they kind of left the reggae behind. I mean,

559
00:27:48,839 --> 00:27:50,799
it's you get an inkling there, but most of the

560
00:27:50,799 --> 00:27:55,920
reggae on their first four Yeah, this is much different.

561
00:27:55,920 --> 00:27:59,440
And I can't say jazzy, I can't say world music.

562
00:27:59,519 --> 00:28:02,799
It's just it's a mix of stuff that's amazing. And

563
00:28:02,839 --> 00:28:05,759
they did all that and also achieved that sonic sound

564
00:28:05,799 --> 00:28:09,519
that we talked about with Thriller and with Hysteria, where

565
00:28:09,599 --> 00:28:12,920
the music is crisp and you feel each of the instruments.

566
00:28:12,920 --> 00:28:15,559
It's not muted and foggy like is the word that

567
00:28:15,640 --> 00:28:18,240
I always think of. It's more produced. We've talked about

568
00:28:18,240 --> 00:28:21,920
the producers before, and this one's definitely more produced and

569
00:28:21,960 --> 00:28:25,079
has more synthesizers in it, but it's still obviously with

570
00:28:25,160 --> 00:28:28,079
these guys being the musicians that they are, there's nothing

571
00:28:28,319 --> 00:28:30,160
fake about the production on this album.

572
00:28:30,200 --> 00:28:32,519
Speaker 3: This album knocked Thriller out of the number one spot

573
00:28:32,559 --> 00:28:35,160
for a little while, Yeah kept it out for eight weeks,

574
00:28:35,279 --> 00:28:38,839
and then Thriller reclaimed it spot. But still right albums

575
00:28:38,839 --> 00:28:40,759
than Thriller in nineteen eighty three, that's pretty dag.

576
00:28:40,799 --> 00:28:43,720
Speaker 2: I'm good right, as we said before. Produced by Hugh

577
00:28:43,799 --> 00:28:47,160
Pagem who he is the guy that came up with

578
00:28:47,359 --> 00:28:53,640
the gated reverb drum sound that we all know from

579
00:28:53,680 --> 00:28:57,000
in the Air Tonight by Phil Collins. Oh wow, nice,

580
00:28:57,240 --> 00:28:58,920
So not bad. I mean, I mean, if you're going

581
00:28:58,960 --> 00:29:01,119
to have a guy produce your album, that guy probably

582
00:29:01,160 --> 00:29:05,039
be a good one. But obviously he produced stuff for Genesis,

583
00:29:05,279 --> 00:29:08,920
produced stuff for Sting and several other big bands. But

584
00:29:09,119 --> 00:29:11,920
he almost walked out, Like it got to the point

585
00:29:11,960 --> 00:29:14,440
that they were fighting so much that he just he

586
00:29:14,480 --> 00:29:15,839
about said I'm done.

587
00:29:15,880 --> 00:29:17,640
Speaker 3: He made the call. I mean, he said, I need

588
00:29:17,680 --> 00:29:19,359
to get out of here, and they're like, no, give

589
00:29:19,440 --> 00:29:23,960
us more time. All right, So let's dive in. Are

590
00:29:23,960 --> 00:29:24,440
you ready?

591
00:29:24,680 --> 00:29:27,559
Speaker 2: Okay? So this concept of synchronicity comes out in this

592
00:29:27,720 --> 00:29:30,640
first song, which is almost like a description of the

593
00:29:30,720 --> 00:29:33,440
concept and the lyrics, and I'll just think, I'll say

594
00:29:33,440 --> 00:29:38,839
it a connecting principle linked to the invisible, almost imperceptible,

595
00:29:39,400 --> 00:29:47,880
something inexpressible, science, unsusceptible, logic, so inflexible, casually connectable, nothing

596
00:29:47,920 --> 00:29:55,440
is invincible. So it's it is two things that happen

597
00:29:55,759 --> 00:29:59,359
that seem to be completely unrelated to each other, but

598
00:29:59,519 --> 00:30:02,000
somehow are symbolically connected.

599
00:30:02,160 --> 00:30:05,000
Speaker 3: Yeah, this song is high intensity. It's kind of a

600
00:30:05,039 --> 00:30:09,599
good rocker, rapid synthesizers at the beginning for the time

601
00:30:09,640 --> 00:30:12,079
and place in nineteen eighty three, this perfectly fits that

602
00:30:12,119 --> 00:30:12,640
time and era.

603
00:30:12,759 --> 00:30:14,119
Speaker 2: You know what, I'm going to go ahead, I'll be

604
00:30:14,480 --> 00:30:17,599
completely honest with our listeners. When I sat down and

605
00:30:17,640 --> 00:30:21,079
started listening to this album, I listened to the first

606
00:30:21,200 --> 00:30:23,799
four songs and I called you up, and I said, Okay,

607
00:30:23,839 --> 00:30:28,400
I don't think I can defend this album. But honestly,

608
00:30:28,559 --> 00:30:32,319
the first songs in the album are an acquired taste, right.

609
00:30:32,400 --> 00:30:35,480
I mean, if you like stinky cheese, if you like

610
00:30:35,920 --> 00:30:40,079
homebrew beer or fine wines, that's something that you probably

611
00:30:40,160 --> 00:30:42,839
didn't enjoy the very first taste that you had of it.

612
00:30:43,279 --> 00:30:44,920
But it's something that after you did it for a

613
00:30:44,960 --> 00:30:47,519
little while, you're like, oh, I'm catching the nuances and

614
00:30:47,559 --> 00:30:51,319
the subtleties and all the wonderfulness about this. So yeah,

615
00:30:51,359 --> 00:30:53,720
So after listening to it now a dozen more times,

616
00:30:53,839 --> 00:30:56,839
I could say Synchronosity one is good and I enjoy

617
00:30:56,880 --> 00:31:00,240
actually all of the songs almost on this first side.

618
00:31:01,079 --> 00:31:03,799
Speaker 3: I enjoyed Synchronicity one too. This was the top of

619
00:31:03,839 --> 00:31:05,799
their set list for the Synchronousity tour.

620
00:31:06,039 --> 00:31:07,799
Speaker 2: Sure yeah, and it's a great one to get the

621
00:31:07,839 --> 00:31:10,640
audience hyped up. Like you said, it's got that exciting

622
00:31:10,759 --> 00:31:11,519
upbeat tempo.

623
00:31:11,640 --> 00:31:13,400
Speaker 3: Okay, we both like Synchronousity.

624
00:31:13,480 --> 00:31:20,160
Speaker 2: Yes. So the next song is called walking in Your Footsteps,

625
00:31:20,640 --> 00:31:23,720
and this one is again, this is one that I

626
00:31:23,759 --> 00:31:25,559
listened to and I think, eh, and then I listened

627
00:31:25,559 --> 00:31:26,799
to it a few more times. I'm like, Okay, this

628
00:31:26,880 --> 00:31:29,519
is good, this is all right, and it's it's almost

629
00:31:29,599 --> 00:31:31,839
like a kid song. Have you looked at the lyrics

630
00:31:31,839 --> 00:31:32,119
at this.

631
00:31:32,200 --> 00:31:38,240
Speaker 3: Yeah, it's talking about dinosaurs and mister Bronosaurus, and you

632
00:31:38,279 --> 00:31:42,680
could see a bit like here's what I think about

633
00:31:42,680 --> 00:31:45,200
this song. Okay, it's funny that you say that, because

634
00:31:45,359 --> 00:31:49,680
this song sounds like what they would play in the

635
00:31:49,720 --> 00:31:54,079
Little People Carrier at Disney World or Animal Planet when

636
00:31:54,079 --> 00:31:56,400
you're writing the Safari Ride or something like that, you

637
00:31:56,480 --> 00:31:56,880
know what I mean.

