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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 Collipins.

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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 hell 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 can get 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, judge, make the judgment of

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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 album? Did you listen to a sign? 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, So.

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Speaker 3: Okay, see, I'm gonna give a shout out to a

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good friend of mine named Melissa Mingle. I was talking

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to her about this. I said, did you have Synchronicity?

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She's like, oh, of course. I said, did you listen

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to the entire album? Just the hits? She's like, no,

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I love the whole album. I'm like, what'd you think

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of the song Mother? She's like, mother, M. She couldn't

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really place it. She texted me later after that discussion

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

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Speaker 2: So it was a show for sure. I don't want to.

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Speaker 3: You know, we'll get into what we think about these

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songs individually, but before we do, Yes, this is Synchronicity

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by the Police versus Frontiers by Journey to the biggest

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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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the Synchronicity, as the defining song for the Police. Frontiers

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has my favorite song from Journey on it, so it'll

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

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not their defining song probably, but certainly one that's right

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up 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 going to be fun. I'm excited to do it.

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Speaker 4: 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. Do you

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have any recollection of nineteen eighty three which you had

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going on?

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Speaker 3: Well, I can tell you the biggest thing that happened

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in my life in nineteen eighty three was Return the

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

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in my memory banks. So it was sorry for the

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

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gonna watch that tonight.

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Speaker 3: You miss 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, you.

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Speaker 3: Missed one of the great movie watching experiences of all time. Man,

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I mean it rocked my world. And then I had

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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, okay, yeah,

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he talked, We talked a little bit about Pyromania. 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.

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Speaker 2: Right, trading places, right, rating places. That's my memory, see

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that memory from the year, the first year of boovies. Yeah,

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that's it. Okay, we can move on now.

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Speaker 3: 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 than 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 Gordon Sumner School.

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Speaker 2: Does he become the hero that he is? Does he

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become the rock god that he is.

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Speaker 3: If his name is Gordon no way sting is a

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super cool name. Gordon Sumner 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 six. 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

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Pink Floyd Cream, Jimi Hendrix. He was making it big

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in the sixties when these other guys were just still

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

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a 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 sign,

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a whole lot of other hits, right, But his connection

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with that band lasted for one album and then it

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just kind of all fell apart, and pretty quickly he

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found himself unemployed, giving guitar lessons for next to nothing,

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and then he got arrested for drug possession and he

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thought his life was over. And then he meets his

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future wife, Kate, and he's like, wait a minute, I'm

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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 Stone 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 Stone, 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 is going through the roof and Stuart Copeland

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says to himself, man, these guys are talentless. They don't

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

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all these other people involved. We just need a singer

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

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bass player and that's it.

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Speaker 2: That's all we need, and we don't need an how

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to play, right, everybody was going to see shows by

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

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three chords and barely knew how to play those, and

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somebody who just hit the drums hard.

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

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he listened to Last Exit. He contacted Sting invite usting

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to play with him. They had a different guitar player

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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 Potavanni 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 Pottavana he was rubbish, and

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Stuart and Sting just pretended to be rubbish.

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Speaker 2: Right right. They would follow bands that new four chords

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and they 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

237
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gets off the train, and at the same time that

238
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he gets off the train, Stuart Copeland gets off another

239
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car on the train and they laugh about the fact

240
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that they've coincidentally met each other, and they have this

241
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intense conversation and then they call up Henry and say sorry, buddy,

242
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no longer in the band.

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Speaker 3: And he was okay with that.

244
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Speaker 2: He has this very French attitude about the whole thing.

245
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It's like, who cares, you know? Whatever it is, what

246
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it is, you know whatever. But he would never.

247
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Speaker 3: Really I'd never really buy it when people say that, like, yeah,

248
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I was originally in Van Halen, but I got out

249
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before they made a bazillion dollars. But it's okay, no

250
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big deal to me.

251
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Speaker 2: But he actually he went to become a guitarist for

252
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Wayne Country and the Electric Chairs, who at the time

253
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that had happened, were a better known band than the

254
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Police was. It's funny because the guy who didn't know

255
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how to play anything got to be in the better

256
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band at the time.

257
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Speaker 3: Next up on the Countdown a few by Wayne Country

258
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and the Electric Chairs. I think it's interesting in the

259
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early days when they finally get the threesome together. They

260
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start playing clubs around London. Yeah, and there's like six

261
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people in the audience, including the guy's wives and girlfriends.

262
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They were like they were a nothing band.

263
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Speaker 2: Andy's been all over and he's been in the UK,

264
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he's been in the US, and now he's back, you know,

265
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scrounging and he's with this band and going in and

266
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playing these punk clouds and the punk audience, for lack

267
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of a better word, are punks, and so they had

268
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there was this trend that started where they would spit

269
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on the musicians, Like I think it started with just

270
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you know, spitting their beer on them, but then it

271
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just turned into spit like they just hawk Loovi's at

272
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the band and Andy was just like, you know what,

273
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I was tired of getting spit on. I did not

274
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want to do this anymore.

275
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Speaker 3: I don't blame him at all. We talked a little

276
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bit about this in our Nevana pro Jam Episodeah, listen

277
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to that, go back into the archives and listen to that.

278
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But people acting crazy, punching, people spitting up. But that's

279
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not my scene at all. I don't blame him one

280
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bit for that.

281
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Speaker 2: I can handle a mosh pit if somebody spits on me,

282
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they're going to get a fist in the face. So yeah,

283
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they started doing better music. And then Stuart Copeland comes

284
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in one day and he's bleached his hair blonde, and

285
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they're like, what in the world did you do? And

286
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then within a week Sting and get both done the

287
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same thing, and so weird. It was weird. It was

288
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kind of like the makeup for Kiss. It gave them

289
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this identity, you know, they're they're the blonde trio over here,

290
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the bleached blonde trio.

291
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Speaker 3: And Stuart's brother, who is their manager, says, well, we

292
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got to get you to the States. When they go

293
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over to the States, they play a club in New

294
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York City and it's like craziness. Like New York City

295
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loves them. And they sort of bounced around this little

296
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three week mini tour on the Northeast and they do

297
00:14:36,279 --> 00:14:39,240
really well in the States. Andy Summer's wife was in

298
00:14:39,399 --> 00:14:43,000
labor back in London, getting ready to have his daughter. Yeah,

299
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and he calls her and he says, I can't be there.

300
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He goes, there's a thousand people here, and they had

301
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just been playing in front of six or seven or

302
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ten back in London.

303
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Speaker 2: It's so crazy to think about all of these bands

304
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that we talk about started at one place and then

305
00:14:56,720 --> 00:14:58,960
end up being megastars, and it's for a lot of

306
00:14:59,000 --> 00:15:02,639
them are really quick turnaround. And obviously the States tour

307
00:15:02,720 --> 00:15:06,320
did a whole lot for the police. But like before this,

308
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there was a time where Sting didn't have a place

309
00:15:09,000 --> 00:15:13,080
to stay sometimes, and so he spent the night with

310
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Andy and Kate, his wife allt Kate was pregnant, and

311
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Andy says, I can still remember us drifting off to

312
00:15:20,360 --> 00:15:24,600
sleep listening to Sting play this little diddy on his

313
00:15:25,080 --> 00:15:28,080
acoustic guitar that he had just come up with that night,

314
00:15:28,559 --> 00:15:35,759
singing rocks. And who would have known that it turned

315
00:15:35,759 --> 00:15:38,039
out to be the way that it was. You know,

316
00:15:38,159 --> 00:15:41,159
Bob Garcia was the guy who was in charge at

317
00:15:41,159 --> 00:15:44,039
that point. He was listening to this song and his

318
00:15:44,200 --> 00:15:47,120
dog started howling at the sound of the song, right,

319
00:15:47,240 --> 00:15:49,120
And he says, so at that moment, I knew that

320
00:15:49,120 --> 00:15:51,200
it was a hit. As it turns out, he was wrong.

321
00:15:51,720 --> 00:15:54,759
They released that single, it didn't do very well until

322
00:15:54,799 --> 00:15:57,480
they had that United States tour, and then they re

323
00:15:57,480 --> 00:16:00,679
released it the next year and it made the name

324
00:16:00,720 --> 00:16:05,320
that they are so after Roxanne had become the success.

325
00:16:05,600 --> 00:16:08,279
They sat down that had the band meeting that you

326
00:16:08,320 --> 00:16:13,000
know that David Lee Roth hated. But these guys, these

327
00:16:13,039 --> 00:16:17,279
guys were all smart, driven guys, and so they sat

328
00:16:17,360 --> 00:16:21,200
down and they said, listen, we are no longer going

329
00:16:21,279 --> 00:16:23,879
to be chasing the moment. We're no longer going to

330
00:16:23,919 --> 00:16:26,879
be pretending to be a punk band or pretending to

331
00:16:26,919 --> 00:16:30,480
be a whatever style of the band is today. We

332
00:16:30,559 --> 00:16:33,360
are going to be the one that makes the moment.

333
00:16:33,840 --> 00:16:35,840
And man, I gotta I gotta say, that's what they

334
00:16:35,879 --> 00:16:39,000
did before. And since I can't think of a single

335
00:16:39,000 --> 00:16:40,759
band that I would say, Oh, these guys sound like

336
00:16:40,799 --> 00:16:44,360
the Police, No, they are a unique band all on

337
00:16:44,399 --> 00:16:44,799
their own.

338
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Speaker 3: Yeah, I'm with you. Sting's voice really sets them apart.

339
00:16:49,399 --> 00:16:51,080
He has one of the most unique voices in the

340
00:16:51,159 --> 00:16:58,120
nineteen eighties for sure. Oh yeah, all right, so man,

341
00:16:58,120 --> 00:16:59,440
you're gonna have to help me with these titles. I

342
00:16:59,440 --> 00:17:00,720
don't even know how to pronounce these.

343
00:17:01,039 --> 00:17:05,079
Speaker 2: Okay, Yeah, So we have a lot of very unique

344
00:17:05,359 --> 00:17:09,240
album titles, and forgive us for messing them up. But

345
00:17:09,680 --> 00:17:13,839
Sting was a very well read guy who wasn't afraid

346
00:17:13,880 --> 00:17:17,480
of being pretty esoteric in his lyrics and his album titles.

347
00:17:18,400 --> 00:17:20,920
So their first album was outlandis de.

348
00:17:20,920 --> 00:17:23,440
Speaker 3: More and that's the one that had rock sane.

349
00:17:23,319 --> 00:17:26,039
Speaker 2: Right, And then they had Regatta do Blanc.

350
00:17:26,279 --> 00:17:28,799
Speaker 3: Okay, you may remember that for like Message in a Bottle,

351
00:17:28,880 --> 00:17:29,640
Walking on the Moon.

352
00:17:30,039 --> 00:17:33,359
Speaker 2: Next two albums, you've got Zenyata Mandada, which I mentioned

353
00:17:33,559 --> 00:17:36,119
long ago, came out on my birthday in nineteen eighty.

354
00:17:36,039 --> 00:17:38,759
Speaker 3: That's right, don't stand so close to me. Do Do

355
00:17:38,759 --> 00:17:43,000
Do Do Da Da da.

356
00:17:41,759 --> 00:17:45,480
Speaker 2: Right right right. And then in nineteen eighty one you

357
00:17:45,559 --> 00:17:47,240
had Ghost in the Machine.

