June 14, 2025 • 38 mins
On this episode of Adventures in Vinyl, Adam and I discuss an album whose title was inspired by Arther Koestl’ers book The Roots of Coincidence. Nominated for 5 grammy’s in 1984. That band is The Police and the album is their 5th and final studio album Synchronicty.
Song of The Week!
Sledgehammer - Peter Gabriel - So
I Broke My World - Alien Boy - You Wanna Fade?
Stump The Barron!
Legs - ZZ Top - Eliminator
The Police - Synchronicity
Genre: Pop Rock
Release Date: June 17, 1983
Studio(s): AIR (Salem, Montserrat), Le Studio (Morin-Heights, Canada)
Producer(s): The Police, Hugh Padgham
Label: A&M
Length: 39:40
Number of Tracks: 10
Knowing that the band will never reunite to tour you can get the latest news about new remasters or other releases of the Police’s catalog of albums at their website www.thepolice.com. It is a shame Adam that the band can’t find common ground. With the re-emergence of bands touring there is a lot of money these guys are leaving on the table. If you enjoyed this podcast be sure to check us out at our website at www.adventuresinvinyl.com where you can find links to our episodes and through our support section you can find a place to order you very own adventures in vinyl T Shirt.
Song of The Week!
Sledgehammer - Peter Gabriel - So
I Broke My World - Alien Boy - You Wanna Fade?
Stump The Barron!
Legs - ZZ Top - Eliminator
The Police - Synchronicity
Genre: Pop Rock
Release Date: June 17, 1983
Studio(s): AIR (Salem, Montserrat), Le Studio (Morin-Heights, Canada)
Producer(s): The Police, Hugh Padgham
Label: A&M
Length: 39:40
Number of Tracks: 10
Knowing that the band will never reunite to tour you can get the latest news about new remasters or other releases of the Police’s catalog of albums at their website www.thepolice.com. It is a shame Adam that the band can’t find common ground. With the re-emergence of bands touring there is a lot of money these guys are leaving on the table. If you enjoyed this podcast be sure to check us out at our website at www.adventuresinvinyl.com where you can find links to our episodes and through our support section you can find a place to order you very own adventures in vinyl T Shirt.
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
On this episode of Adventures in vital Adam and I
discussed an album whose title was inspired by the book
The Roots of Conscience, nominated for five Grammys in nineteen
eighty four. That band is The Police, and the album
is their fifth and final studio album, Synchronicity.
Speaker 2 (00:41):
So what's up. You and I have had quite the weeks.
We won't go into details about either situation.
Speaker 1 (00:47):
But I think it all started with going to Nashville
for ac DC and that.
Speaker 2 (00:52):
Was last month. Last month.
Speaker 1 (00:55):
Oh jeez, that's kind of the state of things at
the moment.
Speaker 2 (00:59):
Yes, least, at least we got to us and our
wives got to hang out at the beach and have
some fun. Oh but like it's always fun when you
guys are staying literally like a ten minute whey.
Speaker 1 (01:08):
I know, it's really it's really cool to hang out
the Uh. I just realized my entire notes are in
the cloud, and I'm not downloading my notes for.
Speaker 2 (01:17):
The show, So I'm gonna be winging it. That's okay, man,
winging it. That's all right, it's all right. I got
some for both of us. Oh, that's good. That's the
way it works. And my internet at my house tend
is crap these days for some strange reason, like the
internet sucks out.
Speaker 1 (01:29):
You know, I've got fiber out to the house. This
is annoying, like AT and T. And then there's a
fiber that runs from AT and T's thing to the
to the house. And then right before vacation they marked
all the lines and I see them putting more fiber
infrastructure in where I'm living, and I'm like, I don't
want any of that.
Speaker 2 (01:49):
At all near me. They're supposed to be putting in
fiber out here where we live, out in the country,
so that we don't have such country fried internet, but
I don't know how long that's going to take, And
if it stays this way for a while, I might
have to into the old starlinkers. You know.
Speaker 1 (02:02):
I have a lot of people talking about the Starling stuff,
and they have great as.
Speaker 2 (02:05):
Long as the voiceover IP capability is good and I
don't to have lays and latency. I'm really seriously considering
where we're at. It's really kind We.
Speaker 1 (02:14):
Probably just probably just have like DSL type of crap, right, yeah,
I mean yeah, we basically have to run four hundred
feet to a satellite dish on the edge of our
property that shoots to a water tower that.
Speaker 2 (02:24):
Has another Yeah, you need starlink. I mean it's it's
not very good. So we're we're looking at it. Man.
But anyways, dude, Hey, Nashville is awesome. Dude, I went
to a CD.
Speaker 1 (02:34):
Yeah, and so we we. So Darren and I started
on the way Tuesday, when the concert is supposed to happen,
about two hours outside of Nashville, we get I get
a notification because there were storms. There were just like
tornadoes popping up all around. As we're driving east, tornadoes
are popping up all around. And then as we uh,
(02:54):
as we person Nashvilley rescheduled, so like we only had
a hotel room from one night. We're both working like
crazy trying to just get in and then trying to
drive back to start vacation. So we ended up finding
another room for the next night, ended up going to
the concert, but that Thursday we drove back and then
I picked my track up and then grabbed a call
and we started driving down to Florida. So it was
(03:14):
just it was like heightened stress. And then when we
got back from vacation, I ended up going on a
work trip. So it's like I've been gone for like
three or four weeks, just trying to trying to keep
up with things. But you know, since we're kind of
doing an eighties thing, I picked a song that was
released as a single on April fourteenth, nineteen eighty six, which.
Speaker 2 (03:34):
Was a day after my ninth birthday. Okay.
Speaker 1 (03:37):
You know what's interesting is that I finished third grade
shortly after that and we moved to Nacadocius, Louisiana. Like
that matters, but it has.
Speaker 2 (03:47):
No relevance, you know.
Speaker 1 (03:48):
But you know what's cool is the same year the
Transformers movie came out.
Speaker 2 (03:52):
Oh, the animated one. Yeah, the animated one, and that
was really cool.
Speaker 1 (03:56):
So I was just thinking about some eighties stuff and
one of the songs that has no they do with this.
But one of the songs I picked for my Song
of the week is probably just a favorite song I
have of, you know, kind of the eighties that I
just think is really cool. I'm sure other people think
it's cool too, And if I can pull the dang
playlist up, I will start playing it.
Speaker 2 (04:19):
But you know, I'm sure it's this guy. Okay, but
oh I hear something, Yeah, this jazz flute that you
hear so we got sledge Hamburg.
Speaker 1 (04:34):
I thought Peel and Peter Gabriel off the album album.
Speaker 2 (04:37):
So I was just watching, Ah if you knew, you
know who Leland Skua is. Yeah, yeah, yeah yeah. So
I was watching a video with him the other day
talking about how how he got the sound yeah for
the bass on this, and I guess like there was
something happening with him playing on this particular song where
(04:58):
it was very kind of like last minute he even
was involved.
Speaker 1 (05:02):
Guy a funky bass group to it. It's such a
great song. We were at the hall just because everything's busy.
We there's an eighties cover band, you know this, it's
kind of like Steel Panther but like.
Speaker 2 (05:14):
Eighties like all eighties like, and they're.
Speaker 1 (05:17):
Called Electric Avenue Popular, they tour, they've opened, it's just hey,
they're a professional cover band.
Speaker 2 (05:24):
Played the hall another great venue.
Speaker 1 (05:26):
Played a lot of songs in the genre that we're in,
and you know, they played some Police probably some of
the songs that we we did, but they didn't do
any Peter Gabriel and I was like, oh, they should
have Peter Gabriel because this was a great one.
Speaker 2 (05:39):
I mean, man, Peter Gabriel Phil Collins ex Genesis guys
were really incredibly popular. One. It's a shame that Phil
Collins is in the Rock and Roll Hall of Fame. Oh,
I know he will be that.
Speaker 1 (05:50):
They better hurry up because he ain't. He's not long
for this world too. Man, he's doing so great well.
I mean, I mean, look what we just just happened yesterday.
I mean Ryan So it was a Brian Wilson. Yeah, so,
you know, he was weeks after we did our pet sounds.
I know it, man, I don't know. I'm worried that
we're gonna put the curse on Peter Gaber.
Speaker 2 (06:11):
No, let's open up, all right, What do you got
for your song of the week. Yeah? So, actually band
called Alien Boy and this is their new single called
I Broke My World. It's I think it was released
in early May. I think May night, May nine for
twenty five. Yeah, so, I actually first heard the band
Alien Boy in my old jiu jitsu gym. My coach
(06:31):
had this like emo hardcore punk playlist. He was a
former musician in the Northwest Arkansas scene. Uh. He played
He played bass in a band called Jeris and apparently
they were big in Fayettville for a while, and then
they moved out to California, tried to get a deal,
didn't end up getting anything. He moved back to Arkansas.
But I liked a lot of the same bends that
(06:53):
he did. And when he was playing alien Boy on
his playlist one day, I was like, Oh, who's this.
He's the old Shazam found out it was these guys,
and I've just kind of listened to their music on
and off ever since. It's whenever I saw that they
had a new single out, it's like, Hey, I'm gonna
do check that out. Oh, I actually really liked the song.
It's kind of got like a very much like a punk,
shoegaze emo mixture. Yeah, they had a song one the
(07:18):
song actually originally heard by them, was called Somewhere Without
Me and it's it's also very good. But man, this
one again I broke my world alien Boy. I just
found I really liked the song and just thought I'd
put it up there fields song of the Week.
Speaker 1 (07:32):
Well, we went to that Electric Avenue as a couples in.
One of the guys who was in the group, he
was telling me about like some shoegaze bands, some others.
Speaker 2 (07:42):
So I've got a bunch of stuff out of my pice,
which was really cool. So, hey man, it's another week
of stump of the Adventures in Vinyl. Are you ready
to Yeah, it's time for to do the deed. Let's
do the thing.
Speaker 1 (07:54):
It's another episode of Adventures in Vinyl and that means
another round of stump the baron on. Stump the baron.
