This is what The Police would sound like if you got them to play in your garage. Outlandos D'Amour is like taking a snowshoe upside the head, while Copeland, Summers, the other guy laugh at you. A hoot dang.

The very first Police album doesn't really contain the heavy punk attitude and aggression some of you may be wondering about, but it does show the beginning stages of what punk would soon become, and some emotional vocals and memorable songwriting to make up for the lack of anger and rebellion. Since I'm more interested in quality songwriting skills, count me happy about that. This album is LOADED with underrated songs, such as "Born in the 50's", "So Lonely", and "Peanuts". There's a distinct feeling of loneliness in the singing style of Sting that I happen to find appealing, and to me, that's one of the best things about this album. A must own.

The Police burst on to the scene at the height of the punk explosion in England. Although embraced by the punk crowd The Police were never really a punk band. In fact they were something of an all star project. Drummer Stewart Copeland had come from the progressive rock world of Curved Air. Andy Summers had been a member of The Soft Machine, The Animals and even a touring member of Neil Sedaka's band. All music that was the antithesis of what Punk was rebelling against. From a purely musical perspective all 3 of these guys could play rings around the majority of punk bands of the day. Along with Summers and Copeland vocalist / bassist Sting (Gordon Sumner) completed the trio and they pretty much set the world on fire right out of the gate. "D'amour" contained the huge hit single "Roxanne" and the rest as they say is history. I kind of came late to the Polices early albums and kind of wrote them off at the time they were released, but going back now I think this is a really strong effort. The album is all over the place musically with elements of rock, reggae, jazz and even some experimental stuff thrown into the mix. 3 big hits came from the album "Roxanne", "So Lonely" and "Can't Stand Loosing You", and the album cuts are just as good if not better. I especially like the last half of the album with "Truth Hits Everybody", "Born In The 50's", "Be My Girl - Sally", and "Masoko Tanga". It is easy to see why these guys rocketed to success as fast as they did.

I enjoy all the songs on this one except "Born in the 50's" and "Be My Girl - Sally". I like how the songs are so varied. You get reggae with "So Lonely" and "Roxanne", punkish sounds with "Next To You" and "Truth Hits Everybody" and even some jazzy chords with "Hole In My Life" Even on this first album you can tell these guys had a boat load of talent and Sting's songwriting was top notch.

You can't discredit ANY Police album, even their weakest effort Ghost in the Machine which, aside from having the three worst Police songs in a row (Hungry For You, Demolition Man, Too Much Information), is chock full of signature classics and solid material that, like the best material on all of their albums, wouldn't quite sound at home on any of the other four albums. The worst thing you could say about any Police album is that it doesn't have a classic song from another Police album. The songs themselves are just that great. And although my absolute favourite Police songs come later, and I consider every Police album solid through and through, the first one, I think, really was the most impressive in using every minute available to create a truly unique listening experience. Every single track is a winner.

You got the great rockers Next To You, Hole in My Life and Truth Hits Everybody. Next To You and Hole in My Life both showcase Stewart Copeland's versatility at the kit. In the former's case, his ability to play around with a simple song and experiment creatively. In the latter's case, he plays a truly original drum beat that really rocks and makes the song what it is.

You have the three Police-iest songs ever, all on the same album, Roxanne, Can't Stand Losing You and the sublime So Lonely. Not every signature Police classic can be on the same album, but with all three of these winners on the same album, who could ask for anything more?

And the more quirky Peanuts and Be My Girl - Sally showing that The Police's songwriting wins; quirky or serious. Peanuts, like Synchronicity II later, is compositionally very complex with a lot of interweaving sections but still manages to succeed as a good, solid pop song. The Be My Girl section of By My Girl - Sally (the Sting penned section) on the other hand, is as simple as a song can be, and is every bit as solid.

Born in the 50's is the furthest thing from filler. On many other albums it'd probably be the standout track, but here it's just one more among nine other gems. The whole album never lets up. Nothing on it is anything short of amazing, and that's what sets Outlandos d'Amour apart. They don't waste a single second, giving you a listening experience unlike any other on the planet earth.

Rounding the whole thing out is the bizarre Masoko Tanga, a landmark Police track unlike anything else they've ever done, or anybody's ever done really. To hear it is to believe it, it's an utterly unique piece of music. It's well-crafted and grooves in an unearthly way, with those signature Andy Summers block chords on beat 2 and 4 forcing me to bop my head in time every time I hear it. Where Don't Stand So Close to Me, Message in a Bottle or Every Breath You Take are Police classics, Masoko Tanga is a Police masterpiece.

This is the place to start with The Police for sure. An amazing listening experience that always seems too short.