358
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Speaker 3: Okay, so Ghost of the Machines. Really, when I kind

359
00:17:49,680 --> 00:17:52,359
of pick them up, that's spirits in the material world.

360
00:17:52,880 --> 00:17:54,680
And the big hit on that one was every little

361
00:17:54,680 --> 00:17:56,039
thing she does is magic.

362
00:17:56,279 --> 00:17:59,000
Speaker 2: So Ghost in the Machine was a book by Arthur Koestler,

363
00:17:59,039 --> 00:18:03,640
who also wrote The Roots of Coincidence, which is about synchronicity.

364
00:18:03,680 --> 00:18:07,359
A psychologist slash philosopher who wrote a couple of books

365
00:18:07,359 --> 00:18:11,759
that inspired Sting enough to name his albums. So they

366
00:18:11,799 --> 00:18:14,400
do their US tour and then they do a world tour,

367
00:18:14,519 --> 00:18:17,000
and by world tour, I mean literally world tour. They're

368
00:18:17,000 --> 00:18:19,640
going to Egypt, They're going to India, they're going to

369
00:18:19,680 --> 00:18:22,759
places that no other bands are going to, and so

370
00:18:22,920 --> 00:18:26,519
they're gone for months on end and Andy's got this,

371
00:18:26,640 --> 00:18:29,559
you know, new baby daughter at home and wife at home,

372
00:18:30,279 --> 00:18:34,240
and after the tour, you know, you would expect, hey,

373
00:18:34,640 --> 00:18:37,359
go home and see my wife and kid. But he

374
00:18:37,440 --> 00:18:41,599
decides to spend another three weeks in Bali with Stuart,

375
00:18:41,920 --> 00:18:45,599
and as it happens, John Belushi is staying at Bali

376
00:18:45,640 --> 00:18:49,200
at the same time, and they immediately hit it off.

377
00:18:49,240 --> 00:18:52,319
They're like, oh, hey, this guy's hilarious, and he's like, yeah,

378
00:18:52,319 --> 00:18:53,079
I'm hilarious.

379
00:18:55,279 --> 00:18:56,640
Speaker 3: I have not heard this story.

380
00:18:56,799 --> 00:18:59,599
Speaker 2: Yeah, and then they find this restaurant in Bali that

381
00:18:59,720 --> 00:19:04,200
serves omelets with mushrooms. Magic mushroom.

382
00:19:08,319 --> 00:19:11,119
Speaker 3: Oh my gosh, that's a very John Belushi thing to

383
00:19:11,640 --> 00:19:12,720
order off the menu.

384
00:19:12,519 --> 00:19:15,839
Speaker 2: Right, absolutely, yeah, I'm pretty sure he must have been

385
00:19:15,880 --> 00:19:20,119
the guy that introduced him to this place. So, needless

386
00:19:20,160 --> 00:19:22,079
to say, things weren't going very well by the time

387
00:19:22,119 --> 00:19:32,440
Andy got back home after doing the US tour, doing

388
00:19:32,480 --> 00:19:35,640
the World's Tour. It's safe to say that the relationship

389
00:19:35,920 --> 00:19:38,599
among the band members was getting pretty strict. I'd like

390
00:19:38,680 --> 00:19:39,960
to avatas for a new vine.

391
00:19:40,119 --> 00:19:43,000
Speaker 3: Yeah, they had this sort of brotherly like relationship. They

392
00:19:43,000 --> 00:19:48,400
couldn't ever compromise, right, Right, So there's three very strong, willed,

393
00:19:48,599 --> 00:19:55,519
very capable musicians, and every single thing has to be perfect,

394
00:19:55,880 --> 00:19:58,480
but it has to be that guy's version of perfect. Well, no,

395
00:19:58,559 --> 00:19:59,880
it's my version of perfect.

396
00:20:00,240 --> 00:20:00,440
Speaker 2: Right.

397
00:20:00,519 --> 00:20:02,000
Speaker 3: It would come to blow as they would come to

398
00:20:02,119 --> 00:20:03,960
I mean fisticuffs.

399
00:20:03,680 --> 00:20:05,559
Speaker 2: Right, And you know, we talked about trying to figure

400
00:20:05,599 --> 00:20:07,799
out who the a hole was at the beginning of this.

401
00:20:08,160 --> 00:20:12,759
Right from what I can gather, Stuart was very aggressive

402
00:20:13,160 --> 00:20:19,079
and Sting was passive aggressive, and Andy was kind of the

403
00:20:19,160 --> 00:20:21,599
mediator between the two of them, but he had his

404
00:20:21,720 --> 00:20:25,920
own you know, he'd stick his heels in frequently as well. So, yeah,

405
00:20:25,960 --> 00:20:28,119
you've got You've got guys who are all very talented,

406
00:20:28,240 --> 00:20:31,200
very intelligent, who are all driven, who all have their

407
00:20:31,240 --> 00:20:33,880
own idea about the way things go. And I mean

408
00:20:33,920 --> 00:20:36,519
you pointed out to me like Stuart's got to be thinking,

409
00:20:36,880 --> 00:20:39,359
you know, what's with Sting writing all the songs? This

410
00:20:39,480 --> 00:20:42,960
is my band. I formed this band. And then Andy's

411
00:20:42,960 --> 00:20:45,839
got to be thinking what is with these guys. I'm

412
00:20:45,880 --> 00:20:48,240
the guy who has, you know, another decade worth of

413
00:20:48,279 --> 00:20:51,160
experience over them. I'm the guy that's played with other bands,

414
00:20:51,400 --> 00:20:54,720
I'm the guy who's, you know, the probably the best

415
00:20:54,799 --> 00:20:58,240
musician in the band. And then of course Sting is thinking,

416
00:20:58,680 --> 00:21:00,920
I'm the guy who writes all of the hits.

417
00:21:01,400 --> 00:21:04,519
Speaker 3: Everybody had a reason to dig their heels in and

418
00:21:04,559 --> 00:21:07,079
claim leadership role in the in the band.

419
00:21:07,319 --> 00:21:10,000
Speaker 2: Right, and so it kind of became a thing. Like

420
00:21:10,079 --> 00:21:12,799
there's a great interview with Martha Quinn after one of

421
00:21:12,839 --> 00:21:15,680
their shows and they keep bickering back and forth, and

422
00:21:15,759 --> 00:21:18,319
she's trying to ask questions and she's finally like, so,

423
00:21:18,359 --> 00:21:20,039
do you guys mind just answering to some of my

424
00:21:20,119 --> 00:21:21,160
questions at the moment?

425
00:21:24,119 --> 00:21:26,440
Speaker 3: Questions Thomas, Okay.

426
00:21:26,359 --> 00:21:29,960
Speaker 2: I'll tell you what. Should we film me whipping Sting?

427
00:21:30,480 --> 00:21:32,359
How about it you and see me singing? Then Sting

428
00:21:32,480 --> 00:21:36,119
throws his drink in Stuart's face and they take off

429
00:21:36,279 --> 00:21:40,559
like Sting thing's running and Stuart's ready to whoop some a.

430
00:21:41,480 --> 00:21:45,640
Speaker 3: It really was legit to drink in the face. I'm

431
00:21:45,640 --> 00:21:48,400
getting out of here. Stuart's knocking over the table. Martha

432
00:21:48,480 --> 00:21:50,880
Quinn is just like, what is going on right here?

433
00:21:50,960 --> 00:21:53,720
Speaker 2: Yeah, She's like, okay, I guess we're done. She was

434
00:21:53,920 --> 00:21:55,680
not happy.

435
00:21:56,200 --> 00:21:59,240
Speaker 3: So, yeah, they had a tough relationship these guys were

436
00:21:59,359 --> 00:22:02,000
like brothers and a lot of times they couldn't stand

437
00:22:02,000 --> 00:22:02,359
each other.

438
00:22:02,559 --> 00:22:04,960
Speaker 2: So they get together for their fifth album, right and

439
00:22:05,240 --> 00:22:08,599
without hesitation, they are at the very top of the game.

440
00:22:08,680 --> 00:22:12,839
They are regarded as the best band in the world

441
00:22:13,279 --> 00:22:16,240
at this moment. That they get together for their fifth album,

442
00:22:16,640 --> 00:22:20,160
and in recording the album, they go to the most

443
00:22:20,559 --> 00:22:23,359
beautiful place in the Caribbean that you could go to.

444
00:22:23,480 --> 00:22:25,839
I mean, it's just how perfect could it be? But

445
00:22:25,920 --> 00:22:26,480
what happens?

446
00:22:27,319 --> 00:22:30,759
Speaker 3: So, yeah, I heard Stuart Copeland talking about this. So

447
00:22:30,799 --> 00:22:33,279
they're at Montserrat. This is island in the Caribbean. This

448
00:22:33,400 --> 00:22:35,400
is the same place that they record A Ghost in

449
00:22:35,440 --> 00:22:38,359
the Machine. Same producer, Hugh patrim He said every day

450
00:22:38,359 --> 00:22:41,880
they'd wake up in their little bungalows and they'd see

451
00:22:41,880 --> 00:22:44,319
the water and they'd see the beach and it'd be beautiful.

452
00:22:44,359 --> 00:22:47,119
And he said, you'd just be whistling this happy tune

453
00:22:47,519 --> 00:22:49,519
on your way at the studio, and then by the

454
00:22:49,559 --> 00:22:52,559
time you got to the studio, this black cloud came

455
00:22:52,599 --> 00:22:54,759
over and you want to kill everybody while you're there.

456
00:22:56,160 --> 00:22:57,680
I don't know if you know this or not. Steen

457
00:22:57,920 --> 00:23:00,480
wrote a lot of the songs for this album. In

458
00:23:00,559 --> 00:23:04,720
Jamaica at GoldenEye, where Ian Fleming wrote most of the

459
00:23:04,799 --> 00:23:06,200
James Bond novels.

460
00:23:06,480 --> 00:23:10,000
Speaker 2: Yes, he wrote, he sat down and wrote at Ian

461
00:23:10,079 --> 00:23:12,920
Fleming's desk, wrote Every Breath You Take.

462
00:23:13,559 --> 00:23:15,960
Speaker 3: Take was written at the same desk that The Spy

463
00:23:16,000 --> 00:23:17,160
Who Loved Me was written.

464
00:23:17,319 --> 00:23:18,160
Speaker 2: That's crazy.

465
00:23:18,440 --> 00:23:20,519
Speaker 3: How about that is crazy?

466
00:23:23,039 --> 00:23:27,839
Speaker 2: So they end up being in separate rooms, and Pagem said, well,

467
00:23:27,880 --> 00:23:29,920
we wanted to put them in the place that gave

468
00:23:30,000 --> 00:23:33,319
them the best sound for each of their instruments, and

469
00:23:33,440 --> 00:23:34,839
also so that they wouldn't kill each.

470
00:23:34,720 --> 00:23:36,759
Speaker 3: Other, and also for social reasons.

471
00:23:36,839 --> 00:23:40,359
Speaker 2: It's for social reasons, the social distancing. There's some social

472
00:23:40,359 --> 00:23:44,680
distancing going on back in nineteen eighty three. So they

473
00:23:44,799 --> 00:23:49,039
had Stuart Copeland in the living room, they had Sting

474
00:23:49,200 --> 00:23:52,039
in the recording booth, and Andy Summers that was the

475
00:23:52,079 --> 00:23:54,000
only one that was actually inside the studio itself.