I pick a random song from a random genre. Give
Adam a few clues with all his semi genre specific
general knowledge of music that's accurate attempts to guess the artist,
album and song title. So Adam, we are in the
eighties this week. There is something really interesting about the
year nineteen eighty four. You have hits by Elton John, Chicago,
(08:15):
Huey Lewis and the News, Cindy Lapper, the Cars. The
list goes on lots of popular bands of nineteen eighty four.
I'm not going to give you any more clues to that,
but just let you know that this single from this
band was one of the top singles of the year
nineteen eighty four, and I'm giving you zero other clues.
The video is awesome, the band is awesome, and my
expectation is you should get this within the first thirty seconds.
Speaker 2 (08:36):
Okay, let's do it.
Speaker 1 (08:37):
So it's a softball, a wiffle ball. I'll even bring
it as a wolfle ball.
Speaker 2 (08:42):
Okay. Legs yep zz top yep. Don't remember the album
name Eliminata Eliminator Okay, yeah, I should have had that
such a good you had an album two had a three. Dude,
I loved this song growing up. I know, a music video.
Speaker 1 (09:00):
It was always fun, I know, but this was we
keep I keep finding all these like albums that I
just I was like, why don't we need to do.
Speaker 2 (09:08):
Is easy range and the range sharp dressed man? Legs
like those three songs are man, that was like my
youth was Easy Top was those three songs. Yeah.
Speaker 1 (09:18):
So that was the fourth single off the album Eliminator
from the band's Easy Top. It was released in the
year nineteen eighty four. We'll definitely have to add.
Speaker 2 (09:26):
That one to cover that one. Man.
Speaker 1 (09:28):
I think there's just so many great albums in there
we keep talking about.
Speaker 2 (09:32):
The great thing is you can't cover them. Also, we're
always gonna have something to cover, Yeah, We're always.
Speaker 1 (09:36):
It's just that we're just kind of you just start
putting stuff on the list again, dude, because we're as
we're approaching, like coming up on you know, year three,
year three, starting year three is about the next month, like, uh,
that's you know, we're almost to the worst seventy something episodes.
Speaker 2 (09:52):
Yeah, so dang, wild man, lots of stuff. I definitely
want to do Eliminator. That's an album that I haven't
heard in it well that's for a long time, yeah,
but that I absolutely love and would love to cover. Yeah.
I think it would just be a fun, fun show. Yeah,
fun show. Nice good choice man, Yeah, I thought that
was a good one. All right. All right, are we ready?
Speaker 1 (10:11):
Let's do I've got my notes, it all downloaded from
the cloud on uh our slow internet. So somebody better
call the police, police, the police, the fish because we're
talking about the police today, all right. Synchronicity is the
fifth and final studio album by the English rock band
(10:32):
The Police, released on June seventeenth, nineteen eighty three. This
pop rock album was released on A and M Records
and Clocks in a total length of thirty nine minutes
and forty seconds and consists of ten tracks, five of
which were singles. Synchronicity one is the first track off
the album, clocks in at three minutes and twenty three seconds.
The album was nominated for a total of five Grammy
(10:54):
Awards in nineteen eighty four, Adam And won three of those.
Speaker 2 (10:59):
Yeah, personnel, you had sting on the vocals, backing vocals
in the bass. He also did some synth, piano, sequencer
and electric upright bass work. Andy Summers great guitar player,
Yeah guitar, guitar, synth, lead vocals, and Stuart Copland on
the drums of percussion. So these guys formed in seventy seven,
released their debut album Outlando's Day More in nineteen seventy eight,
(11:19):
reached number six on the UK Album's chart, number twenty
three on the Billboard two hundred. After that in nineteen
seventy nine, were gotted. De Blanc also did well after
that Zenyata Mandada nineteen eighty, Ghost in the Machine in
nineteen eighty as well. I think Yeah, Yeah, but so Yeah.
Synchronicity was their last album. These guys were notorious for
(11:40):
not getting along with each Yeah, they hated it. You
had Stuart Copeland and stinging constantly at each other's throats.
And Andy Summers kind of being the guy in the
middle going can we just all get along here? And
I mean, I think it was just you had the
egos of Sting and Stuart Copeland, both of whom were
excellent at what they did. Just too many cooks on
the kitchen. There's just too many cooks in the kitchen,
(12:01):
big egos. And I don't think you know, in all honesty,
I think I've actually heard this guy say that we
both have big egos and sometimes big egos.
Speaker 1 (12:08):
Yeah, I mean, I think it's just usual that they
you know, when you have you can really only have one.
I find it band's one main spokesperson or alpha. There's
you know, and then you have guys who just have
a lot of talent. And there's plenty of bands that
have broken up due to those type.
Speaker 2 (12:25):
Of issue exactly exactly, but so you know. This album
was Album of the Year in nineteen eighty three by
Rolling Stone. The Grammy Awards that it won the You
Reference were It's Best Rock Performance by a Duo, group
or Group with vocal ye Song of the Year for
Every Breath You Take, and Best Pop Performance by a
Duo or Group with vocal For some reason it's really
hard to get those words out all in sequence anyways.
(12:48):
Number ninety one on Virgins All Time Top one thousands book,
number seventeen on the rolling Stone hundred Best Albums of
the Eighties. Number there was three times rolling Stone five
hundred Greatest Albums of All Time, Number one nineteen on
the Rock Hall of Fames, the definitive two hundred. The
US Library of Congress preserved this one in the National
Recording Registere in twenty twenty three, so it was important
(13:09):
and it was obviously huge when it came out. It
was number one in the UK, number one on the Billboard,
two hundred eight times platinum in the US Platinum, and
a bunch of other Commonwealth countries. Ten million copies sold worldwide.
So wow, dude, banger of an album. First track, Synchronicity,
I'll be honest with you, it didn't really grab me.
It was just okay, yeah, I'm kind of like yeah exactly.
(13:29):
So honestly, I preferred to take the time that we
spent on that song and introduced the album as a whole.
That's why I was kind of like, go listen to
the first track if you want to hear more of it.
Speaker 1 (13:39):
Not us talking, but if we turned it down, that's
kind of why we didn't like it.
Speaker 2 (13:43):
That's why I didn't have a problem with talking through
the entire thing.
Speaker 1 (13:45):
So hey, well, clocking in at three minutes, it's the
second in thirty five seconds. It's the second track off
the album titled Walking in Your Footsteps.
Speaker 2 (13:52):
Yeah. So I like Andy's guitar work here, a lot
of reverb and delay, but minimal, like very minimal playing.
He relies on the effects to kind of help carry it. Well,
it's a worldly type of tune. Yes, yes, great percussion
from Stuart Copeland. It does tend to be a bit
redundant sometimes maybe a little bit of a difficult time
(14:13):
keeping my attention. Besides Andy's guitar work, yeah, I.
Speaker 1 (14:16):
Found it very hard to kind of like get through
the first side of them.
Speaker 2 (14:20):
Yeah. Yeah, I would agree with you there one thing though,
And I've got to say this because obviously the big
personalities in the band were Stuart Copeland and Sting to me,
in all honesty, if I'm thinking about the guy who
just doesn't get enough credit in this band, it's Andy Summers. Yeah,
I would agree. The guy's an amazing guitar player. He
(14:42):
has a knack for licks tasteful use of effects at
all times. Everything he did was very calculated. He never overplayed,
he never underplayed. He played just the right amount.
Speaker 1 (14:53):
And when you and when you kind of and I've
listened some interviews with him, you know.
Speaker 2 (14:59):
He was on b Yeah podcast not long ago.
Speaker 1 (15:01):
Yeah, And just seeing some of the clips of that,
I was like, you know, he seemed like the normal,
like the guy who just wanted to make good music.
Speaker 2 (15:07):
I just wanted to make good music. Cool thing about
Andy was he was in it was The Animals. He
was in The Animals. Now it was like a later
version of The Animals, after like House the Rising Sun
and all that stuff had already happened. But that's where
he kind of cut his teeth in The Animals in
the seventies. Yeah, yeah, I can't remember. They had like
(15:27):
a modified name. But so by the time he came
to this band, it's not like he was new to
success and new to the music scene. It kind of
already been there and done that a little bit. Whereas
this was essentially like staying in Stuart Copland's first major effort.
So it's kind of telling that those other two guys
had the big egos and Andy was kind of like
(15:48):
the cool, calm collected guy. But again, great guitar player.
Even though I'm not a huge fan of the track itself,
I really like his guitar playing. Yeah, I would agree
with that all right to the next one.
Speaker 1 (16:00):
Yeah, the track three is titled oh My God clacks
in at four minutes flat flat on the dot on
the dot.
Speaker 2 (16:09):
So one thing about this is Thing's ability to play
the bass. He does the way he does, I'm sorry
while singing has always impressed me. I mean he can
play these very like rhythmic bass lines while singing something
that doesn't flow necessarily like from a saccato beat perspective. Yeah,
(16:33):
with the music, it's always amazed me. And he doesn't
like he's barely he's looking at the audience almost the
entire time. Yep. That's what man again. For all the
drama in the band and such super talented always impressed
me that he can play bass and sing at the
same time. Yep. The way that he does this tracks
an example of that. Again, great guitar playing from Andy
(16:55):
Summer is very minimal but at the same time very applicable.
And you're Copeland does a great job walking in the rhythm.
I don't just love the song, but I do like
it enough to stick around for it.
Speaker 1 (17:06):
I like the baseline, Yeah, that's what I recognize, but
as a track, it's not.
Speaker 2 (17:10):
If you listen to the baseline and the way it
hits with the drums, like I kind of like the
music to it, but like in almost like a weird
movie soundtrack kind of way, not necessarily like a song.
I'm gonna go.
Speaker 1 (17:21):
It's not something I would want to listen to, like,
but it seemed like I.
Speaker 2 (17:26):
Could see it fitting in like an eighty space age movie. Yeah,
you know, something like The Last Starfighter or something like that.
I could see it fitting in.