638
00:32:01,400 --> 00:32:04,480
Speaker 2: Well, yeah, so it is very is very much a

639
00:32:04,559 --> 00:32:06,559
kid's song. But then it goes on to talk about

640
00:32:06,559 --> 00:32:11,759
the Adam bombs larger meaning of mankind bringing about its

641
00:32:11,799 --> 00:32:14,240
own extinction, you know, just like the dinosaurs were the

642
00:32:14,319 --> 00:32:16,960
rulers of the world at one point and they're gone,

643
00:32:17,279 --> 00:32:19,319
so it looks like our fate is the same. So

644
00:32:19,640 --> 00:32:22,519
I like it. It's it's kid lyrics with a big,

645
00:32:22,559 --> 00:32:24,079
heavy meaning. How sting is that?

646
00:32:24,400 --> 00:32:25,960
Speaker 3: I think you nailed it. I think you nailed it.

647
00:32:25,960 --> 00:32:28,279
I think it's a good song. It's kind of singable.

648
00:32:28,400 --> 00:32:31,440
It sounds a little bit international, maybe a little African,

649
00:32:31,680 --> 00:32:35,720
definitely belongs at Epcot or an Animal Planet, but it's

650
00:32:35,759 --> 00:32:36,359
good it's good.

651
00:32:36,400 --> 00:32:38,799
Speaker 2: I like it all right. So our next song is

652
00:32:38,880 --> 00:32:40,359
the OMG song.

653
00:32:48,880 --> 00:32:51,640
Speaker 3: Oh my God. For this song, oh my God, it's

654
00:32:51,759 --> 00:32:55,000
it's jazzy, there's there's a lot of horns, and this

655
00:32:55,160 --> 00:32:57,920
song actually dates back to Sting's days with his band

656
00:32:58,000 --> 00:32:59,960
Last Exit. It sounds like it belongs to a cough

657
00:33:00,519 --> 00:33:02,119
To me, I don't know, it's not really my style.

658
00:33:02,880 --> 00:33:04,519
I didn't really care for What do you think about

659
00:33:04,559 --> 00:33:04,960
this one?

660
00:33:05,279 --> 00:33:08,319
Speaker 2: Yeah? This is again another one that I can listen

661
00:33:08,359 --> 00:33:11,279
to eat more easily now after having heard it a

662
00:33:11,279 --> 00:33:13,279
few times. But it took me. It took me a

663
00:33:13,279 --> 00:33:17,240
few times before I even caught that the last lyrics

664
00:33:17,799 --> 00:33:21,480
are a throwback? Do you know this? No? So the

665
00:33:21,559 --> 00:33:23,960
lyrics of this song have to do with somebody who's

666
00:33:24,039 --> 00:33:27,440
kind of struggling with God and their distance from God,

667
00:33:27,640 --> 00:33:30,240
which I mean, I don't know anybody who hasn't struggled

668
00:33:30,240 --> 00:33:32,680
with that issue as well. This one's maybe a little

669
00:33:32,680 --> 00:33:36,240
bit more bitter as it's going through this struggle. Then

670
00:33:36,440 --> 00:34:02,640
the end of the song, the last lyrics are you

671
00:34:02,720 --> 00:34:07,160
know the song? No, every little thing she does is magic?

672
00:34:14,519 --> 00:34:27,840
Oh my gosh, are you serious? That's cool? Yes? Yeah,

673
00:34:27,880 --> 00:34:30,360
So he throws back to his own song in this one,

674
00:34:30,840 --> 00:34:34,119
but instead of being about a girl, it's now about God.

675
00:34:34,320 --> 00:34:39,159
So it's heavy. It's I mean, it's it's heavy religious struggle,

676
00:34:39,239 --> 00:34:43,639
spirituality struggle that stings dealing with apparently. But yeah, I'm

677
00:34:43,679 --> 00:34:45,880
kind of with you. It's it's okay, it's okay at

678
00:34:45,880 --> 00:34:47,840
this point, but it's not certainly not a favorite on

679
00:34:47,920 --> 00:34:48,239
the album.

680
00:34:51,320 --> 00:34:53,559
Speaker 3: All right, this is one I've been wanting to discuss

681
00:34:53,599 --> 00:35:07,639
with you. Okay. The next song is called mother d

682
00:35:07,920 --> 00:35:13,679
Your thoughts.

683
00:35:13,719 --> 00:35:19,280
Speaker 2: Okay, that is enough of that. I tried so many

684
00:35:19,320 --> 00:35:20,320
times to listen to this.

685
00:35:20,400 --> 00:35:24,199
Speaker 3: I'm just like, oh, it's so freaking weird, man.

686
00:35:24,360 --> 00:35:27,639
Speaker 2: Oh my gosh, it is it is. It's not just weird,

687
00:35:27,719 --> 00:35:31,119
it's not good. I'm just saying it is flat out bad.

688
00:35:31,239 --> 00:35:34,039
And if you got folks, if you guys, if you're

689
00:35:34,079 --> 00:35:36,800
somebody out there who loves this song, let us know

690
00:35:37,039 --> 00:35:40,199
and let us know about the song. But this is

691
00:35:40,719 --> 00:35:43,440
instead of Carl Jung, we're talking about Sigmund Freud here,

692
00:35:45,320 --> 00:35:47,960
talking about all his girlfriends turning into his mother and

693
00:35:48,000 --> 00:35:51,320
his mother is always calling him. This one was written

694
00:35:51,400 --> 00:35:55,880
by Andy Summers, and he's he said he was considered

695
00:35:55,880 --> 00:35:58,280
to be the golden child of the family by his mom,

696
00:35:58,760 --> 00:36:01,400
and she put a lot of pressure on him. And

697
00:36:01,480 --> 00:36:03,840
when he made it big with the police, she was

698
00:36:03,880 --> 00:36:07,960
constantly calling him and living through him vicariously. And this

699
00:36:08,159 --> 00:36:12,280
was a song about that. And so maybe it's maybe

700
00:36:12,320 --> 00:36:16,239
it's appropriate that the Freudian song be shouted out.

701
00:36:16,760 --> 00:36:20,159
Speaker 3: It's terrible this song. Okay, this is what I think.

702
00:36:20,599 --> 00:36:23,880
This is a song that would be effective. You remember

703
00:36:23,880 --> 00:36:25,840
at the very end of Silence of the Lambs when

704
00:36:25,880 --> 00:36:29,119
Clarius is walking around looking for buffalo Bill in the

705
00:36:29,199 --> 00:36:32,599
dark and all moss were flying around. That the type

706
00:36:32,599 --> 00:36:37,679
of song in the background that would be extra scary. Yeah.

707
00:36:37,760 --> 00:36:40,119
Speaker 2: Yeah, it's not a pleasant song to listen. It just

708
00:36:40,159 --> 00:36:44,719
makes you uncomfortable in all respects. And was it you

709
00:36:44,760 --> 00:36:46,199
that told me that Sting's not singing on this?

710
00:36:46,679 --> 00:36:50,000
Speaker 3: Sting said, no frigging way, I'm singing that stupid song.

711
00:36:50,480 --> 00:36:52,639
Speaker 2: You know what, though he was on the song he

712
00:36:52,679 --> 00:36:53,320
played the obo.