476
00:23:54,039 --> 00:23:56,799
Speaker 3: It's crazy. They gathered in December of nineteen eighty two

477
00:23:57,039 --> 00:23:59,680
to record this album, which would be released June First

478
00:23:59,759 --> 00:24:01,039
Night three and.

479
00:24:01,039 --> 00:24:04,160
Speaker 2: As you mentioned, Sting came with almost all of his

480
00:24:04,279 --> 00:24:06,160
songs already demoed out.

481
00:24:06,240 --> 00:24:08,039
Speaker 3: We need to talk about that because that is a

482
00:24:08,079 --> 00:24:12,400
big deal. Sting shows up with like ten songs, perfectly produced,

483
00:24:12,960 --> 00:24:16,359
ready to go, like, hey, guys, check this out. It's

484
00:24:16,400 --> 00:24:18,759
completely done. I don't need your help on any of this.

485
00:24:18,960 --> 00:24:21,640
And it's right every breath you take, and it's King

486
00:24:21,680 --> 00:24:24,920
of Pain and it's synchronicity too. I can see where

487
00:24:24,960 --> 00:24:26,799
these guys would be like, that song is really good,

488
00:24:26,839 --> 00:24:29,759
but that's not me. And and Stuart made the comment

489
00:24:29,799 --> 00:24:32,160
He's like, it was a great song, I just needed

490
00:24:32,160 --> 00:24:34,880
to make my mark on it, and Sting wouldn't let me,

491
00:24:34,960 --> 00:24:36,960
and that became World War three. I mean, I can

492
00:24:36,960 --> 00:24:38,519
see where that would be irritating, right.

493
00:24:38,440 --> 00:24:40,720
Speaker 2: Oh sure, yeah, I mean, okay, I'll go ahead and

494
00:24:40,720 --> 00:24:44,400
get I'll disclosed. I'll disclose my judgment. I watched Stuart

495
00:24:44,400 --> 00:24:48,279
Copeland's documentary. I watched Andy Summers documentary. I didn't watch

496
00:24:48,279 --> 00:24:51,079
the Sting documentary, but I'm pretty familiar with Sting. When

497
00:24:51,119 --> 00:24:54,359
I started, I had in my head that Andy Summers

498
00:24:54,400 --> 00:24:57,279
was probably the jerk. After doing the research that I have,

499
00:24:57,440 --> 00:24:59,440
I got to say, Andy Summers is probably the guy

500
00:24:59,480 --> 00:25:02,039
that was maybe the little bit of the dork, but

501
00:25:02,119 --> 00:25:05,599
the guy that tried to make peace between the other

502
00:25:05,599 --> 00:25:08,880
two guys most of the time. I think Sting tried

503
00:25:08,920 --> 00:25:12,839
to be polite but firm about what he wanted, and

504
00:25:13,480 --> 00:25:15,960
rightly so, because he's the guy that's writing all of

505
00:25:16,000 --> 00:25:19,559
their hit songs. And I think Stuart Copeland was being

506
00:25:19,559 --> 00:25:22,599
a potty little bratt. That's my I'm calling Stuart Copeland

507
00:25:22,720 --> 00:25:25,000
the ahole. Sorry, Stuart, if you happen to be listening

508
00:25:25,000 --> 00:25:27,319
in I haven't met you. It's not appropriate for me

509
00:25:27,359 --> 00:25:29,640
to say these things about you. But I'm just going

510
00:25:29,720 --> 00:25:30,880
by what I've seen.

511
00:25:30,960 --> 00:25:33,079
Speaker 3: I can't argue with that assessment, although I think all

512
00:25:33,119 --> 00:25:37,200
three of them had their turn as Captain ahole right

513
00:25:38,000 --> 00:25:39,960
right when you've got I mean, if you're playing a

514
00:25:40,000 --> 00:25:42,839
flag football game in the backyard and Joe Montana shows

515
00:25:42,920 --> 00:25:46,319
up and you're the quarterback, yeah, you've got to move

516
00:25:46,400 --> 00:25:48,039
over for Joe Montana.

517
00:25:47,759 --> 00:25:50,680
Speaker 2: Right right hand. Joe Montana the ball, and if he

518
00:25:50,799 --> 00:25:53,680
happens to pass it to you, feel lucky that you've

519
00:25:53,680 --> 00:25:55,640
got to get the ball passed to you by Joe

520
00:25:55,640 --> 00:25:57,160
Montana in your own yard.

521
00:25:57,799 --> 00:26:00,359
Speaker 3: Yeah, And that was hard for guys like Stuart Couplin,

522
00:26:00,400 --> 00:26:03,920
who is a super talented drummer, but he's just not

523
00:26:03,960 --> 00:26:07,079
a great singer, a great, great songwriter and that's not right,

524
00:26:07,119 --> 00:26:08,039
and he knock on him.

525
00:26:08,079 --> 00:26:11,000
Speaker 2: It's just not He's not a pop songwriter. I mean

526
00:26:11,119 --> 00:26:14,720
Sting had a pop song sensibility that he didn't have

527
00:26:15,039 --> 00:26:18,200
and that Andy Summers kind of had. But I mean

528
00:26:18,400 --> 00:26:20,960
he went on. He went on to score movies. So

529
00:26:21,039 --> 00:26:23,680
did Andy Summers. He scored some movies as well. They

530
00:26:23,720 --> 00:26:29,039
both are extremely talented musicians, just they don't have that

531
00:26:29,160 --> 00:26:32,559
special little thing that draws people into the music, right,

532
00:26:32,599 --> 00:26:36,599
They don't have the hook. Do you ready to start

533
00:26:36,680 --> 00:26:37,839
start talking about synchronicity.

534
00:26:38,000 --> 00:26:41,039
Speaker 3: Let's let's jump in song by song, track by track,

535
00:26:41,119 --> 00:26:42,759
let's break it down. I want to know what you think.

536
00:26:43,119 --> 00:26:46,839
Speaker 2: Okay, So the album itself is called synchronicity. It's based

537
00:26:46,839 --> 00:26:51,079
in a concept where you have two seemingly unrelated events

538
00:26:51,559 --> 00:26:54,240
which somehow are meaningful to each other.

539
00:26:54,440 --> 00:26:55,880
Speaker 3: Can you explain that anymore than.

540
00:26:55,920 --> 00:26:58,680
Speaker 2: Well, okay, yes, I will explain it more when we

541
00:26:58,720 --> 00:27:01,839
talk about synchronicity too. Hear in just a little bit, okay.

542
00:27:01,759 --> 00:27:03,200
Speaker 3: Yeah, I think, I think. And where you're going with

543
00:27:03,200 --> 00:27:03,680
this cool?

544
00:27:03,839 --> 00:27:05,880
Speaker 2: As I mentioned before, it's based on this book called

545
00:27:05,920 --> 00:27:09,119
The Roots of Coincidence, which it says, hey, science, you

546
00:27:09,119 --> 00:27:12,240
should be paying attention to things that are unexplained, like

547
00:27:12,680 --> 00:27:16,920
paranormal phenomenon, supernatural type of things. These things don't happen

548
00:27:17,000 --> 00:27:19,039
very often, but they happen, and it's something you need

549
00:27:19,079 --> 00:27:21,640
to be aware of. And a lot of people wrote

550
00:27:21,680 --> 00:27:24,079
it off, but obviously it had a strong impact on

551
00:27:24,240 --> 00:27:27,279
Sting because you've got two different songs named for the

552
00:27:27,319 --> 00:27:32,160
concept on the album. The album itself nominated for five Grammys,

553
00:27:32,400 --> 00:27:36,119
one to three. Yeah, musically it does this amazing. Like

554
00:27:36,160 --> 00:27:38,119
I said, you will not find a band. I mean,

555
00:27:38,119 --> 00:27:40,359
if you do, tell me about it. I'd love to

556
00:27:40,400 --> 00:27:42,400
hear a band that I go, oh wow. These guys

557
00:27:42,400 --> 00:27:44,799
are as good as the Police. Now. They did something

558
00:27:44,799 --> 00:27:48,119
where they merged genres of music that nobody had ever

559
00:27:48,160 --> 00:27:51,000
put together before, and they didn't. And you know, like

560
00:27:51,319 --> 00:27:53,480
they're kind of known for this reggae sound, but this

561
00:27:53,640 --> 00:27:56,039
album they kind of left the reggae behind. I mean

562
00:27:56,039 --> 00:27:57,880
it's that you get an inkling there, but most of

563
00:27:57,920 --> 00:28:01,400
the reggae very much on their first four. Yeah, this

564
00:28:02,119 --> 00:28:05,599
is much different. And I can't say jazzy, I can't

565
00:28:05,640 --> 00:28:08,960
say world music. It's just it's a mix of stuff

566
00:28:09,000 --> 00:28:12,160
that's amazing. And they did all that and also achieved

567
00:28:12,200 --> 00:28:15,000
that sonic sound that we talked about with Thriller and

568
00:28:15,119 --> 00:28:19,200
with Hysteria, where the music is crisp and you feel

569
00:28:19,200 --> 00:28:22,119
each of the instruments. It's not muted and foggy like

570
00:28:22,279 --> 00:28:25,400
is the word that I always think of. It's more produced.

571
00:28:25,519 --> 00:28:29,119
We've talked about the producers before, and this one's definitely

572
00:28:29,119 --> 00:28:32,119
more produced and has more synthesizers in it, but it's

573
00:28:32,119 --> 00:28:34,960
still obviously with these guys being the musicians that they are,

574
00:28:35,359 --> 00:28:38,079
there's nothing fake about the production on this album.

575
00:28:38,119 --> 00:28:40,440
Speaker 3: This album knocked Thriller out of the number one spot

576
00:28:40,480 --> 00:28:41,279
for a little.

577
00:28:41,000 --> 00:28:43,400
Speaker 2: While, Yeah kept it out for eight weeks.

578
00:28:43,200 --> 00:28:46,759
Speaker 3: And then Thriller reclaimed it spot. But still right albums

579
00:28:46,759 --> 00:28:48,640
than Thriller in nineteen eighty three, that's pretty dag.

580
00:28:48,680 --> 00:28:51,640
Speaker 2: I'm good right, as we said before. Produced by Hugh

581
00:28:51,720 --> 00:28:55,079
Pagem who he is the guy that came up with

582
00:28:55,279 --> 00:29:01,559
the gated reverb drum sound that we all know from

583
00:29:01,599 --> 00:29:04,920
in the Air Tonight by Phil Collins. Oh wow, nice,

584
00:29:05,160 --> 00:29:06,960
So not bad? I mean, I mean, if you're gonna

585
00:29:06,960 --> 00:29:09,119
have a guy produced your album, that guy probably be

586
00:29:09,160 --> 00:29:12,960
a good one. But obviously he produced stuff for Genesis,

587
00:29:13,319 --> 00:29:17,000
produced stuff for Sting and several other big bands, but

588
00:29:17,160 --> 00:29:19,960
he almost walked out, Like it got to the point

589
00:29:20,039 --> 00:29:22,480
that they were fighting so much that he just he

590
00:29:22,559 --> 00:29:23,839
about said I'm done.

591
00:29:23,920 --> 00:29:25,720
Speaker 3: He made the call. I mean, he said, I need

592
00:29:25,759 --> 00:29:27,440
to get out of here, and they're like, no, give

593
00:29:27,519 --> 00:29:31,880
us some more time, all right, So let's dive in.