Speaker 1 (17:32):
No, I think it would be like one of those
B movies, like the really B movie where science fiction
be science fiction, but it's like teenager type of thing,
and they paid all the licensing rights for this one
song to make it go mainstream and the movie was bad.
Speaker 2 (17:45):
There's a bunch of eighties films like, yes, yes, I
could see that. Yeah, you know, look at like Repo Man. Yeah, yeah,
that's exactly like where are we going? That fits all right,
So on to the next one.
Speaker 1 (17:58):
Oh geez, not to be confused with the song from
the band Danzig. This version of Mother Glog's in at
three minutes and thirty seconds, and I think someone a
little bit of mommy issues right in this track.
Speaker 2 (18:11):
You know, this was an Andy Coher I'm sorry Andy
Summers track. I'm sorry Andy, I love us a guitar player.
I freaking hate this song. This was terrible. It's awful.
My mi I was like, I don't like this, this
is terrible. Let's skip it, and it's just bad. Yeah,
don't even listen to it. And at two minutes flat
is Miss Gradenko. This is a Stuart Copeland song, which
(18:33):
you know, it's a fit tracked off the album.
Speaker 1 (18:35):
It's another one where I'm like, why is this even on? Like,
I just didn't get it. I didn't like it. I'm
just kind of like, ugh, like, get on with it.
Speaker 2 (18:44):
I think it's got a good beat. Yeah, it's got
a good beat to it. Again, this is a Stuart
Copeland song. He wrote this track, so I get that.
He's a crappy song, like locked in in the rhythm section.
And I think that Andy Summers does some cool chinmy
guitar work here. I think he's better than Mother but
I'm sorry, are you like it? Just? Eh?
Speaker 1 (19:03):
Well, it's like it's like two people trying to do
a flamingo ish type of tune and I'm looking at
a pop rock album, yeah, in the eighties, and I'm like,
I don't know why, Like this doesn't belong.
Speaker 2 (19:17):
Listen to that bass though, Yeah, I mean like he
plays in a really great bassline while singing and it's
really locked in with with Stupart Coplan's drums. I appreciate
the music behind it, I appreciate the talent in there.
I don't like the song.
Speaker 1 (19:31):
Right, So there you go, Right, it's not the musicians
for me.
Speaker 2 (19:34):
It's the song. Yes, I'm with you there, all right?
Speaker 1 (19:36):
On to the next all right, as we go into
Synchronicity two, which is the six track off the album
in third single. He was released on October twenty eighth,
nineteen eighty three, and clocks in a five minutes and
four seconds. The B side to the single is the
track titled Once Upon a day Dream. Have you ever
(19:57):
heard of Carl June's theory of synchronicity?
Speaker 2 (20:02):
No, I have not. I've heard of Carl jen but
I've not heard.
Speaker 1 (20:04):
Of some right, So Carl June is the founder of
analytical psychology and analytical psychology is a concept to describe
events that coincide in time and appear meaningfully related okay,
yet lack a discoverable casual causal cause casual causal connection.
The reason why I bring this up is after reading
(20:25):
a little bit of the background and listening to the song,
I understood at least this track more and actually I
found it very interesting when reading about analytical psychology and
called it's actually a pretty good ready did get a
background with that, but that's just you know, a factual facts.
Speaker 2 (20:46):
So this one did well. It was a fifth single.
It was number seventeen on the UK Singles Chart. It
was number fifteen on the US cash Box Charts, number
sixteen on the Billboard Hot one hundred. This is probably
the catchiest album or song on the album so far. Well,
it's where I started really like, Hey, this is good.
This is side two, so on side now, folks side
one man side two, like, this is a great way
(21:06):
to start off this side of the album. I love
Andy's busy guitar here. I think it fits. Progression is
unique and fun. I can see why this one did
well commercially. Compared to some of the other single It's
very catchy. It's not your standard standard commercial fair but
it's still very accessible. Great song. I mean, of the
(21:27):
two synchronicities, this is definitely a better one. You prefer
the original, Yeah, the original? Yeah, this is where you prefer.
Speaker 1 (21:36):
Empire strikes back to a new Hope, So this is
your well. I would say Diehard two to Dire one,
but let's face a, Dire one's the best of all.
Speaker 2 (21:44):
Die It is the best one, and it's one of
the best Christmas movies.
Speaker 1 (21:47):
I would say, I don't know what's what's another like
sequel movie that's better than the original?
Speaker 2 (21:51):
Sequel that's better than the original? Oh oh h the
Dark Knight. Yeah, yeah, the Dark Knight is better than
that Begins it was, but the Dark Knight was better. Yeah, yeah,
all right, man. So on to the most recognizable song
on the album. Yes.
Speaker 1 (22:11):
The first single that was released off the album on
May twentieth of the year nineteen nineteen eighty three, is
titled Every Breath You Take, which clocks in in four
minutes and thirteen seconds. It topped the Billboard Hot one
hundred Singles chart for eight weeks. It was the band's
only ever number one hit on the chart.
Speaker 2 (22:30):
It was also number one on the Mainstream Rock Charts,
number one on the cash Box Top one hundred, number
one on the UK Singles, and also charted number five
on the US That'll Contemporary Charts, twenty six on the
Dance and Disco It was certified gold in the US
three times platinum in the UK. As a single, it
sold nine million copies worldwide as a single. Yeah, I mean,
(22:51):
it's the most played song in radio history, right and May.
Speaker 1 (22:56):
It was recognized in May of twenty nineteen. B and
my Yes, that has the most played song in radio history.
In nineteen eighty four, it won Song of the Year
at the surprise it beat out thriller Wow that same year.
Speaker 2 (23:11):
Man. So, given the amount of radio play this one's
gotten over the years, I mean, as we've established more
than any other song ever, you could say this is
the Police's most recognizable song.
Speaker 1 (23:22):
Yeah, I would say it's It's probably one of the
most recognizable songs in the eighties. Yes, it's instantly recognizable.
I think it relates to the audience.
Speaker 2 (23:30):
It even inspired Diddy parties. Did he took this one
and turned it? Okay? Only did he out of this
did He's got enough on U right now? And here's
the thing.
Speaker 1 (23:50):
It's bad enough as it is, but when the AI
bots start putting together the fake news stuff, it gets
even weirder. When the AI stuff's weird, like really really bad.
You know that there's some like legit weird stuff going on,
especially with all the baby oil.
Speaker 2 (24:07):
Yes, okay, so anyways, the Police, everybody you take, not
the ones coming to get diddy. H This is an
amazing song. I mean it's an absolute classic and the
it gets old. The guitar riff is legendary, Stuart and
Stinger locked in the whole time. I mean, ones are
soulful and heartfelt.
Speaker 1 (24:25):
It's just it's what you want, really, the police to be, yes, right,
and that's the sound you want throughout the whole thing.
Really awesome pop rock right, yes, good rhythmic beats, good
guitar sounds. Just an overall I would say, composed and
manicured song.
Speaker 2 (24:45):
Yes, absolutely. And what's sad to me is that they
were really hitting their stride and their prime right about
the time that they called it quits. Yep. I mean
this song is evidence of that. All those other albums,
all the other songs, you know, Message in a Bottle, Rock,
Sam and name all the others kind of led up
to this, Yeah, and then they called it quits. Yep. Wow,
(25:05):
but great song. One of my favorites of all time
for sure. As far as a single goes off an
eighties album, this is near the tolbum. Yeah, all right.
Speaker 1 (25:13):
On the next one, the eighth track and second single
off the album, is titled King of Pain. That sounds
like it should be a wrestler's name, some kind of tagline.
I'm not King of Pain, I'm sure probably King of
Paine was released as a single in the US in
August of nineteen eighty three. The US single included this
B side, titled Someone to Talk To, receiving acclaim from
music critics. The single reached number three on the US
(25:35):
Billboard Hot one hundred in October of the same year,
and was number one on the Billboard Top Tracks chart
for five weeks in August of nineteen eighty three.
Speaker 2 (25:45):
So the sparse intro to this one, it doesn't grab
my attention, No, I found it a little bit. If
I listened to the first minute or so, I am
not into this at all. Yeah, But then once the
full band drops in, I actually find that I start
to really enjoy the track again. That's the sparse and
rhythmic style of Andy Summers plays nicely with the bass
(26:05):
work and Stuart's drumming. Love the guitar solo here as well.
It's simple, but it really works. Man. Again, despite not
liking the intro, it's actually a really good song as
a whole, and I actually enjoy it once we get
into the whole band right here. Yeah, yeah, this is
where it picks up. This is I'm like, oh, okay,
like I'm into this. This is better. It's got a
(26:28):
kind of a good groove to it. It just it just
takes a bit to get there. Once you get past
the piano, it's like, oh, this is actually really good. Yep. Anyways,
all right man, let's move on.
Speaker 1 (26:36):
All right, moving on, we enter the ninth track off
the album that's titled Wrapped Around Your Finger, which clocks
in at five minutes and twelve seconds. It was the
fourth single released in the US in the month of
January of the year nineteen eighty four. The B side
of the single is a live version of the song
t in the Sahara, which is actually the tenth track album.
(26:58):
The single reached number eight on the Billboard chart in
March of nineteen eighty four. It was the final top
ten hit ever by the Band and the Police.
Speaker 2 (27:06):
That's Wild also got to number thirteen on the Billboard
Adult Contemporary, number seven on the UK Singles and number
eleven on the UK cash Box So very reggae style.
I actually really like the YE like the song. While
slow paced, it's got some really great rhythm. I love
like the reverb and delayed drenched guitar work. Again, something
Andy Summers just does so well, and I like it.
Speaker 1 (27:28):
How the chorus, the temple of the song kind of
spins up on the course. I think that's really good too. Yes,
I think it's a strong track.
Speaker 2 (27:34):
It's unique, but it's very accessible and catch you at
the same time.
Speaker 1 (27:37):
Yeah, I mean it's not every breath you take, but
it's still pretty.
Speaker 2 (27:40):
No, but again, not every song can be if you
have an album full up every breath you takes. In
all honesty, it's just sometimes it gets a little bit boring,
right YEA, So I like this change of pace. I
think it fits very well towards the end of the
album and honestly, so far side one versus side two.