713
00:36:56,079 --> 00:36:57,760
Speaker 3: Yeah, not enough to save it.

714
00:36:58,119 --> 00:37:01,039
Speaker 2: Oh no, no, no, no, this one. I'm sorry. I'm

715
00:37:01,079 --> 00:37:03,119
sorry for the for the mother fans out there, but

716
00:37:03,159 --> 00:37:05,280
this is unless you're talking Danzig, this is not a

717
00:37:05,280 --> 00:37:06,239
song I want to listen to.

718
00:37:06,480 --> 00:37:08,440
Speaker 3: Hey, here's the other thing. And I don't want to

719
00:37:08,440 --> 00:37:12,840
be cruel here to Andy Summers, who's a super gifted musician, right,

720
00:37:12,880 --> 00:37:17,079
but they each brought songs to the table. Hey guys,

721
00:37:17,159 --> 00:37:19,440
this song, this is the one I want. Okay, Hey,

722
00:37:19,440 --> 00:37:21,840
I've got these three or four. This was the best

723
00:37:21,840 --> 00:37:22,840
he could come up with.

724
00:37:22,880 --> 00:37:23,840
Speaker 2: I mean terrible.

725
00:37:24,519 --> 00:37:26,519
Speaker 3: Well, it's a nightmare.

726
00:37:26,760 --> 00:37:29,559
Speaker 2: It is a nightmare. And just to be fair to

727
00:37:29,599 --> 00:37:32,760
Andy Summers, like he's not always wrong in what he

728
00:37:32,800 --> 00:37:34,920
thinks is good. Like there was another song that he

729
00:37:35,320 --> 00:37:38,440
wrote call Behind the Camel that Sting hated, refused to

730
00:37:38,480 --> 00:37:40,840
sing on it and there's no words to it. And

731
00:37:40,920 --> 00:37:43,719
he won the Grammy for Best Instrumental Song that year

732
00:37:44,119 --> 00:37:47,199
for this behind the Camel song. So he who knows

733
00:37:47,239 --> 00:37:50,159
from good taste? You know, sometimes people think something's terrible

734
00:37:50,239 --> 00:37:52,400
and it turns out to be good, And sometimes people

735
00:37:52,440 --> 00:37:54,480
think something's good and it turns out to be Mother.

736
00:37:54,760 --> 00:37:58,360
Speaker 3: That's right, That's right, Okay, So that was Andy Summers

737
00:37:58,360 --> 00:38:00,039
only offering for this.

738
00:38:00,440 --> 00:38:02,840
Speaker 2: Well, yeah, he co wrote, I mean, you know, he

739
00:38:02,920 --> 00:38:05,719
co wrote with Sting on another one. But but yes,

740
00:38:06,119 --> 00:38:08,400
Mother was his baby. What a weird thing to say?

741
00:38:08,440 --> 00:38:12,239
Speaker 3: All right, all right, I did read that. I read

742
00:38:12,280 --> 00:38:13,840
some stuff on the internet that there are a lot

743
00:38:13,840 --> 00:38:16,599
of people out there that feel like this song keeps

744
00:38:16,719 --> 00:38:19,239
this album from being considered a masterpiece.

745
00:38:19,400 --> 00:38:23,199
Speaker 2: Yeah, that's this is this is still a masterpiece. That's not. Yeah. Anyway,

746
00:38:23,920 --> 00:38:27,760
so moving on, we've that's Andy Summers. Andy got one song,

747
00:38:27,840 --> 00:38:32,679
Stuart gets one song, and the next song is Missus Grandinko,

748
00:38:32,880 --> 00:38:36,000
which is Stuart Copeland's contribution with the album. What do

749
00:38:36,079 --> 00:38:36,960
you think?

750
00:38:40,280 --> 00:38:43,719
Speaker 3: I mean, it's okay, Yeah, it's okay.

751
00:38:44,079 --> 00:38:46,639
Speaker 2: Yeah, I actually like it. I enjoy the sound. The

752
00:38:46,760 --> 00:38:49,679
lyrics didn't really mean much to me until I started

753
00:38:49,679 --> 00:38:51,039
doing a little bit of digging. Do you know the

754
00:38:51,039 --> 00:38:52,239
story behind this? No?

755
00:38:52,360 --> 00:38:52,760
Speaker 3: I don't.

756
00:38:52,960 --> 00:38:57,400
Speaker 2: Okay, this is fascinating. So so Andy Summers wrote a

757
00:38:57,440 --> 00:39:00,119
song about his mother, Stuart Copeland writes a song about

758
00:39:00,119 --> 00:39:05,280
his father. But his father is a founding member of

759
00:39:05,320 --> 00:39:09,519
the CIA, like legitimately, yeah, like yeah, in nineteen forty seven,

760
00:39:09,840 --> 00:39:12,400
he is one of the founding members of the CIA,

761
00:39:12,960 --> 00:39:15,119
and he was like he was big time. He was

762
00:39:15,199 --> 00:39:20,159
involved in the overthrow of Syria, he was involved in

763
00:39:20,239 --> 00:39:23,880
the Iranian coupd a'ta and he was big time. I mean,

764
00:39:23,920 --> 00:39:27,400
he's written multiple books and just listen to this. You know,

765
00:39:27,440 --> 00:39:29,079
some of the things this guy has said, I kind

766
00:39:29,079 --> 00:39:31,960
of want to read his books. Here's a quote. My

767
00:39:32,079 --> 00:39:36,960
complaint has been that the CIA isn't overthrowing enough anti

768
00:39:37,000 --> 00:39:41,880
American governments, assassinating enough anti American leaders. But I guess

769
00:39:41,920 --> 00:39:48,119
I'm getting old. I can see, like maybe why this

770
00:39:48,199 --> 00:39:51,199
guy's kid and Sting didn't get along real well, you know.

771
00:39:51,280 --> 00:39:54,320
Speaker 3: I didn't see eye politically, right.

772
00:39:54,840 --> 00:39:57,920
Speaker 2: Yeah, So this song, this song is about this policy

773
00:39:58,000 --> 00:40:01,519
meeting of these government officials, and I think is a

774
00:40:01,559 --> 00:40:05,039
throwback to Stuart Copeland's dad and his days in the CIA.

775
00:40:05,639 --> 00:40:08,280
Speaker 3: Nice. That is a cool start. I've never heard that before.

776
00:40:09,480 --> 00:40:12,719
I do know that Sting could barely bring himself to

777
00:40:12,760 --> 00:40:16,239
do the vocals on this song. Yeah, he agreed to

778
00:40:16,320 --> 00:40:19,760
do two days. That's it. Yeah, I'm only seeing the

779
00:40:19,760 --> 00:40:22,679
stupid song two times and they I guess they got it.

780
00:40:22,840 --> 00:40:25,840
Speaker 2: So him and Donimici, you got one.

781
00:40:25,760 --> 00:40:31,199
Speaker 3: Chance on this, DONAMICI throwback to the Trading Places episode,

782
00:40:31,199 --> 00:40:33,159
all right, before we move on to the next song.

783
00:40:33,239 --> 00:40:36,719
For the record, so far, we've had Synchronosity one, walking

784
00:40:36,760 --> 00:40:40,719
in Your Footsteps, Oh My God Mother, and Miss Gradenko.

785
00:40:40,920 --> 00:40:42,880
Yes not stellar so far.