594
00:29:31,920 --> 00:29:32,519
Are you ready?

595
00:29:32,759 --> 00:29:35,599
Speaker 2: Okay? So this concept of synchronicity comes out in this

596
00:29:35,799 --> 00:29:38,720
first song, which is almost like a description of the

597
00:29:38,759 --> 00:29:41,519
concept in the lyrics, and I'll just think, I'll say

598
00:29:41,519 --> 00:29:46,920
it a connecting principle linked to the invisible, almost imperceptible,

599
00:29:47,480 --> 00:29:55,960
something inexpressible, science, unsusceptible, logic, so inflexible, casually connectable, nothing

600
00:29:56,000 --> 00:30:03,920
is invincible. So it is two things that happen that

601
00:30:03,960 --> 00:30:08,240
seem to be completely unrelated to each other, but somehow

602
00:30:08,359 --> 00:30:10,079
are symbolically connected.

603
00:30:10,200 --> 00:30:13,079
Speaker 3: Yeah, this song is high intensity. It's kind of a

604
00:30:13,079 --> 00:30:17,640
good rocker, rapid synthesizers at the beginning. For the time

605
00:30:17,680 --> 00:30:20,160
and place in nineteen eighty three, this perfectly fits that

606
00:30:20,200 --> 00:30:20,680
time and era.

607
00:30:20,799 --> 00:30:22,160
Speaker 2: You know what, I'm going to go ahead, I'll be

608
00:30:22,559 --> 00:30:25,680
completely honest with our listeners. When I sat down and

609
00:30:25,720 --> 00:30:29,079
started listening to this album, I listened to the first

610
00:30:29,240 --> 00:30:31,920
four songs, and I called you up and I said, Okay,

611
00:30:31,920 --> 00:30:36,480
I don't think I can defend this album. But honestly,

612
00:30:36,599 --> 00:30:40,400
the first songs on the album are an acquired taste, right.

613
00:30:40,440 --> 00:30:43,559
I mean, if you like stinky cheese, if you like

614
00:30:44,000 --> 00:30:48,200
homebrew beer or fine wines, that's something that you probably

615
00:30:48,240 --> 00:30:50,920
didn't enjoy the very first taste that you had of it.

616
00:30:51,319 --> 00:30:53,000
But it's something that after you did it for a

617
00:30:53,000 --> 00:30:55,559
little while, you're like, oh, I'm catching the nuances and

618
00:30:55,599 --> 00:30:59,359
the subtleties and all the wonderfulness about this. So yeah,

619
00:31:00,000 --> 00:31:02,160
listening to it now a dozen more times, I could

620
00:31:02,200 --> 00:31:05,640
say Synchronosity one is good, and I enjoy actually all

621
00:31:05,680 --> 00:31:07,519
of the songs almost on this first side.

622
00:31:09,160 --> 00:31:11,880
Speaker 3: I enjoyed Synchronicity one too. This was the top of

623
00:31:11,880 --> 00:31:13,880
their set list for the Synchronosity tour.

624
00:31:14,119 --> 00:31:15,880
Speaker 2: Sure, yeah, and it's a great one to get the

625
00:31:15,920 --> 00:31:18,680
audience hyped up. Like you said, it's got that exciting,

626
00:31:18,799 --> 00:31:19,599
upbeat tempo.

627
00:31:19,720 --> 00:31:21,480
Speaker 3: Okay, we both like Synchronosity.

628
00:31:21,559 --> 00:31:28,240
Speaker 2: Yes. So the next song is called walking in Your Footsteps,

629
00:31:28,720 --> 00:31:31,799
and this one is again this is one that I

630
00:31:31,839 --> 00:31:33,599
listened to and I think, eh, And then I listened

631
00:31:33,599 --> 00:31:34,839
to it a few more times I'm like, Okay, this

632
00:31:34,960 --> 00:31:37,640
is good, this is all right, and it's it's almost

633
00:31:37,680 --> 00:31:39,880
like a kid song. Have you looked at the lyrics

634
00:31:39,880 --> 00:31:40,160
at this.

635
00:31:40,279 --> 00:31:46,319
Speaker 3: Yeah, it's talking about dinosaurs and mister Brownosaurus, and you

636
00:31:46,319 --> 00:31:50,319
could see just a little bit like, here's what I

637
00:31:50,319 --> 00:31:52,839
think about this song. Okay, it's funny that you say that,

638
00:31:52,880 --> 00:31:57,079
because this song sounds like what they would play in

639
00:31:57,200 --> 00:32:01,319
the Little People Carrier at Disney World or Animal Planet

640
00:32:01,960 --> 00:32:04,400
when you're writing the Safari Ride or something like that.

641
00:32:04,440 --> 00:32:04,920
Speaker 4: You know what I mean.

642
00:32:09,480 --> 00:32:12,559
Speaker 2: Well, yeah, so it is very is very much a

643
00:32:12,640 --> 00:32:14,599
kid song. But then it goes on to talk about

644
00:32:14,599 --> 00:32:19,799
the Adam Bombs larger meaning of mankind bringing about its

645
00:32:19,839 --> 00:32:22,319
own extinction, you know, just like the dinosaurs were the

646
00:32:22,400 --> 00:32:24,960
rulers of the world at one point and they're gone,

647
00:32:25,359 --> 00:32:27,359
so it looks like our fate is the same. So

648
00:32:27,519 --> 00:32:30,599
I like it. It's it's it's kid lyrics with a big,

649
00:32:30,640 --> 00:32:32,119
heavy meaning. How sting is that?

650
00:32:32,440 --> 00:32:34,000
Speaker 3: I think you nailed it. I think you nailed it.

651
00:32:34,039 --> 00:32:36,359
I think it's a good song. It's kind of singable,

652
00:32:36,480 --> 00:32:39,519
it sounds a little bit international, maybe a little African,

653
00:32:39,759 --> 00:32:44,400
definitely belongs at Epcot or a Animal Planet, but it's good.

654
00:32:44,480 --> 00:32:44,839
It's good.

655
00:32:44,839 --> 00:32:47,240
Speaker 2: I like it all right. So our next song is

656
00:32:47,279 --> 00:32:48,799
the OMG song.

657
00:32:57,319 --> 00:33:00,160
Speaker 3: Oh my God. For this song, oh my God, it's

658
00:33:00,200 --> 00:33:04,359
it's jazzy. There's a lot of horns. This song actually

659
00:33:04,480 --> 00:33:07,359
dates back to Sting's days with his band Last Exit.

660
00:33:07,400 --> 00:33:09,279
It sounds like it belongs in a coffee shop. To me,

661
00:33:09,359 --> 00:33:11,799
I don't know, it's not really my style. I didn't

662
00:33:11,799 --> 00:33:13,599
really care for What do you think about this one?

663
00:33:13,880 --> 00:33:16,960
Speaker 2: Yeah? This is again another one that I can listen

664
00:33:17,000 --> 00:33:19,880
to eat more easily now after having heard it a

665
00:33:19,920 --> 00:33:21,920
few times. But it took me. It took me a

666
00:33:21,920 --> 00:33:25,880
few times before I even caught that the last lyrics

667
00:33:26,440 --> 00:33:30,079
are a throwback? Do you know this? No? So the

668
00:33:30,160 --> 00:33:32,599
lyrics of this song have to do with somebody who's

669
00:33:32,640 --> 00:33:36,079
kind of struggling with God and their distance from God,

670
00:33:36,680 --> 00:33:39,200
which I mean, I don't know anybody who hasn't struggled

671
00:33:39,240 --> 00:33:41,680
with that issue as well. This one's maybe a little

672
00:33:41,720 --> 00:33:44,880
bit more bitter as it's going through this struggle. But

673
00:33:45,079 --> 00:33:54,920
then the end of the song, the last lyrics are

674
00:34:11,599 --> 00:34:15,400
you know the song? No, every little thing she does

675
00:34:15,559 --> 00:34:16,199
is magic?

676
00:34:23,519 --> 00:34:25,719
Speaker 3: Oh my gosh, are you serious? That's cool?

677
00:34:25,760 --> 00:34:38,800
Speaker 2: Yes? Yeah, So he throws back to his own song

678
00:34:38,840 --> 00:34:41,800
in this one, but instead of being about a girl,

679
00:34:42,039 --> 00:34:45,280
it's now about God. So it's heavy. It's I mean,

680
00:34:45,320 --> 00:34:50,599
it's it's heavy religious struggle, spirituality struggle that stings dealing

681
00:34:50,639 --> 00:34:53,400
with apparently. But yeah, I'm kind of with you. It's

682
00:34:53,639 --> 00:34:55,639
it's okay, it's okay at this point, but it's not

683
00:34:55,960 --> 00:34:57,079
certainly not a favorite.

684
00:34:56,840 --> 00:35:00,159
Speaker 4: On the album.

685
00:35:00,360 --> 00:35:02,599
Speaker 3: All right, this is one I've been wanting to discuss

686
00:35:02,639 --> 00:35:16,639
with you. Okay. The next song is called mother d

687
00:35:16,960 --> 00:35:22,719
Your thoughts.

688
00:35:22,760 --> 00:35:28,320
Speaker 2: Okay, that is enough of that. I tried so many

689
00:35:28,360 --> 00:35:29,320
times to listen to this.

690
00:35:29,400 --> 00:35:33,639
Speaker 3: I'm just like, oh, it's so freaking weird, man, Oh

691
00:35:33,719 --> 00:35:35,360
my gosh, it is it is.

692
00:35:35,719 --> 00:35:38,519
Speaker 2: It's not just weird. It's not good. I'm just saying

693
00:35:38,559 --> 00:35:41,320
it is flat out bad. And if you got folks,

694
00:35:41,800 --> 00:35:44,280
if you guys, if you're somebody out there who loves

695
00:35:44,320 --> 00:35:47,800
this song, let us know and let us know about

696
00:35:47,800 --> 00:35:51,079
the song. But this is instead of Carl Jung, we're

697
00:35:51,079 --> 00:35:55,760
talking about Sigmund Freud here talking about all his girlfriends

698
00:35:55,800 --> 00:35:59,119
turning into his mother and his mother is always calling him.

699
00:35:59,320 --> 00:36:04,239
This one was by Andy Summers, and he said he

700
00:36:04,360 --> 00:36:06,559
was considered to be the golden child of the family

701
00:36:06,599 --> 00:36:09,599
by his mom, and she put a lot of pressure

702
00:36:09,639 --> 00:36:12,440
on him. And when he made it big with the police,

703
00:36:12,519 --> 00:36:16,119
she was constantly calling him and living through him vicariously.

704
00:36:16,639 --> 00:36:20,480
And this was a song about that. And so maybe

705
00:36:20,519 --> 00:36:25,280
it's maybe it's appropriate that the Freudian song be shouted out.

706
00:36:25,760 --> 00:36:29,199
Speaker 3: It's terrible this song. Okay, this is what I think.

707
00:36:29,639 --> 00:36:32,880
This is a song that would be effective. You remember

708
00:36:32,920 --> 00:36:34,840
at the very end of Silence of the Lambs, when

709
00:36:34,880 --> 00:36:38,119
Clarius is walking around looking for Buffalo Bill in the

710
00:36:38,239 --> 00:36:41,119
dark and all his boss are flying around. That the

711
00:36:41,360 --> 00:36:47,320
type of song in the background that would be extra scary. Yeah.