I mean, side too is just better by a landslide man.
Speaker 1 (28:00):
Right, So let's move on to the last one and
last and final track off the album, titled Tea in
the Sahara, so it closes out the final Police album.
It was inspired by the Paul Bowles book The Sheltered Sky,
and the first section of the book is titled Tea
in the Sahara.
Speaker 2 (28:20):
It's interesting these guys did a lot more reading than
I would have expected. Yeah, a lot of stuff based
on books in the catalog.
Speaker 1 (28:26):
Yeah, I think, and it's all kind of based around,
you know, kind of. I think it's more Sting influenced
some of the stuff he's into.
Speaker 2 (28:32):
Yeah, that seems to be metaphysical weirdness and stuff that
was like we don't care about. Yeah.
Speaker 1 (28:37):
Yeah, And obviously I think that's why you see a
lot of the influence, the worldly influence and things like that,
and some of the earlier tracks. And sure, you know
then I'm sure the producers like, hey, guys, you gotta
wrap and make something that actually sounds cool.
Speaker 2 (28:47):
We actually have to make some catchy music too, by
the way, you know, we got to sell radio singles here.
Now what caught my attention was the interesting based drum pattern. Uh,
Stuart Copeland kind of hits on the two and three
quarters beat, which is like Sting does the same thing.
It's an odd but very reggae style drum pattern. Yeah,
in a song that's not at all reggae, that's the
(29:08):
thing it. It's a great sparse track with Andy Summers
again just making these ambient noises that you hear in
the background right now over that bass and drum beat.
It's very laid back but actually found man like, I
really enjoyed it, Like this is the kind where you
pop on your headphones. Yeah, I'm your eyes and just
kind of let it go, I will say.
Speaker 1 (29:28):
I kind of like like the ambient the ambient tone.
Speaker 2 (29:33):
Right.
Speaker 1 (29:33):
It was one of those I think you could put
in the background relax too. It on wasn't bad. Yeah,
I don't know if it belongs to the album, right,
Like a lot of other tracks on the album, I
just you know one my thing.
Speaker 2 (29:47):
I got you you know, yeah you don't. It's not
that you don't like it, you just question whether or
not it belonged to the album release yea, not as
a B side or something, right, Right?
Speaker 1 (29:55):
It seems like it should just be a B side
or something like that like that, you know, and I
and I had trouble really kind of putting a rating
or ranking together, I think for the album in general, right,
So for me, right, it has a lot of accolades.
It's been reviewed, obviously, it's in the Library of Congress,
so there's.
Speaker 2 (30:12):
Something to that. Sure.
Speaker 1 (30:15):
But is it because it was the Police's last album
and they were a huge band that why maybe? Or
is it because of every Breath You Take?
Speaker 2 (30:22):
Maybe? Right?
Speaker 1 (30:23):
And so when I look at that context, I can't
necessarily give this a very like the influence could be
a high ranking, but it's not at ten. And some
albums we just like, hey, no it's ten, just based
on how influential it is, regardless of your opinion of it.
This one, I think, because there's it's just it's not that.
Speaker 2 (30:42):
No, it's not that right. It's a great album, don't
get me wrong, but great in the way that there's
filler along with some really strong singles and some pretty
good album track.
Speaker 1 (30:52):
So me, when I kind of take all that into account,
it's kind of like that mid tier albums that I like. Now,
I love Breath You Take, and you know, there's lots
of Police songs I would have. But when we look
at like I'm gonna buy this file, No, I'm gonna
buy the Police Greatest Hits one, Yes, because that's what
I'm when I'm in the mood to listen to the Police,
I'm listen to you know, a certain number of songs.
Speaker 2 (31:14):
I need to find it. I used to have a
CD it was like Sting and and the Police, Yeah,
and it was the greatest hits across Stings catalog.
Speaker 1 (31:23):
Yeah, that essential Sting in the Police, Yes, Yeah, because
I had one like Bullin when I would buy Yeah,
then I would buy that.
Speaker 2 (31:30):
That's what I would definitely want to have because you've
got a lot of stings like really excellent solo catalog, right,
like when I raise my faith in you or if
I Lose my faith in you and when we dance
and right. I mean there's so many great songs that
he did on his own. But then you have the
Police like message in a bottle, right, great songs. Yeah,
(31:51):
that's what I would go out and buy. So I
didn't know what to expect with this album. I'd not
heard it in its entirety in a long time. Yeah.
There was even some of the singles that I honestly
not even heard before. Synchronicity one, for instance, I'd not
even heard that until I actually fully listened to this album.
There were some songs that I didn't like at all.
Those are counterbalanced by the very strong tracks like Every
(32:13):
Breath You Take Tea in the Sahara King of Pain.
I would definitely say with full confidence that side is
stronger than sid right. I think we kind of established that, yep,
all told, I'm giving it kind of a seven. Yeah,
that's where I put it on the strength of the
singles and the overall like musicianship. But by no means
is this like a instant classic. To your the point,
(32:34):
I think you hit it in the nail on the head.
It's not like a ten because of influence or because
of the influence of the band themselves. I think it's
you look back through the Police's catalog. You had a
single or two that were big hits on every album,
and then you had some filler yep, and then maybe
a couple of like decently sub singles, your third or
fourth or fifth single that you released because you got
(32:56):
to put something out. The stronger album tracks you put
out there, but largely the police were like, there's a
couple of hits and then there's some good album tracks
and some filler. To me, it's like, Okay, that's their formula.
That's fine. Yes, they were great. They are rock and
roll Hall of famers, no doubt, but there's not a
(33:17):
lot of like instant classics from an album perspective. Yeah,
I would agree, and I that's say that fits here.
So yeah, so hey, what do we have coming up? Right?
Speaker 1 (33:25):
So we're you're kind of ending year two going into
year three. Yeah, we've talked about some format changes and
just trying to mix episodes up. We're still going to
continue the album format, right. I think we've got Jesus
and Mary Chain coming up next in terms of the
album for Psycho Candy, which would be which would be
a great one. We're actually trying to cater to some
(33:48):
different types of episodes, so look for some stuff like
that both. I think we have a format where I'm
kind of producing one full episode and then you're going
to produce one full kind of episode for different topics,
bring in stuff that we you know, tend to be interesting,
and then we're going to continue with some top five
quick episodes. You know, next year what's great is when
we put out more content. All of our listeners seem
(34:09):
to want more based on all the statistics, So we're
going to try to do that for you more in
year three. Yeah, bending life. Bear with us, folks, Yeah,
because we do have lives.
Speaker 2 (34:19):
We do this for fun. We're not paid to do this.
We don't make much money doing this. Well, we've made
it total, but it's fifty we've made total fifty one dollars.
So we have fun doing it. That's why we do it,
and be honest with you. When it's not fun for us,
we won't do it anymore correct, But until then we're
just gonna find ways to keep it fun. But at
the same time, like, what would we want to listen to?
Speaker 1 (34:41):
Well, I think it's it's more us just the whole
premise of the podcast is to go find music that
we like and share that with people. We're going to
continue to do that.
Speaker 2 (34:50):
Here's something I think it'd be fun to do after
we do Psycho Candy. Yeah, top five songs released this year, Yeah, enjoy. Yeah,
we'll just bring songs to the table. Yeah, it'd be
kind of fun to do and that's good. We could
do that pretty quick because I actually have a list
of songs like released this year.
Speaker 1 (35:09):
Yeah, well we could do it in a playlist, and yeah,
we could do top five each of us hit one
of the songs trade off, and then we'll just we'll
leave the Stump the Baron song of the Week stuff
with the normal album from that and that way, it
just brings a little bit of a differentiation to.
Speaker 2 (35:22):
The episode exactly. So anyways, folks look for some kind
of different episodes coming out here, not necessarily album based,
but based more on us having some fun.
Speaker 1 (35:31):
But because that's what it's about for us, exactly, all right.
And with that, we are at the close of another
episode of the Ventris in Vinyl. If you like the
music featured on this episode, please check out the episode
web page and you can get links to all the
Stump the Baron songs, all the song of the week,
and a link to the album featured. Knowing that the
(35:51):
band will never reunite, but if you want some other
information on special releases in other ways they're trying to
fill their pockets, you could check out The Police on
their website at at www dot the.
Speaker 2 (36:01):
Police dot com. It's a shame that, Adam.
Speaker 1 (36:04):
It's a shame, Adam, that we can't the band can't
find common ground. You would think that these guys could
put on like a tour of just all their awesome songs.
Speaker 2 (36:12):
They got together in two thousand and seven, did a
tour and at the end of it, so I said,
it's nothing against the boys, but I regret doing that, Yeah,
because I didn't get what I wanted out of it. Yeah,
I just okay, So that's probably never gonna happen again. Well,
I mean, you know, depending on what they're looking for. Yeah. Yeah,
so you know, you're probably never gonna hear from this
band again as a collective. They're done done.
Speaker 1 (36:31):
So enjoy listing them on your Serrus XM Classic rewind channel.
There you go, and on your favorite greatest Hits album CD.
Cassettes are coming back. CDs are coming back.
Speaker 2 (36:43):
Do you hear this?
Speaker 1 (36:43):
CDs are coming back. It's just weird, man, It's like
everything's rotating around.
Speaker 2 (36:46):
Of course, Vinyl came back. Vinyl came back then, Yeah,
cassettes would be after.
Speaker 1 (36:50):
So don't throw that CD collection out and start looking
for that CD player.
Speaker 2 (36:54):
That's uh, mine's up up. In the attic where I'm
looking right now. I have the binder. Yeah, I've got
a couple binders up there, and I've got one one
of those like ones that you hung from your dash vice.
Speaker 1 (37:06):
I still have the old school you remember, the big
binder I had in college. It's that same binder. However,
the CDs. Somehow some of the CDs disappeared somewhere. I
don't know where they ended up, and you know, they
probably got moved around anyway. You can check out our
website at www dot Adventures at Vinyl dot com, where
you can find links to all of our episodes, and
(37:27):
through our support section, you can order your very own
Adventures and Vinyl T shirt. You can follow us on
Instagram at Adventures dot en dot Vinyl, and be sure
to subscribe to the podcast and leave a review. Follow
Adam on Instagram.