786
00:40:43,039 --> 00:40:46,679
Speaker 2: Okay, if these were the only songs on the album, yeah,

787
00:40:46,719 --> 00:40:48,920
You've got You've got a hard album to argue is

788
00:40:48,920 --> 00:40:53,559
a masterpiece, but giving what follows, yeah, I'm not gonna.

789
00:40:53,360 --> 00:40:56,199
Speaker 3: Have Okay, buckle your seat belts because here we go.

790
00:40:56,800 --> 00:40:59,480
Speaker 2: All right. Synchronicity two.

791
00:41:00,440 --> 00:41:02,280
Speaker 3: This song is amazing.

792
00:41:02,719 --> 00:41:06,280
Speaker 2: Oh it's so good. It is so good in all respects.

793
00:41:17,440 --> 00:41:22,079
The music is on point and the lyrics so. Synchronicity

794
00:41:22,159 --> 00:41:27,400
one describes the concept of synchronicity, and then Synchronicity two

795
00:41:27,960 --> 00:41:41,639
gives you an example of synchronicity. It is the story

796
00:41:41,679 --> 00:41:44,679
of a man in daily anguish.

797
00:41:44,280 --> 00:41:49,400
Speaker 3: Of being my whole life that's half to yeah, yes, ah.

798
00:41:49,480 --> 00:41:54,639
Speaker 2: Yes, yeah, that's great. So he's in this daily anguish

799
00:41:54,719 --> 00:41:57,920
of being his mother screaming at the wall. His wife

800
00:41:58,000 --> 00:42:02,320
is complaining about boredom and fresh but all her suicides

801
00:42:02,360 --> 00:42:05,920
are fake, and every meeting he has at work is

802
00:42:05,960 --> 00:42:07,119
a kick in the crotch.

803
00:42:07,760 --> 00:42:10,199
Speaker 3: I love that line. Not just the kick in the crutch,

804
00:42:10,440 --> 00:42:11,880
a humiliating kick.

805
00:42:11,679 --> 00:42:17,519
Speaker 2: In the crutch. So and then meanwhile, the other story. Meanwhile,

806
00:42:17,559 --> 00:42:22,679
a monster in Lochness moves towards the surface of the deep.

807
00:42:23,280 --> 00:42:27,159
This is the example These are parallel events that are

808
00:42:27,199 --> 00:42:32,960
seemingly completely unrelated but are symbolically connected because the man's

809
00:42:33,599 --> 00:42:38,599
paranoia and psychosis ebbs closer and closer to the edge

810
00:42:38,880 --> 00:42:41,480
in the same way that the monster moves closer and

811
00:42:41,519 --> 00:42:47,320
closer to the surface of the water. It's outstanding, amazing, incredible.

812
00:42:47,400 --> 00:42:49,079
I don't know. I don't know what else to say

813
00:42:49,079 --> 00:42:50,199
about this. I love it.

814
00:42:50,360 --> 00:42:52,800
Speaker 3: I wasn't a fan of it before it, but like,

815
00:42:53,159 --> 00:42:55,239
this is a song that I'm adding to my regular

816
00:42:55,280 --> 00:42:57,519
playlist and we'll listen to and rock out when it

817
00:42:57,519 --> 00:42:57,840
comes on.

818
00:42:58,360 --> 00:42:59,920
Speaker 2: This is Yeah, this is one that will give me

819
00:43:00,039 --> 00:43:04,079
legs if I'm on my run for sure.

820
00:43:12,599 --> 00:43:14,079
Speaker 3: Have you have you seen the video of this?

821
00:43:14,559 --> 00:43:18,159
Speaker 2: Yeah? The video is the band playing on piles of

822
00:43:18,199 --> 00:43:22,079
like broken instruments, kind of a dystopian looking thing, and

823
00:43:22,119 --> 00:43:25,119
then when they throw the chorus, it's like these shots

824
00:43:25,119 --> 00:43:26,519
of NeSSI.

825
00:43:28,119 --> 00:43:31,239
Speaker 3: It's an interesting video. It's very eighties. It made me

826
00:43:31,320 --> 00:43:34,280
think of like a cheap version of the Stacks from

827
00:43:34,280 --> 00:43:39,679
Ready Player one, right, it's nice, yeah, apocalyptic stacks of junk.

828
00:43:39,760 --> 00:43:42,079
Speaker 2: And why since you said it, a shout out to

829
00:43:42,119 --> 00:43:43,920
all our Gunter fans out there, we love you.

830
00:43:44,039 --> 00:43:47,360
Speaker 3: Oh yeah, definitely our r p O guys. But love

831
00:43:47,400 --> 00:43:50,360
the song, Love the song. Time to push the stop button,

832
00:43:51,960 --> 00:44:11,519
flip it over here, we go side to basut.

833
00:44:17,840 --> 00:44:18,519
Speaker 5: Wow.

834
00:44:19,239 --> 00:44:22,039
Speaker 2: When a song is played as much as this song

835
00:44:22,199 --> 00:44:26,239
is played, and you've heard it as much as you've

836
00:44:26,280 --> 00:44:29,760
heard it, and when it comes on the radio, you

837
00:44:29,840 --> 00:44:33,639
still turn up the volume, that's a pretty freaking amazing song.

838
00:44:33,840 --> 00:44:37,000
Speaker 3: It's an amazing song. It's an amazing song. And you're right,

839
00:44:37,400 --> 00:44:40,320
for those of you who are so familiar with the song,

840
00:44:40,360 --> 00:44:43,000
you can't truly appreciate it. Everybody, take a deep breath,

841
00:44:43,320 --> 00:44:46,679
take a step back, take a fresh look at this song,

842
00:44:46,719 --> 00:44:50,320
because it's amazing. It really is. In May of twenty nineteen,

843
00:44:50,519 --> 00:44:54,679
BMI recognized this song as the most played song in

844
00:44:54,880 --> 00:44:59,480
radio history at fifteen million radio plays, and it overtook

845
00:45:00,480 --> 00:45:04,440
You've Lost that Love, Oh my God?

846
00:45:04,599 --> 00:45:09,800
Speaker 2: Hop gun ahead, Yeah, we'll see where it falls. You

847
00:45:09,920 --> 00:45:11,880
either already heard it in top gun or you're gunning

848
00:45:11,920 --> 00:45:16,679
here pretty soon. We don't know. So this is their

849
00:45:16,840 --> 00:45:20,159
signature song, right, I mean, one Grammy for Song of

850
00:45:20,239 --> 00:45:23,440
the Year. It has, as you mentioned, been played on

851
00:45:23,480 --> 00:45:26,400
the radio more than any other song, and from what

852
00:45:26,480 --> 00:45:29,519
I understand, it's estimated to be about a quarter to

853
00:45:29,639 --> 00:45:32,960
a third of Sting's musical income. And for a guy

854
00:45:32,960 --> 00:45:35,800
who's put out as many hits as he has, that's

855
00:45:35,840 --> 00:45:36,480
saying something.

856
00:45:36,639 --> 00:45:39,519
Speaker 3: It's incredible. In two thousand and three, obviously that's a

857
00:45:39,519 --> 00:45:41,800
long time ago, But in two thousand and three, Sting

858
00:45:41,920 --> 00:45:45,039
was still making two thousand dollars a day on the

859
00:45:45,119 --> 00:45:46,199
royalties of this song.

860
00:45:46,440 --> 00:45:49,119
Speaker 2: Oh my gosh, that's insane. That is insane.

861
00:45:49,400 --> 00:45:52,719
Speaker 3: That is a sweet gig right there, collect royalty checks.