712
00:36:47,519 --> 00:36:49,840
Speaker 2: Yeah, it's not a pleasant song to listen. It just

713
00:36:49,880 --> 00:36:54,440
makes you uncomfortable in all respects. And was it you

714
00:36:54,480 --> 00:36:55,880
that told me that Sting's not singing on.

715
00:36:55,840 --> 00:36:59,719
Speaker 3: This Sting said, no, frigging way, I'm singing that stupid song.

716
00:37:00,199 --> 00:37:02,360
Speaker 2: You know what, though he was on the song he

717
00:37:02,400 --> 00:37:03,079
played the obo.

718
00:37:05,800 --> 00:37:07,480
Speaker 3: Yeah, not enough to say it.

719
00:37:07,840 --> 00:37:10,760
Speaker 2: Oh no, no, no, no, this one. I'm sorry. I'm

720
00:37:10,800 --> 00:37:12,840
sorry for the for the mother fans out there, but

721
00:37:12,920 --> 00:37:15,719
this is unless you're talking dan Zig, this is not

722
00:37:15,760 --> 00:37:16,800
a song I want to listen to.

723
00:37:17,039 --> 00:37:19,000
Speaker 3: Hey, here's the other thing. And I don't want to

724
00:37:19,039 --> 00:37:23,400
be cruel here to Andy Summers, who's a super gifted musician, right,

725
00:37:23,440 --> 00:37:27,639
but they each brought songs to the table. Hey guys,

726
00:37:27,719 --> 00:37:30,000
this song, this is the one I want. Okay, Hey,

727
00:37:30,000 --> 00:37:32,400
I've got these three or four. This was the best

728
00:37:32,440 --> 00:37:33,400
he could come up with.

729
00:37:33,440 --> 00:37:34,400
Speaker 2: I mean terrible.

730
00:37:35,079 --> 00:37:37,079
Speaker 3: Well, it's a nightmare.

731
00:37:37,320 --> 00:37:40,119
Speaker 2: It is a nightmare. And just to be fair to

732
00:37:40,159 --> 00:37:43,320
Andy Summers, like he's not always wrong in what he

733
00:37:43,360 --> 00:37:45,559
thinks is good. Like there was another song that he

734
00:37:45,880 --> 00:37:49,039
wrote call Behind the Camel that Sting hated, refused to

735
00:37:49,039 --> 00:37:51,440
sing on it and there's no words to it. And

736
00:37:51,480 --> 00:37:54,280
he won the Grammy for Best Instrumental Song that year

737
00:37:54,679 --> 00:37:57,800
for this behind the Camel song. So he who knows

738
00:37:57,800 --> 00:38:00,280
from good taste? You know, sometimes people think so that's

739
00:38:00,360 --> 00:38:02,679
terrible and it turns out to be good. And sometimes

740
00:38:02,719 --> 00:38:05,039
people think something's good and it turns out to be Mother.

741
00:38:05,320 --> 00:38:08,760
Speaker 3: That's right, That's right, Okay. So that was Andy Summer's

742
00:38:08,920 --> 00:38:10,679
only offering.

743
00:38:10,320 --> 00:38:12,840
Speaker 2: For this album. Well, yeah, he co wrote, I mean,

744
00:38:12,880 --> 00:38:15,480
you know, he co wrote with Sting on another one.

745
00:38:15,480 --> 00:38:20,559
But but yes, Mother was his baby. What a weird

746
00:38:20,599 --> 00:38:21,280
thing to say.

747
00:38:21,079 --> 00:38:25,280
Speaker 3: All right, all right, I did read that. I read

748
00:38:25,320 --> 00:38:26,880
some stuff on the internet that there are a lot

749
00:38:26,880 --> 00:38:29,639
of people out there that feel like this song keeps

750
00:38:29,760 --> 00:38:32,280
this album from being considered a masterpiece.

751
00:38:32,440 --> 00:38:34,880
Speaker 2: Yeah, that's this is this is still a masterpiece. That's not.

752
00:38:35,559 --> 00:38:40,280
Yeah anyway, so moving on, that's Andy Summers. Andy got

753
00:38:40,280 --> 00:38:42,960
one song, Stewart gets one song, and the next song

754
00:38:43,199 --> 00:38:49,280
is Missus Grandinko, which is Stuart Copeland's contribution to the album.

755
00:38:49,320 --> 00:38:52,440
What do you think?

756
00:38:53,760 --> 00:38:57,199
Speaker 3: I mean, it's okay, Yeah, it's okay.

757
00:38:57,559 --> 00:39:00,159
Speaker 2: Yeah, I actually like it. I enjoy the sound. The

758
00:39:00,239 --> 00:39:03,159
lyrics didn't really mean much to me until I started

759
00:39:03,159 --> 00:39:04,480
doing a little bit of digging. Do you know the

760
00:39:04,519 --> 00:39:05,320
story behind this?

761
00:39:05,519 --> 00:39:06,199
Speaker 3: No? I don't.

762
00:39:06,440 --> 00:39:10,880
Speaker 2: Okay, this is fascinating. So so Andy Summers wrote a

763
00:39:10,880 --> 00:39:13,599
song about his mother. Stuart Copelan writes a song about

764
00:39:13,599 --> 00:39:18,719
his father. But his father is a founding member of

765
00:39:18,760 --> 00:39:23,000
the CIA, like legitimately, yeah, like yeah, in nineteen forty seven,

766
00:39:23,280 --> 00:39:25,840
he is one of the founding members of the CIA,

767
00:39:26,400 --> 00:39:28,599
and he was like he was big time. He was

768
00:39:28,679 --> 00:39:33,639
involved in the overthrow of Syria, he was involved in

769
00:39:33,719 --> 00:39:37,360
the Iranian coup ata and he was big time. I mean,

770
00:39:37,360 --> 00:39:40,840
he's written multiple books and just listen to this. You know,

771
00:39:40,880 --> 00:39:42,519
some of the things this guy has said, I kind

772
00:39:42,519 --> 00:39:45,440
of want to read his books. Here's a quote. My

773
00:39:45,559 --> 00:39:50,360
complaint has been that the CIA isn't overthrowing enough anti

774
00:39:50,480 --> 00:39:55,559
American assassinating enough anti American leaders. But I guess I'm

775
00:39:55,559 --> 00:40:02,320
getting old. I can see maybe why this guy's kid

776
00:40:02,480 --> 00:40:04,320
and Sting didn't get along real well.

777
00:40:04,360 --> 00:40:07,760
Speaker 3: You know, I didn't see I had eye politically right.

778
00:40:08,320 --> 00:40:11,360
Speaker 2: Yeah, So this song, this song is about this policy

779
00:40:11,480 --> 00:40:14,960
meeting of these government officials, and I think is a

780
00:40:15,000 --> 00:40:18,760
throwback to Stuart Copeland's dad and his days in the CIA.

781
00:40:19,360 --> 00:40:22,000
Speaker 3: Nice. That is a cool start. I've never heard that before.

782
00:40:23,239 --> 00:40:26,440
I do know that Sting could barely bring himself to

783
00:40:26,480 --> 00:40:29,960
do the vocals on this song. Yeah, he agreed to

784
00:40:30,039 --> 00:40:33,480
do two days. That's it. Yeah, I'm only seeing the

785
00:40:33,519 --> 00:40:36,400
stupid song two times and they I guess they got it.

786
00:40:36,559 --> 00:40:39,920
Speaker 2: So him and Donimici, you got one chance in this.

787
00:40:42,360 --> 00:40:45,679
Speaker 3: Donimici throwback to the Trading Places episode, all right, before

788
00:40:45,679 --> 00:40:47,599
we move on to the next song. For the record,

789
00:40:47,840 --> 00:40:51,360
so far, we've had Synchronousity one, walking in Your Footsteps,

790
00:40:51,559 --> 00:40:56,119
Oh My God Mother, and Miss Gradenko. Yes, not stellar.

791
00:40:56,239 --> 00:41:01,360
Speaker 2: So far. Okay, if these are the only songs on

792
00:41:01,400 --> 00:41:03,840
the album, yeah You've got You've got a hard album

793
00:41:03,880 --> 00:41:08,440
to argue is a masterpiece, but giving what follows, yeah,

794
00:41:08,480 --> 00:41:09,119
I'm not gonna help.

795
00:41:09,159 --> 00:41:11,840
Speaker 3: Okay, buckle your seatbelts because here we go.

796
00:41:12,440 --> 00:41:14,559
Speaker 2: All right. Synchronicity two.

797
00:41:16,079 --> 00:41:17,920
Speaker 3: This song is amazing.

798
00:41:18,360 --> 00:41:19,360
Speaker 2: Oh it's so good.

799
00:41:19,559 --> 00:41:21,920
Speaker 3: It is so good, good in all respects.

800
00:41:33,079 --> 00:41:37,719
Speaker 2: The music is on point and the lyrics so. Synchronicity

801
00:41:37,800 --> 00:41:43,079
one describes the concept of synchronicity, and then Synchronicity two

802
00:41:43,599 --> 00:41:57,280
gives you an example of synchronicity. It is the story

803
00:41:57,320 --> 00:42:00,239
of a man in daily anguish.

804
00:41:59,840 --> 00:42:04,360
Speaker 3: Of being my whole life has have to yeah, yes.

805
00:42:05,119 --> 00:42:10,280
Speaker 2: Yes, yeah, that's great. So he's in this daily anguish

806
00:42:10,360 --> 00:42:13,559
of being his mother screaming at the wall. His wife

807
00:42:13,639 --> 00:42:17,960
is complaining about boredom and frustrations, but all her suicides

808
00:42:18,039 --> 00:42:21,559
are fake, and every meeting he has at work is

809
00:42:21,599 --> 00:42:22,760
a kick in the crotch.

810
00:42:23,400 --> 00:42:25,880
Speaker 3: I love that line. Not just a kick in the crutch,

811
00:42:26,079 --> 00:42:27,920
a humiliating kick in the crutch.

812
00:42:30,360 --> 00:42:33,960
Speaker 2: So and then meanwhile, the other story. Meanwhile, a monster

813
00:42:34,320 --> 00:42:39,000
in Lochness moves towards the surface of the deep. This

814
00:42:39,199 --> 00:42:43,400
is the example. These are parallel events that are seemingly

815
00:42:43,519 --> 00:42:50,039
completely unrelated but are symbolically connected because the man's paranoia

816
00:42:50,280 --> 00:42:54,599
and psychosis ebbs closer and closer to the edge in

817
00:42:54,639 --> 00:42:57,599
the same way that the monster moves closer and closer

818
00:42:57,639 --> 00:43:03,119
to the surface of the water. Outstanding, amazing, incredible. I

819
00:43:03,119 --> 00:43:05,039
don't know, I don't know what else to say about this.

820
00:43:05,400 --> 00:43:07,519
Speaker 3: I love it. I wasn't a fan of it before it,

821
00:43:07,599 --> 00:43:10,199
but like, this is a song that I'm adding to

822
00:43:10,320 --> 00:43:12,679
my regular playlist and we'll listen to and rock out

823
00:43:12,880 --> 00:43:13,480
when it comes on.