Speaker 2 (37:38):
I changed it. It's at the evil Pillow. Okay, I
can't explain that to you. I think sometimes pillows are evil. Yeah.
Speaker 1 (37:46):
And my basic Instagram at Todd David Ward because that's
what my Instagram's been forever since the release of Instagram. Okay,
and with that on top ward. Now, I'm Adam barraon
and we will see you next time on a thrilling
yet Simili notts Born episode of Adventures a Mile See you.
Speaker 2 (38:03):
Next time, thrilling yet not so boring. I don't know.
Speaker 1 (38:10):
It was kind of stun forwards, okay, because while it
had a little bit of thrill and it wasn't so boring, Okay,
there was that one p didn't joke, which I thought
was really good.
Speaker 2 (38:19):
And then the crickets that you gave me afterwards, which
was really not kind. If you call me, it's not kind.
It was kind of like, I'm just not sure if
we're there yet. Whatever,
On this episode of Adventures in vital Adam and I
discussed an album whose title was inspired by the book
The Roots of Conscience, nominated for five Grammys in nineteen
eighty four. That band is The Police, and the album
is their fifth and final studio album, Synchronicity.
Speaker 2 (00:41):
So what's up. You and I have had quite the weeks.
We won't go into details about either situation.
Speaker 1 (00:47):
But I think it all started with going to Nashville
for ac DC and that.
Speaker 2 (00:52):
Was last month. Last month.
Speaker 1 (00:55):
Oh jeez, that's kind of the state of things at
the moment.
Speaker 2 (00:59):
Yes, least, at least we got to us and our
wives got to hang out at the beach and have
some fun. Oh but like it's always fun when you
guys are staying literally like a ten minute whey.
Speaker 1 (01:08):
I know, it's really it's really cool to hang out
the Uh. I just realized my entire notes are in
the cloud, and I'm not downloading my notes for.
Speaker 2 (01:17):
The show, So I'm gonna be winging it. That's okay, man,
winging it. That's all right, it's all right. I got
some for both of us. Oh, that's good. That's the
way it works. And my internet at my house tend
is crap these days for some strange reason, like the
internet sucks out.
Speaker 1 (01:29):
You know, I've got fiber out to the house. This
is annoying, like AT and T. And then there's a
fiber that runs from AT and T's thing to the
to the house. And then right before vacation they marked
all the lines and I see them putting more fiber
infrastructure in where I'm living, and I'm like, I don't
want any of that.
Speaker 2 (01:49):
At all near me. They're supposed to be putting in
fiber out here where we live, out in the country,
so that we don't have such country fried internet, but
I don't know how long that's going to take, And
if it stays this way for a while, I might
have to into the old starlinkers. You know.
Speaker 1 (02:02):
I have a lot of people talking about the Starling stuff,
and they have great as.
Speaker 2 (02:05):
Long as the voiceover IP capability is good and I
don't to have lays and latency. I'm really seriously considering
where we're at. It's really kind We.
Speaker 1 (02:14):
Probably just probably just have like DSL type of crap, right, yeah,
I mean yeah, we basically have to run four hundred
feet to a satellite dish on the edge of our
property that shoots to a water tower that.
Speaker 2 (02:24):
Has another Yeah, you need starlink. I mean it's it's
not very good. So we're we're looking at it. Man.
But anyways, dude, Hey, Nashville is awesome. Dude, I went
to a CD.
Speaker 1 (02:34):
Yeah, and so we we. So Darren and I started
on the way Tuesday, when the concert is supposed to happen,
about two hours outside of Nashville, we get I get
a notification because there were storms. There were just like
tornadoes popping up all around. As we're driving east, tornadoes
are popping up all around. And then as we uh,
(02:54):
as we person Nashvilley rescheduled, so like we only had
a hotel room from one night. We're both working like
crazy trying to just get in and then trying to
drive back to start vacation. So we ended up finding
another room for the next night, ended up going to
the concert, but that Thursday we drove back and then
I picked my track up and then grabbed a call
and we started driving down to Florida. So it was
(03:14):
just it was like heightened stress. And then when we
got back from vacation, I ended up going on a
work trip. So it's like I've been gone for like
three or four weeks, just trying to trying to keep
up with things. But you know, since we're kind of
doing an eighties thing, I picked a song that was
released as a single on April fourteenth, nineteen eighty six, which.
Speaker 2 (03:34):
Was a day after my ninth birthday. Okay.
Speaker 1 (03:37):
You know what's interesting is that I finished third grade
shortly after that and we moved to Nacadocius, Louisiana. Like
that matters, but it has.
Speaker 2 (03:47):
No relevance, you know.
Speaker 1 (03:48):
But you know what's cool is the same year the
Transformers movie came out.
Speaker 2 (03:52):
Oh, the animated one. Yeah, the animated one, and that
was really cool.
Speaker 1 (03:56):
So I was just thinking about some eighties stuff and
one of the songs that has no they do with this.
But one of the songs I picked for my Song
of the week is probably just a favorite song I
have of, you know, kind of the eighties that I
just think is really cool. I'm sure other people think
it's cool too, And if I can pull the dang
playlist up, I will start playing it.
Speaker 2 (04:19):
But you know, I'm sure it's this guy. Okay, but
oh I hear something, Yeah, this jazz flute that you
hear so we got sledge Hamburg.
Speaker 1 (04:34):
I thought Peel and Peter Gabriel off the album album.
Speaker 2 (04:37):
So I was just watching, Ah if you knew, you
know who Leland Skua is. Yeah, yeah, yeah yeah. So
I was watching a video with him the other day
talking about how how he got the sound yeah for
the bass on this, and I guess like there was
something happening with him playing on this particular song where
(04:58):
it was very kind of like last minute he even
was involved.
Speaker 1 (05:02):
Guy a funky bass group to it. It's such a
great song. We were at the hall just because everything's busy.
We there's an eighties cover band, you know this, it's
kind of like Steel Panther but like.
Speaker 2 (05:14):
Eighties like all eighties like, and they're.
Speaker 1 (05:17):
Called Electric Avenue Popular, they tour, they've opened, it's just hey,
they're a professional cover band.
Speaker 2 (05:24):
Played the hall another great venue.
Speaker 1 (05:26):
Played a lot of songs in the genre that we're in,
and you know, they played some Police probably some of
the songs that we we did, but they didn't do
any Peter Gabriel and I was like, oh, they should
have Peter Gabriel because this was a great one.
Speaker 2 (05:39):
I mean, man, Peter Gabriel Phil Collins ex Genesis guys
were really incredibly popular. One. It's a shame that Phil
Collins is in the Rock and Roll Hall of Fame. Oh,
I know he will be that.
Speaker 1 (05:50):
They better hurry up because he ain't. He's not long
for this world too. Man, he's doing so great well.
I mean, I mean, look what we just just happened yesterday.
I mean Ryan So it was a Brian Wilson. Yeah, so,
you know, he was weeks after we did our pet sounds.
I know it, man, I don't know. I'm worried that
we're gonna put the curse on Peter Gaber.
Speaker 2 (06:11):
No, let's open up, all right, What do you got
for your song of the week. Yeah? So, actually band
called Alien Boy and this is their new single called
I Broke My World. It's I think it was released
in early May. I think May night, May nine for
twenty five. Yeah, so, I actually first heard the band
Alien Boy in my old jiu jitsu gym. My coach
(06:31):
had this like emo hardcore punk playlist. He was a
former musician in the Northwest Arkansas scene. Uh. He played
He played bass in a band called Jeris and apparently
they were big in Fayettville for a while, and then
they moved out to California, tried to get a deal,
didn't end up getting anything. He moved back to Arkansas.
But I liked a lot of the same bends that
(06:53):
he did. And when he was playing alien Boy on
his playlist one day, I was like, Oh, who's this.
He's the old Shazam found out it was these guys,
and I've just kind of listened to their music on
and off ever since. It's whenever I saw that they
had a new single out, it's like, Hey, I'm gonna
do check that out. Oh, I actually really liked the song.
It's kind of got like a very much like a punk,
shoegaze emo mixture. Yeah, they had a song one the
(07:18):
song actually originally heard by them, was called Somewhere Without
Me and it's it's also very good. But man, this
one again I broke my world alien Boy. I just
found I really liked the song and just thought I'd
put it up there fields song of the Week.
Speaker 1 (07:32):
Well, we went to that Electric Avenue as a couples in.
One of the guys who was in the group, he
was telling me about like some shoegaze bands, some others.
Speaker 2 (07:42):
So I've got a bunch of stuff out of my pice,
which was really cool. So, hey man, it's another week
of stump of the Adventures in Vinyl. Are you ready
to Yeah, it's time for to do the deed. Let's
do the thing.
Speaker 1 (07:54):
It's another episode of Adventures in Vinyl and that means
another round of stump the baron on. Stump the baron.
I pick a random song from a random genre. Give
Adam a few clues with all his semi genre specific
general knowledge of music that's accurate attempts to guess the artist,
album and song title. So Adam, we are in the
eighties this week. There is something really interesting about the
year nineteen eighty four. You have hits by Elton John, Chicago,
(08:15):
Huey Lewis and the News, Cindy Lapper, the Cars. The
list goes on lots of popular bands of nineteen eighty four.
I'm not going to give you any more clues to that,
but just let you know that this single from this
band was one of the top singles of the year
nineteen eighty four, and I'm giving you zero other clues.
The video is awesome, the band is awesome, and my
expectation is you should get this within the first thirty seconds.
Speaker 2 (08:36):
Okay, let's do it.
Speaker 1 (08:37):
So it's a softball, a wiffle ball. I'll even bring
it as a wolfle ball.
Speaker 2 (08:42):
Okay. Legs yep zz top yep. Don't remember the album
name Eliminata Eliminator Okay, yeah, I should have had that
such a good you had an album two had a three. Dude,
I loved this song growing up. I know, a music video.