862
00:45:53,280 --> 00:45:55,119
Speaker 2: This is the one. This is the one that was

863
00:45:55,159 --> 00:46:00,280
written at Ian Fleming's writing desk. Sting had separated from

864
00:46:00,320 --> 00:46:05,159
his wife, Francis Tomty and started dating their neighbor and

865
00:46:05,239 --> 00:46:09,519
her best friend, Trudy Styler, who he eventually married, And

866
00:46:09,679 --> 00:46:12,000
he woke up in the middle of the night with

867
00:46:12,079 --> 00:46:15,119
the lyrics in his head every breath you take, every

868
00:46:15,159 --> 00:46:19,280
move you make, went sat at the piano, put that

869
00:46:19,360 --> 00:46:22,679
tune to it, wrote it in half an hour, wrote

870
00:46:22,679 --> 00:46:25,719
it in half an hour, and twenty years later, was

871
00:46:25,760 --> 00:46:27,480
still making two thousand dollars a day.

872
00:46:27,599 --> 00:46:30,800
Speaker 3: It's incredible, it's incredible. I heard him comment on the

873
00:46:31,320 --> 00:46:34,559
tone of this song. Yeah, he said, it's sinister, but

874
00:46:34,679 --> 00:46:35,840
seductively dressed.

875
00:46:36,480 --> 00:46:39,280
Speaker 2: So it's weird. You know, a lot of people thought

876
00:46:39,320 --> 00:46:43,480
that this was like a happy, peppy, upbeat song, and

877
00:46:43,519 --> 00:46:46,079
he was just kind of floored by this idea because

878
00:46:46,400 --> 00:46:49,679
to him, this was this kind of stalker esque.

879
00:46:50,119 --> 00:46:52,719
Speaker 3: Right, people played it at their weddings and stuff.

880
00:46:52,880 --> 00:46:56,039
Speaker 2: That's weird. Yeah, that's strange. Just never ever has it

881
00:46:56,079 --> 00:46:58,000
seemed to me to be an upbeat song. It has

882
00:46:58,079 --> 00:47:01,599
always been this kind of notion of I'm standing in

883
00:47:01,599 --> 00:47:04,719
the bushes and I'm observing everything that you do.

884
00:47:05,519 --> 00:47:08,960
Speaker 3: You know what's interesting about this song. In Sting's first

885
00:47:09,079 --> 00:47:11,639
solo album, he has a song called if you Love

886
00:47:11,679 --> 00:47:15,039
Somebody Set Them Free. Yeah, it was written in response

887
00:47:15,119 --> 00:47:17,320
to this song. Because so many people played this song

888
00:47:17,320 --> 00:47:19,559
at their wedding that he was like, I gotta make

889
00:47:19,559 --> 00:47:21,599
this right. I got to give him an actual love.

890
00:47:21,480 --> 00:47:26,239
Speaker 2: Song, right Yeah. Yeah, people would tell him I played

891
00:47:26,239 --> 00:47:29,719
that at my wedding. He said, well, good luck.

892
00:47:30,159 --> 00:47:36,559
Speaker 3: Yeah, that is awesome listening to Sting. He said, as

893
00:47:36,599 --> 00:47:38,239
soon as he wrote it, he knew it was the

894
00:47:38,239 --> 00:47:39,800
best thing that the Police would ever make.

895
00:47:40,119 --> 00:47:44,559
Speaker 2: So despite the fact that Stuart Copeland is still making

896
00:47:45,719 --> 00:47:48,559
lots of money off of this album, he still hates

897
00:47:48,599 --> 00:47:49,760
the arrangement of this song.

898
00:47:50,119 --> 00:47:52,119
Speaker 3: I know, that's so crazy.

899
00:47:52,159 --> 00:47:54,880
Speaker 2: This was the one that they came to actual physical

900
00:47:54,920 --> 00:47:58,480
blows in the studio. This was the one that Pagean

901
00:47:58,639 --> 00:48:01,480
was like, I am out of here. I can't handle

902
00:48:01,719 --> 00:48:04,679
these guys anymore. By the way, little note right in

903
00:48:04,679 --> 00:48:06,599
the middle of the song, little piano key, one key,

904
00:48:06,639 --> 00:48:08,440
right in the middle of the song. That was Hugh

905
00:48:08,480 --> 00:48:10,119
Pageant's contribution to this song.

906
00:48:10,239 --> 00:48:12,119
Speaker 3: And that's maybe my favorite part of the whole song.

907
00:48:12,320 --> 00:48:15,599
Speaker 2: Just subtle and beautiful in its simplicity. It's it's incredible.

908
00:48:15,960 --> 00:48:17,960
Speaker 3: Is this the high Hat story because we got to

909
00:48:18,280 --> 00:48:19,000
high have story.

910
00:48:19,480 --> 00:48:21,760
Speaker 2: Yeah, So obviously, you know, they put this song together

911
00:48:21,800 --> 00:48:24,239
and as we've mentioned, Sting had the arrangement, like he

912
00:48:24,320 --> 00:48:26,599
had the demoed out, he knew how he wanted it,

913
00:48:27,159 --> 00:48:30,280
and they put the song and he basically said, I'm

914
00:48:30,320 --> 00:48:32,639
not gonna I'm not gonna do this anyway other than

915
00:48:32,679 --> 00:48:35,079
the way that I want to do it. That's it.

916
00:48:35,199 --> 00:48:37,519
You know. The drums are going to be this and

917
00:48:37,559 --> 00:48:41,599
the guitar is going to be this, and that is it.

918
00:48:42,000 --> 00:48:45,599
And so they recorded it and the next day, when

919
00:48:45,599 --> 00:48:47,639
the rest of the guys weren't in the studio, Stuart

920
00:48:47,639 --> 00:48:50,400
Copeland came in to Hugh Pageant and said, hey, I

921
00:48:50,440 --> 00:48:52,039
think we need to put a high hat in here.

922
00:48:52,119 --> 00:48:53,840
And of course Hugh is just the guy who just

923
00:48:53,880 --> 00:48:57,039
wants people to get along, so it's like okay, and

924
00:48:57,079 --> 00:48:58,760
he puts the high pad in. And then the next

925
00:48:58,840 --> 00:49:01,199
day Sting comes in and he's like, all right, let's

926
00:49:01,239 --> 00:49:03,559
listen to every breath you take and he's like, what

927
00:49:03,719 --> 00:49:07,360
is that effing hi hat doing in the song take

928
00:49:07,400 --> 00:49:12,159
it out? Love that? Wow? So and then the video,

929
00:49:12,239 --> 00:49:14,159
I mean, everybody has got to know the video. This

930
00:49:14,400 --> 00:49:16,960
was the one that MTV wouldn't stop playing, and these

931
00:49:17,000 --> 00:49:21,000
guys were the they were the Darling Stars for MTV

932
00:49:21,119 --> 00:49:26,280
for that summer, and this video was on all the time,

933
00:49:26,400 --> 00:49:28,119
and I watched it every time it came on. I

934
00:49:28,199 --> 00:49:31,079
never got tired of seeing that ashtray in black and white.

935
00:49:31,400 --> 00:49:33,920
Speaker 3: Yeah, it's it's very noir.