824
00:43:14,039 --> 00:43:15,960
Speaker 2: This is Yeah, this is one that'll give me legs

825
00:43:15,960 --> 00:43:17,119
if I'm on my run for sure.

826
00:43:28,239 --> 00:43:29,719
Speaker 3: Have you have you seen the video of this?

827
00:43:30,199 --> 00:43:33,800
Speaker 2: Yeah? The video is the band playing on piles of

828
00:43:33,840 --> 00:43:37,719
like broken instruments, kind of a dystopian looking thing, and

829
00:43:37,760 --> 00:43:40,760
then when they throw the chorus, it's like these shots

830
00:43:40,760 --> 00:43:42,159
of NeSSI.

831
00:43:44,079 --> 00:43:46,880
Speaker 3: It's an interesting video. It's very eighties. It made me

832
00:43:46,960 --> 00:43:49,920
think of like a cheap version of the Stacks from

833
00:43:49,960 --> 00:43:53,920
Ready Player one. Right, it's nice, yeah, apocalyptic, you know,

834
00:43:54,320 --> 00:43:55,320
stacks of junk.

835
00:43:55,400 --> 00:43:57,679
Speaker 2: And why since you said it, a shout out to

836
00:43:57,760 --> 00:43:59,519
all our Gunter fans out there, we love you.

837
00:43:59,639 --> 00:44:03,000
Speaker 3: Oh yeah, definitely a r p O guys, But love

838
00:44:03,039 --> 00:44:06,639
the song, Love the song. Time to push the stop button,

839
00:44:08,239 --> 00:44:27,800
flip it over here, we go side to every Breathut.

840
00:44:34,119 --> 00:44:38,079
Speaker 2: Wow, When a song is played as much as this

841
00:44:38,159 --> 00:44:42,159
song is played, and you've heard it as much as

842
00:44:42,280 --> 00:44:45,719
you've heard it, and when it comes on the radio,

843
00:44:45,880 --> 00:44:49,199
you still turn up the volume, that's a pretty freaking

844
00:44:49,280 --> 00:44:49,920
amazing song.

845
00:44:50,119 --> 00:44:53,280
Speaker 3: It's an amazing song. It's an amazing song. And you're right,

846
00:44:53,400 --> 00:44:56,599
for those of you who are so familiar with the song,

847
00:44:56,639 --> 00:44:59,280
you can't truly appreciate it. Everybody, take a deep breath,

848
00:44:59,559 --> 00:45:02,960
take a stick back, take a fresh look at this song,

849
00:45:03,000 --> 00:45:06,599
because it's amazing. It really is. In May of twenty nineteen,

850
00:45:06,800 --> 00:45:10,400
b m I recognized this song as the most played

851
00:45:10,480 --> 00:45:15,039
song in radio history at fifteen million radio plays, and

852
00:45:15,079 --> 00:45:25,119
it overtook You've Lost that Love, Oh my God, Top Gun.

853
00:45:25,159 --> 00:45:29,039
Speaker 2: Go ahead, Yeah, we'll see where it falls. You either

854
00:45:29,079 --> 00:45:30,920
already heard it in Top Gun or you're gunning here

855
00:45:31,000 --> 00:45:36,880
pretty soon. We don't know. So this is their signature song, right,

856
00:45:37,119 --> 00:45:40,440
I mean, one Grammy for Song of the Year. It is,

857
00:45:40,920 --> 00:45:43,079
as you mentioned, been played on the radio more than

858
00:45:43,079 --> 00:45:47,119
any other song. And from what I understand. It's estimated

859
00:45:47,159 --> 00:45:49,800
to be about a quarter to a third of Sting's

860
00:45:49,840 --> 00:45:52,639
musical income. And for a guy who's put out as

861
00:45:52,679 --> 00:45:55,400
many hits as he has, that's saying something.

862
00:45:55,519 --> 00:45:58,400
Speaker 3: It's incredible. In two thousand and three, obviously that's a

863
00:45:58,440 --> 00:46:00,679
long time ago, But in two thousand and three, Sting

864
00:46:00,840 --> 00:46:03,960
was still making two thousand dollars a day on the

865
00:46:04,039 --> 00:46:05,079
royalties of this song.

866
00:46:05,360 --> 00:46:08,119
Speaker 2: Oh my gosh, that's insane. That is insane.

867
00:46:08,280 --> 00:46:11,599
Speaker 3: That is a sweet gig right there, collect royalty checks.

868
00:46:12,199 --> 00:46:14,039
Speaker 2: This is the one. This is the one that was

869
00:46:14,079 --> 00:46:19,159
written at Ian Fleming's writing desk. Sting had separated from

870
00:46:19,199 --> 00:46:24,039
his wife, Francis Tomty and started dating their neighbor and

871
00:46:24,159 --> 00:46:28,679
her best friend, Trudy Styler, who eventually married, And he

872
00:46:28,880 --> 00:46:31,039
woke up in the middle of the night with the

873
00:46:31,159 --> 00:46:34,280
lyrics in his head every breath you take, every move

874
00:46:34,360 --> 00:46:38,559
you make, went sat at the piano, put that tune

875
00:46:38,559 --> 00:46:41,679
to it, wrote it in half an hour, wrote it

876
00:46:41,719 --> 00:46:44,880
in half an hour, and twenty years later, was still

877
00:46:44,880 --> 00:46:46,400
making two thousand dollars a day.

878
00:46:46,480 --> 00:46:49,679
Speaker 3: It's incredible, it's incredible. I heard him comment on the

879
00:46:50,239 --> 00:46:53,440
tone of this song. Yeah, he said, it's sinister. But

880
00:46:53,599 --> 00:46:54,760
seductively dressed.

881
00:46:55,400 --> 00:46:58,159
Speaker 2: So it's weird. You know a lot of people thought

882
00:46:58,199 --> 00:47:02,360
that this was like a happy Peppi upbeat song, and

883
00:47:02,440 --> 00:47:05,000
he was just kind of floored by this idea because

884
00:47:05,320 --> 00:47:08,199
to him, this was this kind of stalker.

885
00:47:07,880 --> 00:47:11,599
Speaker 3: Esque right, people played it at their weddings and stuff.

886
00:47:11,800 --> 00:47:14,960
Speaker 2: That's weird. Yeah, that's strange. Just never ever has it

887
00:47:14,960 --> 00:47:16,920
seemed to me to be an upbeat song. It has

888
00:47:17,000 --> 00:47:20,480
always been this kind of notion of I'm standing in

889
00:47:20,519 --> 00:47:23,639
the bushes and I'm observing everything that you do.

890
00:47:24,400 --> 00:47:27,960
Speaker 3: You know what's interesting about this song. In Sting's first

891
00:47:28,000 --> 00:47:30,519
solo album, he has a song called if You Love

892
00:47:30,599 --> 00:47:33,960
Somebody Set Them Free. Yeah, it was written in response

893
00:47:34,039 --> 00:47:36,199
to this song. Because so many people played this song

894
00:47:36,239 --> 00:47:38,440
at their wedding that he was like, I gotta make

895
00:47:38,480 --> 00:47:41,920
this right. I got to give them an actual love song, right.

896
00:47:42,719 --> 00:47:45,400
Speaker 2: Yeah. Yeah, people would tell him I played that at

897
00:47:45,400 --> 00:47:48,559
my wedding. He said, well, good luck.

898
00:47:48,559 --> 00:47:54,960
Speaker 3: But yeah, that is awesome listening to Sting. He said,

899
00:47:55,280 --> 00:47:57,000
as soon as he wrote it, he knew it was

900
00:47:57,039 --> 00:47:58,679
the best thing that the police would ever make.

901
00:47:59,000 --> 00:48:03,440
Speaker 2: So despite the fact that Stuart Copeland is still making

902
00:48:04,599 --> 00:48:07,119
lots of money off of for this album. He still

903
00:48:07,159 --> 00:48:08,679
hates the arrangement of this song.

904
00:48:09,039 --> 00:48:10,639
Speaker 3: I know, that's so crazy.

905
00:48:11,039 --> 00:48:13,800
Speaker 2: This was the one that they came to actual physical

906
00:48:13,840 --> 00:48:17,360
blows in the studio. This was the one that Pagean

907
00:48:17,519 --> 00:48:20,440
was like, I am out of here. I can't handle

908
00:48:20,639 --> 00:48:23,559
these guys anymore. By the way, little note right in

909
00:48:23,599 --> 00:48:25,480
the middle of the song, little piano key, one key,

910
00:48:25,519 --> 00:48:27,320
right in the middle of the song. That was Hugh

911
00:48:27,400 --> 00:48:29,000
Paget's contribution to this song.

912
00:48:29,119 --> 00:48:31,039
Speaker 3: And that's maybe my favorite part of the whole song.

913
00:48:31,239 --> 00:48:34,519
Speaker 2: Just subtle and beautiful in its simplicity. It's it's incredible.

914
00:48:34,880 --> 00:48:36,880
Speaker 3: Is this the high Hat story because we got to

915
00:48:37,199 --> 00:48:37,880
high Have story.

916
00:48:38,400 --> 00:48:40,639
Speaker 2: Yeah. So obviously, you know, they put this song together

917
00:48:40,679 --> 00:48:43,119
and as we've mentioned, Sting had the arrangement, like he

918
00:48:43,199 --> 00:48:45,480
had the demoed out, he knew how he wanted it,

919
00:48:46,039 --> 00:48:49,199
and they put the song and he basically said, I'm

920
00:48:49,199 --> 00:48:51,559
not gonna I'm not gonna do this anyway other than

921
00:48:51,559 --> 00:48:53,960
the way that I want to do it. That's it.

922
00:48:54,079 --> 00:48:56,440
You know. The drums are going to be this and

923
00:48:56,480 --> 00:49:00,440
the guitar is going to be this, and that is it.

924
00:49:00,880 --> 00:49:04,480
And so they recorded it and the next day when

925
00:49:04,519 --> 00:49:06,480
the rest of the guys weren't in the studio. Stuart

926
00:49:06,559 --> 00:49:09,360
Copeland came in to Hugh Pagem and said, Hey, I

927
00:49:09,360 --> 00:49:10,920
think we need to put a high hat in here.

928
00:49:11,039 --> 00:49:12,760
And of course you is just the guy who just

929
00:49:12,760 --> 00:49:15,920
wants people to get along. So he's like, okay, and

930
00:49:15,960 --> 00:49:17,639
he puts the high pad in. And then the next

931
00:49:17,719 --> 00:49:20,119
day Sting comes in and he's like, all right, let's

932
00:49:20,119 --> 00:49:22,440
listen to every breath you take. And he's like, what

933
00:49:22,599 --> 00:49:24,760
is that effing high hat doing in a song?

934
00:49:26,039 --> 00:49:29,199
Speaker 3: Take it out? Love that?

935
00:49:29,760 --> 00:49:32,000
Speaker 2: Wow? So and then the video, I mean, everybody has

936
00:49:32,000 --> 00:49:34,239
got to know the video. This was the one that

937
00:49:34,400 --> 00:49:36,920
MTV wouldn't stop playing, and these guys were the They

938
00:49:36,960 --> 00:49:41,480
were the darling Stars for MTV for that summer, and

939
00:49:41,920 --> 00:49:45,840
this video was on all the time, and I watched

940
00:49:45,840 --> 00:49:48,119
it every time it came on. I never got tired

941
00:49:48,159 --> 00:49:50,000
of seeing that ashtray in black and white.