Speaker 1 (09:00):
It was always fun, I know, but this was we
keep I keep finding all these like albums that I
just I was like, why don't we need to do.
Speaker 2 (09:08):
Is easy range and the range sharp dressed man? Legs
like those three songs are man, that was like my
youth was Easy Top was those three songs. Yeah.
Speaker 1 (09:18):
So that was the fourth single off the album Eliminator
from the band's Easy Top. It was released in the
year nineteen eighty four. We'll definitely have to add.
Speaker 2 (09:26):
That one to cover that one. Man.
Speaker 1 (09:28):
I think there's just so many great albums in there
we keep talking about.
Speaker 2 (09:32):
The great thing is you can't cover them. Also, we're
always gonna have something to cover, Yeah, We're always.
Speaker 1 (09:36):
It's just that we're just kind of you just start
putting stuff on the list again, dude, because we're as
we're approaching, like coming up on you know, year three,
year three, starting year three is about the next month, like, uh,
that's you know, we're almost to the worst seventy something episodes.
Speaker 2 (09:52):
Yeah, so dang, wild man, lots of stuff. I definitely
want to do Eliminator. That's an album that I haven't
heard in it well that's for a long time, yeah,
but that I absolutely love and would love to cover. Yeah.
I think it would just be a fun, fun show. Yeah,
fun show. Nice good choice man, Yeah, I thought that
was a good one. All right. All right, are we ready?
Speaker 1 (10:11):
Let's do I've got my notes, it all downloaded from
the cloud on uh our slow internet. So somebody better
call the police, police, the police, the fish because we're
talking about the police today, all right. Synchronicity is the
fifth and final studio album by the English rock band
(10:32):
The Police, released on June seventeenth, nineteen eighty three. This
pop rock album was released on A and M Records
and Clocks in a total length of thirty nine minutes
and forty seconds and consists of ten tracks, five of
which were singles. Synchronicity one is the first track off
the album, clocks in at three minutes and twenty three seconds.
The album was nominated for a total of five Grammy
(10:54):
Awards in nineteen eighty four, Adam And won three of those.
Speaker 2 (10:59):
Yeah, personnel, you had sting on the vocals, backing vocals
in the bass. He also did some synth, piano, sequencer
and electric upright bass work. Andy Summers great guitar player,
Yeah guitar, guitar, synth, lead vocals, and Stuart Copland on
the drums of percussion. So these guys formed in seventy seven,
released their debut album Outlando's Day More in nineteen seventy eight,
(11:19):
reached number six on the UK Album's chart, number twenty
three on the Billboard two hundred. After that in nineteen
seventy nine, were gotted. De Blanc also did well after
that Zenyata Mandada nineteen eighty, Ghost in the Machine in
nineteen eighty as well. I think Yeah, Yeah, but so Yeah.
Synchronicity was their last album. These guys were notorious for
(11:40):
not getting along with each Yeah, they hated it. You
had Stuart Copeland and stinging constantly at each other's throats.
And Andy Summers kind of being the guy in the
middle going can we just all get along here? And
I mean, I think it was just you had the
egos of Sting and Stuart Copeland, both of whom were
excellent at what they did. Just too many cooks on
the kitchen. There's just too many cooks in the kitchen,
(12:01):
big egos. And I don't think you know, in all honesty,
I think I've actually heard this guy say that we
both have big egos and sometimes big egos.
Speaker 1 (12:08):
Yeah, I mean, I think it's just usual that they
you know, when you have you can really only have one.
I find it band's one main spokesperson or alpha. There's
you know, and then you have guys who just have
a lot of talent. And there's plenty of bands that
have broken up due to those type.
Speaker 2 (12:25):
Of issue exactly exactly, but so you know. This album
was Album of the Year in nineteen eighty three by
Rolling Stone. The Grammy Awards that it won the You
Reference were It's Best Rock Performance by a Duo, group
or Group with vocal ye Song of the Year for
Every Breath You Take, and Best Pop Performance by a
Duo or Group with vocal For some reason it's really
hard to get those words out all in sequence anyways.
(12:48):
Number ninety one on Virgins All Time Top one thousands book,
number seventeen on the rolling Stone hundred Best Albums of
the Eighties. Number there was three times rolling Stone five
hundred Greatest Albums of All Time, Number one nineteen on
the Rock Hall of Fames, the definitive two hundred. The
US Library of Congress preserved this one in the National
Recording Registere in twenty twenty three, so it was important
(13:09):
and it was obviously huge when it came out. It
was number one in the UK, number one on the Billboard,
two hundred eight times platinum in the US Platinum, and
a bunch of other Commonwealth countries. Ten million copies sold worldwide.
So wow, dude, banger of an album. First track, Synchronicity,
I'll be honest with you, it didn't really grab me.
It was just okay, yeah, I'm kind of like yeah exactly.
(13:29):
So honestly, I preferred to take the time that we
spent on that song and introduced the album as a whole.
That's why I was kind of like, go listen to
the first track if you want to hear more of it.
Speaker 1 (13:39):
Not us talking, but if we turned it down, that's
kind of why we didn't like it.
Speaker 2 (13:43):
That's why I didn't have a problem with talking through
the entire thing.
Speaker 1 (13:45):
So hey, well, clocking in at three minutes, it's the
second in thirty five seconds. It's the second track off
the album titled Walking in Your Footsteps.
Speaker 2 (13:52):
Yeah. So I like Andy's guitar work here, a lot
of reverb and delay, but minimal, like very minimal playing.
He relies on the effects to kind of help carry it. Well,
it's a worldly type of tune. Yes, yes, great percussion
from Stuart Copeland. It does tend to be a bit
redundant sometimes maybe a little bit of a difficult time
(14:13):
keeping my attention. Besides Andy's guitar work, yeah, I.
Speaker 1 (14:16):
Found it very hard to kind of like get through
the first side of them.
Speaker 2 (14:20):
Yeah. Yeah, I would agree with you there one thing though,
And I've got to say this because obviously the big
personalities in the band were Stuart Copeland and Sting to me,
in all honesty, if I'm thinking about the guy who
just doesn't get enough credit in this band, it's Andy Summers. Yeah,
I would agree. The guy's an amazing guitar player. He
(14:42):
has a knack for licks tasteful use of effects at
all times. Everything he did was very calculated. He never overplayed,
he never underplayed. He played just the right amount.
Speaker 1 (14:53):
And when you and when you kind of and I've
listened some interviews with him, you know.
Speaker 2 (14:59):
He was on b Yeah podcast not long ago.
Speaker 1 (15:01):
Yeah, And just seeing some of the clips of that,
I was like, you know, he seemed like the normal,
like the guy who just wanted to make good music.
Speaker 2 (15:07):
I just wanted to make good music. Cool thing about
Andy was he was in it was The Animals. He
was in The Animals. Now it was like a later
version of The Animals, after like House the Rising Sun
and all that stuff had already happened. But that's where
he kind of cut his teeth in The Animals in
the seventies. Yeah, yeah, I can't remember. They had like
(15:27):
a modified name. But so by the time he came
to this band, it's not like he was new to
success and new to the music scene. It kind of
already been there and done that a little bit. Whereas
this was essentially like staying in Stuart Copland's first major effort.
So it's kind of telling that those other two guys
had the big egos and Andy was kind of like
(15:48):
the cool, calm collected guy. But again, great guitar player.
Even though I'm not a huge fan of the track itself,
I really like his guitar playing. Yeah, I would agree
with that all right to the next one.
Speaker 1 (16:00):
Yeah, the track three is titled oh My God clacks
in at four minutes flat flat on the dot on
the dot.
Speaker 2 (16:09):
So one thing about this is Thing's ability to play
the bass. He does the way he does, I'm sorry
while singing has always impressed me. I mean he can
play these very like rhythmic bass lines while singing something
that doesn't flow necessarily like from a saccato beat perspective. Yeah,
(16:33):
with the music, it's always amazed me. And he doesn't
like he's barely he's looking at the audience almost the
entire time. Yep. That's what man again. For all the
drama in the band and such super talented always impressed
me that he can play bass and sing at the
same time. Yep. The way that he does this tracks
an example of that. Again, great guitar playing from Andy
(16:55):
Summer is very minimal but at the same time very applicable.
And you're Copeland does a great job walking in the rhythm.
I don't just love the song, but I do like
it enough to stick around for it.
Speaker 1 (17:06):
I like the baseline, Yeah, that's what I recognize, but
as a track, it's not.
Speaker 2 (17:10):
If you listen to the baseline and the way it
hits with the drums, like I kind of like the
music to it, but like in almost like a weird
movie soundtrack kind of way, not necessarily like a song.
I'm gonna go.
Speaker 1 (17:21):
It's not something I would want to listen to, like,
but it seemed like I.
Speaker 2 (17:26):
Could see it fitting in like an eighty space age movie. Yeah,
you know, something like The Last Starfighter or something like that.
I could see it fitting in.
Speaker 1 (17:32):
No, I think it would be like one of those
B movies, like the really B movie where science fiction
be science fiction, but it's like teenager type of thing,
and they paid all the licensing rights for this one
song to make it go mainstream and the movie was bad.
Speaker 2 (17:45):
There's a bunch of eighties films like, yes, yes, I
could see that. Yeah, you know, look at like Repo Man. Yeah, yeah,
that's exactly like where are we going? That fits all right,
So on to the next one.
Speaker 1 (17:58):
Oh geez, not to be confused with the song from
the band Danzig. This version of Mother Glog's in at
three minutes and thirty seconds, and I think someone a
little bit of mommy issues right in this track.
Speaker 2 (18:11):
You know, this was an Andy Coher I'm sorry Andy
Summers track. I'm sorry Andy, I love us a guitar player.
I freaking hate this song. This was terrible. It's awful.
My mi I was like, I don't like this, this
is terrible. Let's skip it, and it's just bad. Yeah,
don't even listen to it. And at two minutes flat
is Miss Gradenko. This is a Stuart Copeland song, which
(18:33):
you know, it's a fit tracked off the album.