936
00:49:34,760 --> 00:49:39,079
Speaker 2: Yeah, it's actually based on a nineteen forty four film

937
00:49:39,159 --> 00:49:42,800
called Jam in the Blues. And I think that's why

938
00:49:42,840 --> 00:49:45,119
in the song Sting is playing the stand up bass,

939
00:49:45,239 --> 00:49:47,480
and him playing that just gave them this sort of

940
00:49:47,719 --> 00:49:51,119
air of sophistication that nobody else on MTV. I mean,

941
00:49:51,199 --> 00:49:53,440
just think about think about the music videos that were

942
00:49:53,480 --> 00:49:56,000
out on MTV at this time. You got def Leppard

943
00:49:57,320 --> 00:50:00,840
blowing up foully guitars and setting trees on fire. And

944
00:50:00,880 --> 00:50:05,440
here's this video where they're just standing in like very

945
00:50:05,519 --> 00:50:08,360
contrasted black and white with his blue tint and it's

946
00:50:08,400 --> 00:50:10,679
all very jazzy.

947
00:50:10,920 --> 00:50:13,960
Speaker 3: That's right. Nobody playing chess with a wizard in this video.

948
00:50:18,480 --> 00:50:19,280
Speaker 2: I forgot about that.

949
00:50:21,079 --> 00:50:25,159
Speaker 3: Throw back to our Pyromania episode. Yah was the first

950
00:50:25,199 --> 00:50:36,039
single released released May twentieth, nineteen eighty three.

951
00:50:37,280 --> 00:50:46,480
Speaker 2: Next song, King of Pain a little Black.

952
00:50:46,280 --> 00:50:47,840
Speaker 3: Spottom side.

953
00:50:53,000 --> 00:50:55,800
Speaker 2: This is the same, yes.

954
00:51:00,840 --> 00:51:03,639
Speaker 3: All right. This is the second single released August of

955
00:51:03,719 --> 00:51:04,440
nineteen eighty three.

956
00:51:05,199 --> 00:51:08,639
Speaker 2: This one is also about Sting's separation from stuff. This

957
00:51:08,719 --> 00:51:13,480
whole second side is really kind of you know, people

958
00:51:13,519 --> 00:51:17,000
and misery write some pretty good songs, and Sting obviously

959
00:51:17,000 --> 00:51:20,599
this wasn't just an insignificant thing to him. The fact

960
00:51:20,639 --> 00:51:23,920
that he had left his wife was incredibly painful to him.

961
00:51:25,480 --> 00:51:28,760
It's obviously big news in the UK and the rest

962
00:51:28,760 --> 00:51:32,840
of the world, and so he goes to the Caribbean

963
00:51:32,880 --> 00:51:35,960
to escape and happens. I don't know, I don't know

964
00:51:36,000 --> 00:51:38,880
how you see this with the sun, but apparently actually

965
00:51:38,960 --> 00:51:41,440
sees a little black spot on the sun and points

966
00:51:41,440 --> 00:51:44,599
it out to Trudy Styler and he's like, there's a

967
00:51:44,599 --> 00:51:47,159
little black spot on the sun today, and then he says,

968
00:51:47,639 --> 00:51:50,519
that's my soul up there, just kind of symbolized his

969
00:51:50,639 --> 00:51:56,039
pain and is it's sad. Yeah, it's a painful song,

970
00:51:56,400 --> 00:51:59,719
but again, unbelievably good.

971
00:52:00,119 --> 00:52:03,239
Speaker 3: Yeah, it's it's fantastic. Starts out pretty simple with just

972
00:52:03,280 --> 00:52:06,400
those piano chords. Yeah, and it hooks me right off

973
00:52:06,400 --> 00:52:23,880
the bat. I mean, this reached number one on the

974
00:52:23,920 --> 00:52:26,760
Mainstream Rock chart and number three on the Hot one hundred.

975
00:52:26,840 --> 00:52:28,320
Speaker 2: I kind of don't want to I want to talk

976
00:52:28,320 --> 00:52:30,559
about King of Pain more because I just want to

977
00:52:30,599 --> 00:52:31,920
be able to listen to it longer.

978
00:52:31,960 --> 00:52:34,800
Speaker 3: I don't want to. Really so good, we should just

979
00:52:34,800 --> 00:52:35,760
get out of the way play it.

980
00:52:35,840 --> 00:52:38,199
Speaker 2: Yeah, I mean yeah, I mean just that, just that

981
00:52:38,360 --> 00:52:42,320
first line, there's a little black spot on the sun today,

982
00:52:42,519 --> 00:52:46,840
it's the same old thing as yesterday. Is so poetic

983
00:52:47,000 --> 00:52:51,880
and beautiful, and I just it's it's amazing.

984
00:52:52,440 --> 00:52:54,719
Speaker 3: Yeah, I love it too. Is this where we throw

985
00:52:54,760 --> 00:53:00,920
in our weird L reference? Weird L has a song

986
00:53:01,039 --> 00:53:04,360
parody and King of Pain. It's called King of Swede.

987
00:53:06,440 --> 00:53:13,199
Speaker 5: We love all that's weird, Yeah, wed This is actually

988
00:53:13,280 --> 00:53:17,480
wed ELL's third appearance on the Shirley Can't Be Serious

989
00:53:17,519 --> 00:53:22,960
podcast Probably Yeah that yes, spells like Nirvana Ravana and

990
00:53:23,360 --> 00:53:25,079
King of Swaye and eating there we go.

991
00:53:32,880 --> 00:53:37,760
Speaker 2: Okay. Next song on the album is Wrapped around Your Finger. Well,

992
00:53:37,920 --> 00:53:39,920
I'm gonna go on a limb here and say, I

993
00:53:39,960 --> 00:53:43,719
think this is also about his breakup with his wife.

994
00:53:45,400 --> 00:53:47,320
Speaker 3: He's going through a rough patch right here.

995
00:53:47,480 --> 00:53:50,639
Speaker 2: This one. I mean, he's got he's got a lot

996
00:53:50,639 --> 00:53:53,400
of stuff going on here. He's got Greek mythology, he's

997
00:53:53,480 --> 00:53:58,800
got faust, he's got Sorcerer's apprentice and and it's this.

998
00:54:00,000 --> 00:54:02,559
This is kind of the vengeful, like the kind of

999
00:54:02,639 --> 00:54:06,840
the browbeaten husband. I think turn on this because this

1000
00:54:07,000 --> 00:54:10,039
is a spiteful song, like it's about turning the tables

1001
00:54:10,079 --> 00:54:14,559
on someone who has been overbearing on you. And it's

1002
00:54:14,599 --> 00:54:18,840
got a really kind of dark beginning, but then the

1003
00:54:19,000 --> 00:54:22,519
end is triumphant, you know, it's like the tables have turned.

1004
00:54:22,719 --> 00:54:25,920
Speaker 3: The video for me caught my eye as a young kid.

1005
00:54:26,440 --> 00:54:29,360
Speaker 2: This is the candle video for anybody who doesn't Remember

1006
00:54:29,559 --> 00:54:32,800
this is the I mean, if I say Sting and Candles,

1007
00:54:33,039 --> 00:54:34,679
you know what video I'm talking about.

1008
00:54:34,840 --> 00:54:37,199
Speaker 3: It's really a cool video trick that they do. They

1009
00:54:37,280 --> 00:54:40,519
played the music sped up and they would dance and

1010
00:54:40,599 --> 00:54:43,719
sing to the sped up version. So when they slowed

1011
00:54:43,760 --> 00:54:47,199
the music down, we as the audience watching this video,

1012
00:54:47,639 --> 00:54:50,440
it plays normal to us, but everything they're moving is

1013
00:54:50,559 --> 00:55:07,400
very slow motion and deliberate and mysterious looking. Super cool video.

