Okay, let's concentrate on the lesser stuff. As somebody who's deeply convinced of the Police being rock's greatest musical outfit since the 'Golden Age', I find it useless to bitch about whether there is or there isn't any filler on here - some of the tunes might be considered "filler" by the band's standards, just as some of the Beatles' tunes might be considered "filler" by their standards, but they're all good. The only tune which hardly does anything for me is Copeland's 'On Any Other Day'; it's pretty funny, but sounds rather scattered and lacks a distinct hookline as opposed to everything else. Yes, everything else does have distinct hooklines, including the rest of Copeland's stuff. Chris Welch may hate the guy, dismissing ninety percent of his compositions, but how can one really dismiss 'Contact', when that rumbling bassline and deep booming vocals in the verses gotta be the scariest moment on the whole record?
[George Starostin]
Okay, let's concentrate on the lesser stuff. As somebody who's deeply convinced of the Police being rock's greatest musical outfit since the 'Golden Age', I find it useless to bitch about whether there is or there isn't any filler on here - some of the tunes might be considered "filler" by the band's standards, just as some of the Beatles' tunes might be considered "filler" by their standards, but they're all good. The only tune which hardly does anything for me is Copeland's 'On Any Other Day'; it's pretty funny, but sounds rather scattered and lacks a distinct hookline as opposed to everything else. Yes, everything else does have distinct hooklines, including the rest of Copeland's stuff. Chris Welch may hate the guy, dismissing ninety percent of his compositions, but how can one really dismiss 'Contact', when that rumbling bassline and deep booming vocals in the verses gotta be the scariest moment on the whole record? [George Starostin]