Speaker 1 (18:35):
It's another one where I'm like, why is this even on? Like,
I just didn't get it. I didn't like it. I'm
just kind of like, ugh, like, get on with it.
Speaker 2 (18:44):
I think it's got a good beat. Yeah, it's got
a good beat to it. Again, this is a Stuart
Copeland song. He wrote this track, so I get that.
He's a crappy song, like locked in in the rhythm section.
And I think that Andy Summers does some cool chinmy
guitar work here. I think he's better than Mother but
I'm sorry, are you like it? Just? Eh?
Speaker 1 (19:03):
Well, it's like it's like two people trying to do
a flamingo ish type of tune and I'm looking at
a pop rock album, yeah, in the eighties, and I'm like,
I don't know why, Like this doesn't belong.
Speaker 2 (19:17):
Listen to that bass though, Yeah, I mean like he
plays in a really great bassline while singing and it's
really locked in with with Stupart Coplan's drums. I appreciate
the music behind it, I appreciate the talent in there.
I don't like the song.
Speaker 1 (19:31):
Right, So there you go, Right, it's not the musicians
for me.
Speaker 2 (19:34):
It's the song. Yes, I'm with you there, all right?
Speaker 1 (19:36):
On to the next all right, as we go into
Synchronicity two, which is the six track off the album
in third single. He was released on October twenty eighth,
nineteen eighty three, and clocks in a five minutes and
four seconds. The B side to the single is the
track titled Once Upon a day Dream. Have you ever
(19:57):
heard of Carl June's theory of synchronicity?
Speaker 2 (20:02):
No, I have not. I've heard of Carl jen but
I've not heard.
Speaker 1 (20:04):
Of some right, So Carl June is the founder of
analytical psychology and analytical psychology is a concept to describe
events that coincide in time and appear meaningfully related okay,
yet lack a discoverable casual causal cause casual causal connection.
The reason why I bring this up is after reading
(20:25):
a little bit of the background and listening to the song,
I understood at least this track more and actually I
found it very interesting when reading about analytical psychology and
called it's actually a pretty good ready did get a
background with that, but that's just you know, a factual facts.
Speaker 2 (20:46):
So this one did well. It was a fifth single.
It was number seventeen on the UK Singles Chart. It
was number fifteen on the US cash Box Charts, number
sixteen on the Billboard Hot one hundred. This is probably
the catchiest album or song on the album so far. Well,
it's where I started really like, Hey, this is good.
This is side two, so on side now, folks side
one man side two, like, this is a great way
(21:06):
to start off this side of the album. I love
Andy's busy guitar here. I think it fits. Progression is
unique and fun. I can see why this one did
well commercially. Compared to some of the other single It's
very catchy. It's not your standard standard commercial fair but
it's still very accessible. Great song. I mean, of the
(21:27):
two synchronicities, this is definitely a better one. You prefer
the original, Yeah, the original? Yeah, this is where you prefer.
Speaker 1 (21:36):
Empire strikes back to a new Hope, So this is
your well. I would say Diehard two to Dire one,
but let's face a, Dire one's the best of all.
Speaker 2 (21:44):
Die It is the best one, and it's one of
the best Christmas movies.
Speaker 1 (21:47):
I would say, I don't know what's what's another like
sequel movie that's better than the original?
Speaker 2 (21:51):
Sequel that's better than the original? Oh oh h the
Dark Knight. Yeah, yeah, the Dark Knight is better than
that Begins it was, but the Dark Knight was better. Yeah, yeah,
all right, man. So on to the most recognizable song
on the album. Yes.
Speaker 1 (22:11):
The first single that was released off the album on
May twentieth of the year nineteen nineteen eighty three, is
titled Every Breath You Take, which clocks in in four
minutes and thirteen seconds. It topped the Billboard Hot one
hundred Singles chart for eight weeks. It was the band's
only ever number one hit on the chart.
Speaker 2 (22:30):
It was also number one on the Mainstream Rock Charts,
number one on the cash Box Top one hundred, number
one on the UK Singles, and also charted number five
on the US That'll Contemporary Charts, twenty six on the
Dance and Disco It was certified gold in the US
three times platinum in the UK. As a single, it
sold nine million copies worldwide as a single. Yeah, I mean,
(22:51):
it's the most played song in radio history, right and May.
Speaker 1 (22:56):
It was recognized in May of twenty nineteen. B and
my Yes, that has the most played song in radio history.
In nineteen eighty four, it won Song of the Year
at the surprise it beat out thriller Wow that same year.
Speaker 2 (23:11):
Man. So, given the amount of radio play this one's
gotten over the years, I mean, as we've established more
than any other song ever, you could say this is
the Police's most recognizable song.
Speaker 1 (23:22):
Yeah, I would say it's It's probably one of the
most recognizable songs in the eighties. Yes, it's instantly recognizable.
I think it relates to the audience.
Speaker 2 (23:30):
It even inspired Diddy parties. Did he took this one
and turned it? Okay? Only did he out of this
did He's got enough on U right now? And here's
the thing.
Speaker 1 (23:50):
It's bad enough as it is, but when the AI
bots start putting together the fake news stuff, it gets
even weirder. When the AI stuff's weird, like really really bad.
You know that there's some like legit weird stuff going on,
especially with all the baby oil.
Speaker 2 (24:07):
Yes, okay, so anyways, the Police, everybody you take, not
the ones coming to get diddy. H This is an
amazing song. I mean it's an absolute classic and the
it gets old. The guitar riff is legendary, Stuart and
Stinger locked in the whole time. I mean, ones are
soulful and heartfelt.
Speaker 1 (24:25):
It's just it's what you want, really, the police to be, yes, right,
and that's the sound you want throughout the whole thing.
Really awesome pop rock right, yes, good rhythmic beats, good
guitar sounds. Just an overall I would say, composed and
manicured song.
Speaker 2 (24:45):
Yes, absolutely. And what's sad to me is that they
were really hitting their stride and their prime right about
the time that they called it quits. Yep. I mean
this song is evidence of that. All those other albums,
all the other songs, you know, Message in a Bottle, Rock,
Sam and name all the others kind of led up
to this, Yeah, and then they called it quits. Yep. Wow,
(25:05):
but great song. One of my favorites of all time
for sure. As far as a single goes off an
eighties album, this is near the tolbum. Yeah, all right.
Speaker 1 (25:13):
On the next one, the eighth track and second single
off the album, is titled King of Pain. That sounds
like it should be a wrestler's name, some kind of tagline.
I'm not King of Pain, I'm sure probably King of
Paine was released as a single in the US in
August of nineteen eighty three. The US single included this
B side, titled Someone to Talk To, receiving acclaim from
music critics. The single reached number three on the US
(25:35):
Billboard Hot one hundred in October of the same year,
and was number one on the Billboard Top Tracks chart
for five weeks in August of nineteen eighty three.
Speaker 2 (25:45):
So the sparse intro to this one, it doesn't grab
my attention, No, I found it a little bit. If
I listened to the first minute or so, I am
not into this at all. Yeah, But then once the
full band drops in, I actually find that I start
to really enjoy the track again. That's the sparse and
rhythmic style of Andy Summers plays nicely with the bass
(26:05):
work and Stuart's drumming. Love the guitar solo here as well.
It's simple, but it really works. Man. Again, despite not
liking the intro, it's actually a really good song as
a whole, and I actually enjoy it once we get
into the whole band right here. Yeah, yeah, this is
where it picks up. This is I'm like, oh, okay,
like I'm into this. This is better. It's got a
(26:28):
kind of a good groove to it. It just it just
takes a bit to get there. Once you get past
the piano, it's like, oh, this is actually really good. Yep. Anyways,
all right man, let's move on.
Speaker 1 (26:36):
All right, moving on, we enter the ninth track off
the album that's titled Wrapped Around Your Finger, which clocks
in at five minutes and twelve seconds. It was the
fourth single released in the US in the month of
January of the year nineteen eighty four. The B side
of the single is a live version of the song
t in the Sahara, which is actually the tenth track album.
(26:58):
The single reached number eight on the Billboard chart in
March of nineteen eighty four. It was the final top
ten hit ever by the Band and the Police.
Speaker 2 (27:06):
That's Wild also got to number thirteen on the Billboard
Adult Contemporary, number seven on the UK Singles and number
eleven on the UK cash Box So very reggae style.
I actually really like the YE like the song. While
slow paced, it's got some really great rhythm. I love
like the reverb and delayed drenched guitar work. Again, something
Andy Summers just does so well, and I like it.
Speaker 1 (27:28):
How the chorus, the temple of the song kind of
spins up on the course. I think that's really good too. Yes,
I think it's a strong track.
Speaker 2 (27:34):
It's unique, but it's very accessible and catch you at
the same time.
Speaker 1 (27:37):
Yeah, I mean it's not every breath you take, but
it's still pretty.
Speaker 2 (27:40):
No, but again, not every song can be if you
have an album full up every breath you takes. In
all honesty, it's just sometimes it gets a little bit boring,
right YEA, So I like this change of pace. I
think it fits very well towards the end of the
album and honestly, so far side one versus side two.
I mean, side too is just better by a landslide man.
Speaker 1 (28:00):
Right, So let's move on to the last one and
last and final track off the album, titled Tea in
the Sahara, so it closes out the final Police album.
It was inspired by the Paul Bowles book The Sheltered Sky,
and the first section of the book is titled Tea
in the Sahara.
Speaker 2 (28:20):
It's interesting these guys did a lot more reading than
I would have expected. Yeah, a lot of stuff based
on books in the catalog.
Speaker 1 (28:26):
Yeah, I think, and it's all kind of based around,
you know, kind of. I think it's more Sting influenced
some of the stuff he's into.
Speaker 2 (28:32):
Yeah, that seems to be metaphysical weirdness and stuff that
was like we don't care about. Yeah.
Speaker 1 (28:37):
Yeah, And obviously I think that's why you see a
lot of the influence, the worldly influence and things like that,
and some of the earlier tracks. And sure, you know
then I'm sure the producers like, hey, guys, you gotta
wrap and make something that actually sounds cool.