1014
00:55:07,559 --> 00:55:10,920
Speaker 2: Yeah, I'm gonna go through the labyrinth. This is another.

1015
00:55:11,039 --> 00:55:15,119
This is one that Miss Piggy did the Muppets take Manhattan.

1016
00:55:15,440 --> 00:55:19,159
Just throw that out there. Miss Piggy did a montage

1017
00:55:19,199 --> 00:55:21,679
that was very much wrapped around your Finger Candles. I'll

1018
00:55:21,760 --> 00:55:22,480
just you know.

1019
00:55:23,360 --> 00:55:25,960
Speaker 3: For those who don't know the Surely you can't be

1020
00:55:26,039 --> 00:55:29,679
serious podcasts, loves Weird Al and the Muppets, we really do.

1021
00:55:31,880 --> 00:55:35,079
Wrapped Around Your Finger was the fourth single released, another

1022
00:55:35,360 --> 00:55:37,400
mega hit great song love It.

1023
00:55:37,519 --> 00:55:39,760
Speaker 2: And then the next song that we have is called

1024
00:55:39,920 --> 00:55:49,719
Tea and This Era. This song is inspired by a

1025
00:55:50,199 --> 00:55:55,079
story in a book by Paul Bowels called The Sheltering Sky.

1026
00:55:55,719 --> 00:55:59,480
These are the sisters who have they make an arrangement

1027
00:55:59,480 --> 00:56:01,400
with the prints that they're going to have tea with

1028
00:56:01,519 --> 00:56:04,840
him in the sahara and they wait for him and

1029
00:56:04,880 --> 00:56:06,960
wait for him, and he never shows up, but then

1030
00:56:07,000 --> 00:56:09,920
it's too late for them and they're burned up in

1031
00:56:09,960 --> 00:56:11,239
the desert.

1032
00:56:11,840 --> 00:56:14,400
Speaker 3: Right And Sting really loves this song. He's kind of

1033
00:56:14,400 --> 00:56:16,679
proud of this one. Yeah, I'm not a big fan

1034
00:56:16,719 --> 00:56:16,880
of it.

1035
00:56:16,920 --> 00:56:19,199
Speaker 2: What'd you think? I still like it now? This one's

1036
00:56:19,199 --> 00:56:21,280
a great Yeah, this one belongs on the B side

1037
00:56:21,280 --> 00:56:23,960
with all of the other fantastic songs. In my opinion,

1038
00:56:24,039 --> 00:56:28,280
it's the music is subtle and beautiful. What Andy Summers

1039
00:56:28,639 --> 00:56:31,360
does on this one is a really unique, a unique

1040
00:56:31,440 --> 00:56:33,000
sound to him, Like I don't know that, I don't

1041
00:56:33,039 --> 00:56:35,320
know that I've heard any other guitarist doing this, so

1042
00:56:35,320 --> 00:56:36,480
I had to kind of look it up to see

1043
00:56:36,480 --> 00:56:39,280
what he was doing. But he's got this technique where

1044
00:56:41,000 --> 00:56:45,039
the notes that you're hearing from the guitar are like

1045
00:56:45,079 --> 00:56:48,559
a delayed effect without hearing the actual notes that are played.

1046
00:56:48,599 --> 00:56:50,719
And I don't know a better way to say that,

1047
00:56:50,760 --> 00:56:55,480
but it's just it's very airy, kind of sparkly sounding

1048
00:56:55,519 --> 00:56:58,599
guitar that doesn't sound exactly like a guitar because it's

1049
00:56:58,679 --> 00:57:02,360
kind of an effect with out the actual original note

1050
00:57:02,360 --> 00:57:05,119
of the guitar playings pretty neat Okay.

1051
00:57:06,000 --> 00:57:09,920
Speaker 3: I found this quote. Sting said that despite his affection

1052
00:57:10,039 --> 00:57:13,280
for the song, he's claimed that the track was played

1053
00:57:13,280 --> 00:57:17,360
too fast. Yeah, he said in nineteen ninety three. I've

1054
00:57:17,400 --> 00:57:19,480
always loved the song. There's so much space in it.

1055
00:57:19,679 --> 00:57:21,280
But I think we played it too fast on the

1056
00:57:21,320 --> 00:57:24,320
album and live. It's just a song. I wasn't in

1057
00:57:24,320 --> 00:57:25,199
love with it so well.

1058
00:57:25,280 --> 00:57:28,639
Speaker 2: Yeah, but I mean, thinking about the song, would you

1059
00:57:28,679 --> 00:57:30,599
say it's too fast? No?

1060
00:57:30,760 --> 00:57:31,880
Speaker 3: I would not, right.

1061
00:57:32,599 --> 00:57:34,800
Speaker 2: Sorry, I don't get right on this what Sting? I

1062
00:57:34,840 --> 00:57:38,480
don't one should not be his low down no. And

1063
00:57:38,519 --> 00:57:42,320
then the final note. Some people, Hey, if you got

1064
00:57:42,320 --> 00:57:44,960
the LP on this one, that was the end of

1065
00:57:44,960 --> 00:57:47,519
the album for you tee in the sahara and you're like, oh,

1066
00:57:47,719 --> 00:57:50,960
I guess we're done. But if you got the tape

1067
00:57:51,079 --> 00:57:53,480
or if you got CD, you got the final track,

1068
00:57:53,519 --> 00:57:57,559
which is Murdered by Numbers. What's that You've decided on

1069
00:57:57,679 --> 00:58:02,559
a cull first to make a stort of you.

1070
00:58:03,519 --> 00:58:07,440
Speaker 3: There's a movie starring Sandra Bullock called Murder by Numbers,

1071
00:58:08,199 --> 00:58:11,159
but it's actually shown in the movie Copycat. They actually

1072
00:58:11,920 --> 00:58:14,079
the police. It's like how they're gonna catch the killer

1073
00:58:14,119 --> 00:58:17,119
and they post the lyrics on the wall to analyze them.

1074
00:58:17,519 --> 00:58:20,239
Speaker 2: I have not seen either one of those movies, is copycat,

1075
00:58:20,280 --> 00:58:21,960
the one that had what's.

1076
00:58:21,800 --> 00:58:23,880
Speaker 3: That singer's name, Harry Connick Jr.

1077
00:58:24,159 --> 00:58:25,280
Speaker 2: Yeah, was he in that one.

1078
00:58:25,360 --> 00:58:27,880
Speaker 3: Yeah, he's the he's the killer. He's the bad guy.

1079
00:58:28,079 --> 00:58:30,960
Speaker 2: Okay, and so it's like he leaves the lyrics as

1080
00:58:30,960 --> 00:58:32,039
a clue or something like that.

1081
00:58:32,039 --> 00:58:36,039
Speaker 3: Well, he's like the Hannibal lecter. He's like the guy

1082
00:58:36,119 --> 00:58:38,559
in jail who's helping her find that the other one.

1083
00:58:39,239 --> 00:58:42,039
Speaker 2: Oh wow, it does sound a whole lot like Silence

1084
00:58:42,039 --> 00:58:42,639
of the Lambs.

1085
00:58:43,360 --> 00:58:45,840
Speaker 3: Yeah, it's been a while, so my my details are

1086
00:58:45,840 --> 00:58:49,159
a little hazy, but okay, anyway, what do you think

1087
00:58:49,159 --> 00:58:49,679
of the song?

1088
00:58:49,840 --> 00:58:53,960
Speaker 2: I'll watch these two movies later on. Sounds good, So

1089
00:58:54,119 --> 00:58:57,679
I love the song. I think it is fantastic and

1090
00:58:57,719 --> 00:59:00,480
it is so jazzy, So what are your thoughts.