942
00:49:50,280 --> 00:49:52,800
Speaker 3: Yeah, it's it's very noir.

943
00:49:53,639 --> 00:49:58,000
Speaker 2: Yeah, it's actually based on a nineteen forty four film

944
00:49:58,079 --> 00:50:01,719
called Jam in the Blue. And I think that's why

945
00:50:01,760 --> 00:50:04,000
in the song Sting is playing the stand up bass,

946
00:50:04,119 --> 00:50:06,400
and him playing that just gave them this sort of

947
00:50:06,599 --> 00:50:10,039
air of sophistication that nobody else on MTV. I mean,

948
00:50:10,119 --> 00:50:12,360
just think about think about the music videos that were

949
00:50:12,360 --> 00:50:14,920
out on MTV at this time. You got def Leppard

950
00:50:16,199 --> 00:50:19,719
blowing up foully guitars and setting trees on fire. And

951
00:50:19,800 --> 00:50:24,360
here's this video where they're just standing in like very

952
00:50:24,400 --> 00:50:27,239
contrasted black and white with his blue tint and it's

953
00:50:27,320 --> 00:50:29,519
all very jazzy.

954
00:50:29,840 --> 00:50:35,440
Speaker 3: That's right. Nobody playing chess with a wizard in this video.

955
00:50:37,400 --> 00:50:38,199
Speaker 2: I forgot about that.

956
00:50:40,000 --> 00:50:44,480
Speaker 3: Throw back to our Pyromania episode was the first single

957
00:50:44,599 --> 00:50:52,920
released released May twentieth, nineteen eighty three.

958
00:50:56,159 --> 00:51:00,559
Speaker 2: Next song, King of Pain.

959
00:51:04,800 --> 00:51:06,599
Speaker 4: Black Spottom Sid.

960
00:51:11,880 --> 00:51:20,079
Speaker 2: It's the same all right.

961
00:51:20,119 --> 00:51:23,360
Speaker 3: This is the second single released August of nineteen eighty three.

962
00:51:24,079 --> 00:51:27,519
Speaker 2: This one is also about Sting's separation from stuff. This

963
00:51:27,639 --> 00:51:32,360
whole second side is really kind of you know, people

964
00:51:32,440 --> 00:51:34,920
and misery write some pretty good songs, and it's right

965
00:51:35,119 --> 00:51:38,679
Sting obviously this wasn't just an insignificant thing to him

966
00:51:38,880 --> 00:51:41,079
that the fact that he had left his wife was

967
00:51:41,400 --> 00:51:46,360
incredibly painful to him. He it's obviously big news in

968
00:51:46,559 --> 00:51:49,320
the UK and the rest of the world, and so

969
00:51:49,400 --> 00:51:52,719
he goes to he goes to the Caribbean to escape

970
00:51:53,199 --> 00:51:55,159
and happens. I don't know, I don't know how you

971
00:51:55,199 --> 00:51:58,239
see this with the sun, but apparently actually sees a

972
00:51:58,239 --> 00:52:00,679
little black spot on the sun and points it out

973
00:52:01,079 --> 00:52:03,960
to Trudy Styler and he's like, there's a little black

974
00:52:04,000 --> 00:52:06,800
spot on the sun today, and then he says, that's

975
00:52:06,880 --> 00:52:09,760
my soul up there. Just kind of symbolized his pain

976
00:52:09,840 --> 00:52:14,920
and it is. It's sad, Yeah, it's it's a painful song,

977
00:52:15,280 --> 00:52:18,639
but again, unbelievably good.

978
00:52:19,000 --> 00:52:22,159
Speaker 3: Yeah, it's it's fantastic. Starts out pretty simple with just

979
00:52:22,159 --> 00:52:25,280
those piano chords. Yeah, and it hooks me right off

980
00:52:25,320 --> 00:52:25,719
the bat.

981
00:52:25,920 --> 00:52:41,800
Speaker 4: I mean this.

982
00:52:41,840 --> 00:52:44,400
Speaker 3: Reached number one on the Mainstream Rock chart and number

983
00:52:44,400 --> 00:52:45,639
three on the Hot one hundred.

984
00:52:45,719 --> 00:52:47,199
Speaker 2: I kind of don't want to I want to talk

985
00:52:47,239 --> 00:52:49,480
about King of Pain more because I just want to

986
00:52:49,519 --> 00:52:51,320
be able to listen to it longer. I don't want to.

987
00:52:51,360 --> 00:52:54,119
Speaker 3: Really so good, we should just get out of the

988
00:52:54,119 --> 00:52:54,679
way play it.

989
00:52:54,719 --> 00:52:57,119
Speaker 2: Yeah, I mean yeah, I mean just that, just that

990
00:52:57,239 --> 00:53:01,239
first line, there's a little black spot on the sun today,

991
00:53:01,400 --> 00:53:05,760
it's the same old thing as yesterday. Is so poetic

992
00:53:05,880 --> 00:53:10,800
and beautiful, and I just it's it's amazing.

993
00:53:11,360 --> 00:53:13,639
Speaker 3: Yeah, I love it too. Is this where we throw

994
00:53:13,679 --> 00:53:19,800
in our weird l reference. Weird Al has a song

995
00:53:19,920 --> 00:53:24,880
parody and King of Pain. It's called King of Swayede.

996
00:53:25,360 --> 00:53:32,079
We love weird all that's weird weird. This is actually

997
00:53:32,159 --> 00:53:36,920
weird ELL's third appearance on the Shirley Can't Be Serious podcast.

998
00:53:37,519 --> 00:53:42,519
Probably Yeah that yes, spells like Nirvana, Vana and King

999
00:53:42,599 --> 00:53:44,000
of Swaye and eating There you go.

1000
00:53:51,880 --> 00:53:56,719
Speaker 2: Okay. Next song on the album is Wrapped around Your Finger. Well,

1001
00:53:56,920 --> 00:53:58,800
I'm gonna go out a limb here and say, I

1002
00:53:58,960 --> 00:54:02,679
think this does all so about his breakup with his wife.

1003
00:54:04,440 --> 00:54:06,079
Speaker 3: He's going through a rough patch right here.

1004
00:54:06,480 --> 00:54:10,000
Speaker 2: This one. I mean, he's got a lot of stuff

1005
00:54:10,039 --> 00:54:14,079
going on here. He's got Greek mythology, he's got faust,

1006
00:54:14,280 --> 00:54:19,199
he's got Sorcerer's Apprentice and and it's this. This is

1007
00:54:19,320 --> 00:54:21,920
kind of the vengeful, like the kind of the the

1008
00:54:22,039 --> 00:54:26,760
browbeaten husband. I think turn on this because this is

1009
00:54:26,840 --> 00:54:29,840
a spiteful song, like it's about turning the tables on

1010
00:54:30,000 --> 00:54:34,480
someone who has been overbearing on you. And it's got

1011
00:54:34,559 --> 00:54:38,840
a really kind of dark beginning, but then the end

1012
00:54:39,320 --> 00:54:42,199
is triumphant, you know, it's like the tables have turned.

1013
00:54:42,440 --> 00:54:45,559
Speaker 3: The video for me caught my eye as a young kid.

1014
00:54:46,159 --> 00:54:49,039
Speaker 2: This is the Candle video. For anybody who doesn't remember,

1015
00:54:49,280 --> 00:54:52,519
this is the I mean, if I say sting and Candles,

1016
00:54:52,760 --> 00:54:54,000
you know what video I'm talking about.

1017
00:54:54,519 --> 00:54:56,599
Speaker 3: It's it's really a cool video trick that they do.

1018
00:54:56,760 --> 00:54:59,960
They played the music sped up and they would dance

1019
00:55:00,159 --> 00:55:02,880
and sing to the sped up version. So when they

1020
00:55:03,000 --> 00:55:06,880
slowed the music down, we as the audience watching this video,

1021
00:55:07,360 --> 00:55:10,119
it plays normal to us, but everything they're moving is

1022
00:55:10,280 --> 00:55:26,679
very slow motion and deliberate and mysterious looking. Super cool video.

1023
00:55:27,000 --> 00:55:30,599
Speaker 2: Love Yeah, I'm gonna go through the labyrinth. This is another.

1024
00:55:31,440 --> 00:55:35,519
This is one that Miss Piggy did the Muppets take Manhattan.

1025
00:55:35,840 --> 00:55:39,599
Just throw that out there. Miss Piggy did a montage

1026
00:55:39,639 --> 00:55:42,159
that was very much wrapped around your Finger Candles. I'll

1027
00:55:42,199 --> 00:55:42,880
just you know.

1028
00:55:43,800 --> 00:55:46,360
Speaker 3: For those who don't know the Surely you can't be

1029
00:55:46,480 --> 00:55:49,960
serious podcasts, loves, Weird Out and the Muppets, we really do.

1030
00:55:52,320 --> 00:55:55,480
Wrapped Around Your Finger was the fourth single released, another

1031
00:55:55,800 --> 00:55:57,800
mega hit, great song, love It.

1032
00:55:57,960 --> 00:56:00,000
Speaker 2: And then the next song that we have is called

1033
00:56:00,400 --> 00:56:10,000
Tea in this Era. This song is inspired by a

1034
00:56:10,639 --> 00:56:15,480
story in a book by Paul Bowels called The Sheltering Sky.

1035
00:56:16,159 --> 00:56:19,920
These are the sisters who have they make an arrangement

1036
00:56:19,960 --> 00:56:21,800
with the Prince that they're going to have tea with

1037
00:56:21,960 --> 00:56:25,199
him and the Sahara and they they wait for him

1038
00:56:25,239 --> 00:56:27,239
and wait for him, and he never shows up, but

1039
00:56:27,280 --> 00:56:30,000
then it's too late for them and they're burned up

1040
00:56:30,239 --> 00:56:30,960
in the desert.

1041
00:56:32,280 --> 00:56:34,840
Speaker 3: Right And Sting really loves this song. He's kind of

1042
00:56:34,840 --> 00:56:37,119
proud of this one. Yeah, I'm not a big fan

1043
00:56:37,159 --> 00:56:37,320
of it.

1044
00:56:37,360 --> 00:56:39,639
Speaker 2: What'd you think? I still like it now? This one's

1045
00:56:39,639 --> 00:56:41,679
a great Yeah, this one belongs on the B side

1046
00:56:41,719 --> 00:56:44,360
with all of the other fantastic songs. In my opinion,

1047
00:56:44,480 --> 00:56:48,679
it's the music is subtle and beautiful. What Andy Summers

1048
00:56:48,760 --> 00:56:51,840
did does on this one is a really a unique

1049
00:56:51,880 --> 00:56:53,440
sound to him. Like I don't know that, I don't

1050
00:56:53,440 --> 00:56:55,719
know that I've heard any other guitarists doing this, so

1051
00:56:55,760 --> 00:56:56,920
I had to kind of look it up to see

1052
00:56:56,960 --> 00:56:59,559
what he was doing. But he's got this technique where

1053
00:57:01,440 --> 00:57:05,400
the notes that you're hearing from the guitar are like

1054
00:57:05,519 --> 00:57:09,000
a delayed effect without hearing the actual notes that are played.