Speaker 2 (28:47):
We actually have to make some catchy music too, by
the way, you know, we got to sell radio singles here.
Now what caught my attention was the interesting based drum pattern. Uh,
Stuart Copeland kind of hits on the two and three
quarters beat, which is like Sting does the same thing.
It's an odd but very reggae style drum pattern. Yeah,
in a song that's not at all reggae, that's the
(29:08):
thing it. It's a great sparse track with Andy Summers
again just making these ambient noises that you hear in
the background right now over that bass and drum beat.
It's very laid back but actually found man like, I
really enjoyed it, Like this is the kind where you
pop on your headphones. Yeah, I'm your eyes and just
kind of let it go, I will say.
Speaker 1 (29:28):
I kind of like like the ambient the ambient tone.
Speaker 2 (29:33):
Right.
Speaker 1 (29:33):
It was one of those I think you could put
in the background relax too. It on wasn't bad. Yeah,
I don't know if it belongs to the album, right,
Like a lot of other tracks on the album, I
just you know one my thing.
Speaker 2 (29:47):
I got you you know, yeah you don't. It's not
that you don't like it, you just question whether or
not it belonged to the album release yea, not as
a B side or something, right, Right?
Speaker 1 (29:55):
It seems like it should just be a B side
or something like that like that, you know, and I
and I had trouble really kind of putting a rating
or ranking together, I think for the album in general, right,
So for me, right, it has a lot of accolades.
It's been reviewed, obviously, it's in the Library of Congress,
so there's.
Speaker 2 (30:12):
Something to that. Sure.
Speaker 1 (30:15):
But is it because it was the Police's last album
and they were a huge band that why maybe? Or
is it because of every Breath You Take?
Speaker 2 (30:22):
Maybe? Right?
Speaker 1 (30:23):
And so when I look at that context, I can't
necessarily give this a very like the influence could be
a high ranking, but it's not at ten. And some
albums we just like, hey, no it's ten, just based
on how influential it is, regardless of your opinion of it.
This one, I think, because there's it's just it's not that.
Speaker 2 (30:42):
No, it's not that right. It's a great album, don't
get me wrong, but great in the way that there's
filler along with some really strong singles and some pretty
good album track.
Speaker 1 (30:52):
So me, when I kind of take all that into account,
it's kind of like that mid tier albums that I like. Now,
I love Breath You Take, and you know, there's lots
of Police songs I would have. But when we look
at like I'm gonna buy this file, No, I'm gonna
buy the Police Greatest Hits one, Yes, because that's what
I'm when I'm in the mood to listen to the Police,
I'm listen to you know, a certain number of songs.
Speaker 2 (31:14):
I need to find it. I used to have a
CD it was like Sting and and the Police, Yeah,
and it was the greatest hits across Stings catalog.
Speaker 1 (31:23):
Yeah, that essential Sting in the Police, Yes, Yeah, because
I had one like Bullin when I would buy Yeah,
then I would buy that.
Speaker 2 (31:30):
That's what I would definitely want to have because you've
got a lot of stings like really excellent solo catalog, right,
like when I raise my faith in you or if
I Lose my faith in you and when we dance
and right. I mean there's so many great songs that
he did on his own. But then you have the
Police like message in a bottle, right, great songs. Yeah,
(31:51):
that's what I would go out and buy. So I
didn't know what to expect with this album. I'd not
heard it in its entirety in a long time. Yeah.
There was even some of the singles that I honestly
not even heard before. Synchronicity one, for instance, I'd not
even heard that until I actually fully listened to this album.
There were some songs that I didn't like at all.
Those are counterbalanced by the very strong tracks like Every
(32:13):
Breath You Take Tea in the Sahara King of Pain.
I would definitely say with full confidence that side is
stronger than sid right. I think we kind of established that, yep,
all told, I'm giving it kind of a seven. Yeah,
that's where I put it on the strength of the
singles and the overall like musicianship. But by no means
is this like a instant classic. To your the point,
(32:34):
I think you hit it in the nail on the head.
It's not like a ten because of influence or because
of the influence of the band themselves. I think it's
you look back through the Police's catalog. You had a
single or two that were big hits on every album,
and then you had some filler yep, and then maybe
a couple of like decently sub singles, your third or
fourth or fifth single that you released because you got
(32:56):
to put something out. The stronger album tracks you put
out there, but largely the police were like, there's a
couple of hits and then there's some good album tracks
and some filler. To me, it's like, Okay, that's their formula.
That's fine. Yes, they were great. They are rock and
roll Hall of famers, no doubt, but there's not a
(33:17):
lot of like instant classics from an album perspective. Yeah,
I would agree, and I that's say that fits here.
So yeah, so hey, what do we have coming up? Right?
Speaker 1 (33:25):
So we're you're kind of ending year two going into
year three. Yeah, we've talked about some format changes and
just trying to mix episodes up. We're still going to
continue the album format, right. I think we've got Jesus
and Mary Chain coming up next in terms of the
album for Psycho Candy, which would be which would be
a great one. We're actually trying to cater to some
(33:48):
different types of episodes, so look for some stuff like
that both. I think we have a format where I'm
kind of producing one full episode and then you're going
to produce one full kind of episode for different topics,
bring in stuff that we you know, tend to be interesting,
and then we're going to continue with some top five
quick episodes. You know, next year what's great is when
we put out more content. All of our listeners seem
(34:09):
to want more based on all the statistics, So we're
going to try to do that for you more in
year three. Yeah, bending life. Bear with us, folks, Yeah,
because we do have lives.
Speaker 2 (34:19):
We do this for fun. We're not paid to do this.
We don't make much money doing this. Well, we've made
it total, but it's fifty we've made total fifty one dollars.
So we have fun doing it. That's why we do it,
and be honest with you. When it's not fun for us,
we won't do it anymore correct, But until then we're
just gonna find ways to keep it fun. But at
the same time, like, what would we want to listen to?
Speaker 1 (34:41):
Well, I think it's it's more us just the whole
premise of the podcast is to go find music that
we like and share that with people. We're going to
continue to do that.
Speaker 2 (34:50):
Here's something I think it'd be fun to do after
we do Psycho Candy. Yeah, top five songs released this year, Yeah, enjoy. Yeah,
we'll just bring songs to the table. Yeah, it'd be
kind of fun to do and that's good. We could
do that pretty quick because I actually have a list
of songs like released this year.
Speaker 1 (35:09):
Yeah, well we could do it in a playlist, and yeah,
we could do top five each of us hit one
of the songs trade off, and then we'll just we'll
leave the Stump the Baron song of the Week stuff
with the normal album from that and that way, it
just brings a little bit of a differentiation to.
Speaker 2 (35:22):
The episode exactly. So anyways, folks look for some kind
of different episodes coming out here, not necessarily album based,
but based more on us having some fun.
Speaker 1 (35:31):
But because that's what it's about for us, exactly, all right.
And with that, we are at the close of another
episode of the Ventris in Vinyl. If you like the
music featured on this episode, please check out the episode
web page and you can get links to all the
Stump the Baron songs, all the song of the week,
and a link to the album featured. Knowing that the
(35:51):
band will never reunite, but if you want some other
information on special releases in other ways they're trying to
fill their pockets, you could check out The Police on
their website at at www dot the.
Speaker 2 (36:01):
Police dot com. It's a shame that, Adam.
Speaker 1 (36:04):
It's a shame, Adam, that we can't the band can't
find common ground. You would think that these guys could
put on like a tour of just all their awesome songs.
Speaker 2 (36:12):
They got together in two thousand and seven, did a
tour and at the end of it, so I said,
it's nothing against the boys, but I regret doing that, Yeah,
because I didn't get what I wanted out of it. Yeah,
I just okay, So that's probably never gonna happen again. Well,
I mean, you know, depending on what they're looking for. Yeah. Yeah,
so you know, you're probably never gonna hear from this
band again as a collective. They're done done.
Speaker 1 (36:31):
So enjoy listing them on your Serrus XM Classic rewind channel.
There you go, and on your favorite greatest Hits album CD.
Cassettes are coming back. CDs are coming back.
Speaker 2 (36:43):
Do you hear this?
Speaker 1 (36:43):
CDs are coming back. It's just weird, man, It's like
everything's rotating around.
Speaker 2 (36:46):
Of course, Vinyl came back. Vinyl came back then, Yeah,
cassettes would be after.
Speaker 1 (36:50):
So don't throw that CD collection out and start looking
for that CD player.
Speaker 2 (36:54):
That's uh, mine's up up. In the attic where I'm
looking right now. I have the binder. Yeah, I've got
a couple binders up there, and I've got one one
of those like ones that you hung from your dash vice.
Speaker 1 (37:06):
I still have the old school you remember, the big
binder I had in college. It's that same binder. However,
the CDs. Somehow some of the CDs disappeared somewhere. I
don't know where they ended up, and you know, they
probably got moved around anyway. You can check out our
website at www dot Adventures at Vinyl dot com, where
you can find links to all of our episodes, and
(37:27):
through our support section, you can order your very own
Adventures and Vinyl T shirt. You can follow us on
Instagram at Adventures dot en dot Vinyl, and be sure
to subscribe to the podcast and leave a review. Follow
Adam on Instagram.
Speaker 2 (37:38):
I changed it. It's at the evil Pillow. Okay, I
can't explain that to you. I think sometimes pillows are evil. Yeah.
Speaker 1 (37:46):
And my basic Instagram at Todd David Ward because that's
what my Instagram's been forever since the release of Instagram. Okay,
and with that on top ward. Now, I'm Adam barraon
and we will see you next time on a thrilling
yet Simili notts Born episode of Adventures a Mile See you.
Speaker 2 (38:03):
Next time, thrilling yet not so boring. I don't know.
Speaker 1 (38:10):
It was kind of stun forwards, okay, because while it
had a little bit of thrill and it wasn't so boring, Okay,
there was that one p didn't joke, which I thought
was really good.
Speaker 2 (38:19):
And then the crickets that you gave me afterwards, which
was really not kind. If you call me, it's not kind.
It was kind of like, I'm just not sure if
we're there yet. Whatever,
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