1091
00:59:00,760 --> 00:59:03,679
Speaker 3: It's jazzy. I mean it's a little finger snapping at

1092
00:59:03,719 --> 00:59:05,880
the coffee shop, little jazzy number.

1093
00:59:06,519 --> 00:59:09,519
Speaker 2: I'd love it. I absolutely love it. So you know

1094
00:59:09,559 --> 00:59:13,239
that we've got all the stories of their animosity and

1095
00:59:13,280 --> 00:59:15,320
their hate for each other while they're on this island.

1096
00:59:15,639 --> 00:59:18,280
But this is one where like they're all hanging out

1097
00:59:18,280 --> 00:59:21,880
and having dinner together, and you know, of course Andy

1098
00:59:21,920 --> 00:59:23,599
just has his guitar in his hand because he walks

1099
00:59:23,679 --> 00:59:26,440
around with the car all day long, right, and he

1100
00:59:26,559 --> 00:59:29,679
starts playing this little jazzy little chord progression, you know,

1101
00:59:29,800 --> 00:59:33,599
some groovy little jazz chords, and stings like, oh hey,

1102
00:59:33,639 --> 00:59:37,800
I like that. And so then Sting records, you know,

1103
00:59:38,000 --> 00:59:43,239
your little hand recorder records him, leaves, and while Andy

1104
00:59:43,239 --> 00:59:46,079
and Stewart are having dessert, Sting takes a walk up

1105
00:59:46,119 --> 00:59:49,119
the volcano on the island there and writes the song.

1106
00:59:49,639 --> 00:59:53,960
They come back and then record. They all set up,

1107
00:59:54,000 --> 00:59:57,760
went to the recording spots, recorded in one take. That's amazing.

1108
00:59:57,960 --> 01:00:01,960
Speaker 3: It's crazy, you know, it's good to I mean, it's sketchy.

1109
01:00:02,400 --> 01:00:04,320
Speaker 2: But I mean, if you know the history of the

1110
01:00:04,360 --> 01:00:06,880
band here, right, so this is something that we didn't

1111
01:00:06,920 --> 01:00:10,960
go into. But the Police, I mean, this is their

1112
01:00:11,119 --> 01:00:16,599
best album by most standards. This is their pinnacle. And

1113
01:00:16,800 --> 01:00:22,039
after this album they were done. They I mean they

1114
01:00:22,400 --> 01:00:26,360
they didn't have any swan song, they didn't announce a breakup.

1115
01:00:26,800 --> 01:00:32,679
It was just this weird evaporation. It's like a disintegration. Yeah,

1116
01:00:32,679 --> 01:00:36,440
it's crazy, and so then you know, then you get

1117
01:00:36,480 --> 01:00:39,480
all of the stories of the fights and the animosity

1118
01:00:39,679 --> 01:00:44,519
and the power struggles, and as it turns out, for

1119
01:00:44,639 --> 01:00:48,159
the last song on the last album that they ever do,

1120
01:00:48,760 --> 01:00:55,400
it's this beautiful coming together where it's it's magical in

1121
01:00:55,440 --> 01:00:59,440
that it happens in this kind of weird way. There's

1122
01:00:59,480 --> 01:01:03,519
this beautiful walk involved, and then they get together and

1123
01:01:03,719 --> 01:01:08,079
it is perfectly done as a team, as a group.

1124
01:01:08,800 --> 01:01:15,760
Speaker 3: It's awesome, nice, nice, Okay, Well, before we wrap up,

1125
01:01:16,440 --> 01:01:19,320
for me, I think it's interesting just to break down

1126
01:01:19,400 --> 01:01:24,599
the layout of the album. The first side it's just

1127
01:01:24,719 --> 01:01:28,079
kind of okay and then a little bit of terrible

1128
01:01:28,159 --> 01:01:34,079
mixed in until you hit synchronicity too, and then then

1129
01:01:34,119 --> 01:01:37,039
the album just takes off, man, and it's so good

1130
01:01:37,039 --> 01:01:41,519
from that point forward. I'm always curious about the song selection,

1131
01:01:41,639 --> 01:01:44,599
how they choose what's first and third and fifth, and

1132
01:01:44,719 --> 01:01:47,519
I mean they think about these decisions, you know, I mean.

1133
01:01:47,440 --> 01:01:49,400
Speaker 2: They do, but from what I've heard on this one,

1134
01:01:49,400 --> 01:01:51,079
they were having to flip a coin to figure out

1135
01:01:51,119 --> 01:01:52,920
what was going to go on, what wasn't, and what

1136
01:01:53,039 --> 01:01:54,000
order they were going to go in.

1137
01:01:54,719 --> 01:01:57,400
Speaker 3: Yeah, and apparently Sting lost the flip on whether Mother

1138
01:01:57,480 --> 01:01:58,840
and should be burned and not.

1139
01:01:59,320 --> 01:02:04,280
Speaker 2: Out there is there is one ugly ugly there's a

1140
01:02:04,280 --> 01:02:07,079
little black spot on this brayishining sound of an album.

1141
01:02:10,519 --> 01:02:12,800
But now that I still think, and we'll go into

1142
01:02:12,880 --> 01:02:15,440
more detail on our next episode, But I still think

1143
01:02:15,559 --> 01:02:19,159
Synchronicity one is fantastic. It belongs in this album, and

1144
01:02:19,400 --> 01:02:24,559
I think that obviously side to Synchronicity two on is

1145
01:02:24,880 --> 01:02:29,159
too beautiful to compare to anything else. But we'll see

1146
01:02:29,239 --> 01:02:32,679
you know, because Frontiers is also an incredible album, So

1147
01:02:33,400 --> 01:02:35,239
next week join us for that.

1148
01:02:35,400 --> 01:02:37,800
Speaker 3: All right, We'll see you back here next week when

1149
01:02:37,840 --> 01:02:44,519
we break down Frontiers by Journey.

1150
01:02:44,039 --> 01:02:47,400
Speaker 2: And as always, thank you so much for listening to us.

1151
01:02:47,679 --> 01:02:52,400
Your comments on Facebook and on Twitter means so much

1152
01:02:52,440 --> 01:02:54,639
to us. You're listening to us means so much to us.

1153
01:02:54,960 --> 01:02:58,599
We're overwhelmed by your support. Please if you haven't followed

1154
01:02:58,639 --> 01:03:00,719
us on Facebook yet, please do that. You can find

1155
01:03:00,800 --> 01:03:03,760
us at Shirley Podcast on Facebook.

1156
01:03:03,519 --> 01:03:07,159
Speaker 3: Shirley Podcast on Twitter, Tell your friends about us, share

1157
01:03:07,199 --> 01:03:09,280
a podcast with your friends, or else you'll get a

1158
01:03:09,400 --> 01:03:11,559
humiliating kick in the crutch from neither being.

1159
01:03:11,440 --> 01:03:17,280
Speaker 2: A don't forget to like and subscribe. Give us a

1160
01:03:17,280 --> 01:03:22,159
five star rating, honest or dishonest, with no cared. It's

1161
01:03:22,159 --> 01:03:24,679
been fun, man, it's been fun. I'll see you next week, Jason.

1162
01:03:28,480 --> 01:03:30,639
All music images and movie clips are used for the

1163
01:03:30,639 --> 01:03:33,960
purposes of commentary and education in conjunction with the fair

1164
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Use agreement under the US copyright law.