1055
00:57:09,039 --> 00:57:11,039
And I, I don't know better way to say that,

1056
00:57:11,199 --> 00:57:15,440
but it's it's just it's very, very kind of sparkly

1057
00:57:15,559 --> 00:57:19,480
sounding guitar that doesn't sound exactly like a guitar because

1058
00:57:19,519 --> 00:57:23,360
it's kind of an effect without the actual original note

1059
00:57:23,400 --> 00:57:25,239
of the guitar playings pretty neat.

1060
00:57:25,440 --> 00:57:30,400
Speaker 3: Okay I found this quote. Sting said that despite his

1061
00:57:30,559 --> 00:57:34,000
affection for the song, he's claimed that the track was

1062
00:57:34,039 --> 00:57:38,199
played too fast. Yeah, he said in nineteen ninety three.

1063
00:57:38,239 --> 00:57:40,440
I've always loved the song. There's so much space in it,

1064
00:57:40,719 --> 00:57:42,320
but I think we played it too fast on the

1065
00:57:42,360 --> 00:57:44,360
album and live It's just a song.

1066
00:57:44,519 --> 00:57:46,559
Speaker 2: I wasn't in love with it so well. Yeah, but

1067
00:57:46,639 --> 00:57:50,079
I mean thinking about the song, would you say it's

1068
00:57:50,119 --> 00:57:51,519
too fast? No?

1069
00:57:51,800 --> 00:57:52,960
Speaker 3: I would not rite.

1070
00:57:53,639 --> 00:57:55,719
Speaker 2: Sorry, I don't think get right on this one's staying.

1071
00:57:55,800 --> 00:57:58,239
I don't one it should not be his low down No,

1072
00:57:59,440 --> 00:58:03,039
And then I don't know. Some people, Hey, if you

1073
00:58:03,159 --> 00:58:05,920
got the LP on this one, that was the end

1074
00:58:05,960 --> 00:58:08,039
of the album for you to in the sahara and

1075
00:58:08,079 --> 00:58:11,519
you're like, oh, I guess we're done. But if you

1076
00:58:11,599 --> 00:58:13,559
got the tape or if you've got the CD, you

1077
00:58:13,679 --> 00:58:16,480
got the final track, which is murdered by numbers.

1078
00:58:16,800 --> 00:58:22,559
Speaker 3: That you've decided on a killing first to make a

1079
00:58:22,760 --> 00:58:27,480
storm of your There's a movie starring Sandra Bullock called

1080
00:58:27,599 --> 00:58:31,639
Murder by Numbers, but it's actually shown in the movie Copycat.

1081
00:58:31,719 --> 00:58:34,519
They actually the police. It's like how they're going to

1082
00:58:34,559 --> 00:58:37,039
catch the killer and they post the lyrics on the

1083
00:58:37,079 --> 00:58:38,119
wall to analyze them.

1084
00:58:38,559 --> 00:58:41,280
Speaker 2: I have not seen either one of those movies. Is Copycat,

1085
00:58:41,360 --> 00:58:44,159
the one that had what's that singer's name.

1086
00:58:44,360 --> 00:58:45,280
Speaker 3: Harry Connick Jr.

1087
00:58:45,559 --> 00:58:46,599
Speaker 2: Yeah, was he in that one?

1088
00:58:46,800 --> 00:58:48,320
Speaker 3: Yeah, here's the here's the killer.

1089
00:58:48,400 --> 00:58:51,199
Speaker 2: He's the bad guy. Okay, And so it's like he

1090
00:58:51,360 --> 00:58:53,360
leaves the lyrics as a clue or something like that.

1091
00:58:53,480 --> 00:58:57,440
Speaker 3: Well, he's like the Hannibal Lecter. He's like the guy

1092
00:58:57,559 --> 00:58:59,960
in jail who's helping her find that the other.

1093
00:59:00,679 --> 00:59:03,480
Speaker 2: Oh wow, it does sound a whole lot like Silence

1094
00:59:03,480 --> 00:59:04,000
of the Lambs.

1095
00:59:04,800 --> 00:59:07,320
Speaker 3: Yeah, it's been a while, so my details are a

1096
00:59:07,320 --> 00:59:11,360
little hazy, but okay, anyway, what do you think of

1097
00:59:11,519 --> 00:59:11,760
the song?

1098
00:59:12,000 --> 00:59:13,440
Speaker 2: I'll watch these two movies later on.

1099
00:59:15,239 --> 00:59:15,719
Speaker 3: Sounds good.

1100
00:59:19,119 --> 00:59:22,760
Speaker 2: So I love the song. I think it is fantastic

1101
00:59:22,880 --> 00:59:26,239
and it is so jazzy, So what are your thoughts.

1102
00:59:26,679 --> 00:59:30,199
Speaker 3: It's jazzy. I mean it's a little finger snapping at

1103
00:59:30,280 --> 00:59:33,840
the coffee shop, little jazzy number.

1104
00:59:34,480 --> 00:59:37,440
Speaker 2: I'd love it. I absolutely love it. So you know

1105
00:59:37,559 --> 00:59:41,199
that we've got all the stories of their animosity and

1106
00:59:41,239 --> 00:59:43,280
their hate for each other while they're on this island.

1107
00:59:43,639 --> 00:59:46,239
But this is one where like they're all hanging out

1108
00:59:46,280 --> 00:59:49,800
and having dinner together. And you know, of course Andy

1109
00:59:49,920 --> 00:59:51,599
just has his guitar in his hand because he walked

1110
00:59:51,639 --> 00:59:54,840
around with the all day long, right, and he starts

1111
00:59:54,880 --> 00:59:57,840
playing this little jazzy little chord progression, you know, some

1112
00:59:58,480 --> 01:00:01,639
groovy little jazz chords and things like, oh hey, I

1113
01:00:01,920 --> 01:00:06,079
like that. And so then Sting records, you know, your

1114
01:00:06,079 --> 01:00:11,280
little hand recorder, records them leaves, and while Andy and

1115
01:00:11,360 --> 01:00:14,119
Stewart are having dessert, Sting takes a walk up the

1116
01:00:14,239 --> 01:00:17,760
volcano on the island there and writes the song. They

1117
01:00:17,840 --> 01:00:22,119
come back and then record. They all set up, went

1118
01:00:22,159 --> 01:00:25,679
to the recording spots, recorded in one take. That's amazing.

1119
01:00:25,960 --> 01:00:26,639
It's crazy.

1120
01:00:26,679 --> 01:00:28,079
Speaker 3: You know, it's good too.

1121
01:00:28,440 --> 01:00:31,559
Speaker 2: I mean it's but I mean, if you know the

1122
01:00:31,719 --> 01:00:34,320
history of the band here, right, so this is something

1123
01:00:34,360 --> 01:00:37,599
that we didn't go into. But the Police, I mean,

1124
01:00:38,000 --> 01:00:42,960
this is their best album by most standards, This is

1125
01:00:43,079 --> 01:00:48,719
their pinnacle. And after this album they were done. They

1126
01:00:49,440 --> 01:00:52,800
I mean, they they didn't have any Swan song. They

1127
01:00:52,840 --> 01:00:58,639
didn't announce a breakup. It was just this weird evaporation.

1128
01:00:58,960 --> 01:01:03,239
It's like the cynic Yeah, it's crazy. And so then

1129
01:01:03,440 --> 01:01:05,440
you know, then you get all of the stories of

1130
01:01:05,559 --> 01:01:10,679
the fights and the animosity and the power struggles, and

1131
01:01:11,079 --> 01:01:14,400
as it turns out, for the last song on the

1132
01:01:14,559 --> 01:01:18,519
last album that they ever do, it's this beautiful coming

1133
01:01:18,639 --> 01:01:25,159
together where it's magical in that it happens in this

1134
01:01:25,320 --> 01:01:29,800
kind of weird way. There's this beautiful walk involved, and

1135
01:01:29,960 --> 01:01:34,639
then they get together and it is perfectly done as

1136
01:01:34,679 --> 01:01:36,039
a team, as a group.

1137
01:01:36,800 --> 01:01:43,679
Speaker 3: It's awesome, nice, nice, Okay, Well, before we wrap up.

1138
01:01:44,440 --> 01:01:47,400
For me, I think it's interesting just the breakdown the

1139
01:01:47,519 --> 01:01:52,920
layout of the album. The first side it's just kind

1140
01:01:52,960 --> 01:01:56,440
of okay and then a little bit of terrible mixed

1141
01:01:56,480 --> 01:02:02,480
in until you hit synchronous, and then then the album

1142
01:02:02,639 --> 01:02:05,280
just takes off, man, and it's so good from that

1143
01:02:05,360 --> 01:02:09,760
point forward. I'm always curious that the song selection, how

1144
01:02:09,800 --> 01:02:12,719
they choose what's first and third and fifth, and I

1145
01:02:12,800 --> 01:02:15,440
mean they think about these decisions, you know, I mean.

1146
01:02:15,440 --> 01:02:17,360
Speaker 2: They do, but from what I've heard on this one,

1147
01:02:17,400 --> 01:02:19,079
they were having to flip a coin to figure out

1148
01:02:19,079 --> 01:02:20,800
what was going to go on. What wasn't and what

1149
01:02:21,039 --> 01:02:21,880
order they were going to go in.

1150
01:02:22,719 --> 01:02:25,400
Speaker 3: Yeah, and apparently Sting lost the flip on whether mother

1151
01:02:25,440 --> 01:02:27,599
and should be burned and not out.

1152
01:02:29,159 --> 01:02:32,480
Speaker 2: There is there is one ugly ugly there's a little

1153
01:02:32,480 --> 01:02:35,039
black spot on this brays shining sound of an album.

1154
01:02:38,519 --> 01:02:40,760
But now that I still think, and we'll go into

1155
01:02:40,880 --> 01:02:43,400
more detail on our next episode, but I still think

1156
01:02:43,559 --> 01:02:47,000
Synchronicity one is fantastic. It belongs in this album, and

1157
01:02:47,360 --> 01:02:53,119
I think that obviously side to Synchronicity two on is

1158
01:02:53,519 --> 01:02:57,440
too beautiful to compare to anything else. But but we'll

1159
01:02:57,480 --> 01:03:00,719
see you know, because Frontiers is also an credible album,

1160
01:03:01,199 --> 01:03:03,840
So next week join us for that.

1161
01:03:04,000 --> 01:03:06,400
Speaker 3: All right, We'll see you back here next week when

1162
01:03:06,440 --> 01:03:08,559
we break down Frontiers by Journey.

1163
01:03:12,679 --> 01:03:15,880
Speaker 2: And as always, thank you so much for listening to us.

1164
01:03:16,320 --> 01:03:21,000
Your comments on Facebook and on Twitter means so much

1165
01:03:21,079 --> 01:03:23,199
to us. You're listening to us means so much to us.

1166
01:03:23,559 --> 01:03:27,199
We're overwhelmed by your support. Please if you haven't followed

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us on Facebook yet, please do that. You can find

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us at Shirley Podcast on Facebook.

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Speaker 3: Surely Podcast on Twitter, Tell your friends about us, share

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01:03:35,800 --> 01:03:37,880
a podcast with your friends, or else you'll get a

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humiliating kick in the crutch from either DNA.

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Speaker 2: Don't forget to like and subscribe, give us a five

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star rating, honest or Denis Honest. We nont care. D

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It's been fun, man, it's been fun. I'll see you

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next week, Jason. All music, images and movie clips are

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used for the purposes of momentary and education in conjunction

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with the fair Use Agreement under the U S Copyright Law.