Is “Zenyatta Mondatta” The Police’s Perfect Record?

the police

October 2020 sees the 40th anniversary of what remains one of the 1980s’ most defining pop records. Zenyatta Mondatta was by no means The Police’s first assault on the transatlantic charts, but it remains one of their most enduring.

Sting, Andy Summers, and Stewart Copeland have come back together in recent times, but the band’s pop culture weight was only felt for a relatively brief time. “Mondatta” was the third of four albums to stem from the trio’s studio efforts, and while it may not have been as heavy or as brusque as their earlier material, there is certainly the argument to be made that it’s the band at their most radio-friendly.

Related: “The Police: ‘Everyone Stares'”

Sting felt that “Mondatta” was more a labor of duty rather than one of creativity. “The entire industry was waiting for an album,” he muses in the liner notes. “While I was writing it, I was getting messages from the record company saying retailers were waiting for it.”

“I had this impression of thousands of people, cogs in a great system, waiting for this album – and I was sitting there, struggling. And I got caught up in it, frankly.”

“Mondatta” arrived during peak Police-mania, with the band having worked endlessly on the road on the back of Regatta de Blanc. How do you follow up something so big? It wasn’t so much that “difficult second album,” as much as it was that terrifying “third time’s a charm.”

As history tells us, the third record for the trio really was the charm. You only have to look at the sheer volume of hits across the LP to understand how much “Mondatta” affected airplay in the US and across the West. Sting claims that the LP was the band’s “most flawed record,” but if sales and airplay were anything to go by, this remains just Mr. Sumner’s earnest and very much entitled-to opinion.

Even the title alone has resonance. At least, that’s how Stewart Copeland sold it at the time. “It means everything,” he mused to Musicians Only upon the release of Zenyatta Mondatta. “It’s the same explanation that applies to the last two (albums). It doesn’t have a specific meaning (…) or anything predictable like that. Being vague, it says a lot more. You can interpret it in a lot of different ways.”

Despite the striking title and the hits that rolled off the record, Copeland echoes some of Sting’s sentiments with regard to the era in which it was written and recorded. “It’s not a bad record,” he reflected barely six months later. “I quite like it. But I knew at the time we could improve on it.”

“The relationship between ourselves was pretty heated under the condensed conditions (…) Whilst we were in the studio, our sales figures were being discussed by people from the record company – and we hadn’t even got the thing on tape, let alone on vinyl.”

“A lot of people use terms like ‘selling out’ as though that’s the easy route. But it isn’t it at all,” Copeland advised in conversation. “It’s very difficult to make an album that’s tailor-made to go to the top of the charts. It’s also not very emotionally inspiring.”

That said, the critical reception of the album still holds up well, 40 years on. While Rolling Stone may have snubbed it beneath their three other LPs in their “500 Greatest Albums of All Time” list, you will be hard-pressed to find a critic who doesn’t have anything positive to say about it. The Police were a band built around electric chemistry. While Sting was the breakout star, Stewart Copeland and Andy Summers are masters of their craft, and Copeland has been – on multiple occasions – a willing spokesperson. He only managed to scrape Rolling Stone’s top ten drummers of all time, but he’s nonetheless iconic.

So – the hits themselves. This is not an album to carry anything quite as menacing as “Every Breath You Take” or as dreamlike as “Walking On The Moon,” but what it does offer is solid craftsmanship, and that alone is worth the sales. “De Do Do Do, De Da Da Da” may seem like a stereotypical pop song on paper, but it’s one that the band seems to be fairly proud of and for good reason.

How many albums are there which can open with the likes of “Don’t Stand So Close To Me” – a tale of slightly sinister schoolroom awkwardness – and still deliver peppy pop to close sides A and B? “Canary in a Coalmine” is a bouncy, slightly cautionary tune, but all the more typical of the band’s ability to blend thoughtful lyrics with abundant melodic hooks.

It’s hard to believe that Zenyatta Mondatta is 40 this year. It was never the critic’s darling, but it was a crucial step in the right direction – and their first platinum record in the US. Across the board, it was another smash for one of the most consistently listenable bands of the 1970s and 1980s, to the incredible extent that it was declared a hit before the cassettes were even out of the recorder. The Spotify generation needs to give this one another taste.

-Graham Pierrepoint

Photo: The Police (guitarist Andy Summers, bassist and singer Sting, and drummer Stewart Copeland), pose for a portrait, United Kingdom, circa 1979. (Photo by Fin Costello/Redferns/Getty Images)

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8 comments on “Is “Zenyatta Mondatta” The Police’s Perfect Record?

  1. Robert Bard

    “Zenyatta Mondatta” is the first Police album I purchased. It is still my favorite Police album, and mainly because of the non-hits. This is as solid as it gets, in terms of pop albums. It sounded so fresh and exciting in 1980, and it still sounds that way to my ears today! 1980–The Clash, The Jam, The Police…wow, it was so much fun being in college and listening to a fantastic and fresh-sounding group of rock/pop bands, I will never forget those years!!

  2. Mark Hudson

    Good article. However, The Police made 5 studio albums not 4.

    • Jose Gonzales

      How could the writer and editors get this number so wrong????. Outlandish d’Amour, Regatta de Blanc, Zenyatta Mondatta, Ghost in the Machine, and Synchronicity. I think that last one rivals Zenyatta, but it’s a matter of taste.

  3. Bill Brocato

    and he did it twice! Wish he would have gone a bit more in depth about the songs on the record, which I agree is a great one.

  4. Charles Caracciolo

    Reggatta de Blanc is closer to perfection IMHO than Zenyatta Mondatta. I don’t agree with the suggestion that more radio hits equal a better or more perfect album.

  5. Approaching 40 years as a loyal and diehard Police fan, I find Zenyatta Mondatta somewhat of an enigma actually b/c while it contains one of my all-time Top 5 fav Police songs, Driven To Tears (a great song period, let alone within the Police’s repertoire) plus other favs like Don’t Stand So Close To Me, Canary ina Coalman and Man in a Suitcase, I tend to agree with those who consider ZM the band’s weakest of their 5 studio albums…relatively speaking, of course. In their defense, it has a lot to do with the band finishing the record at 4 AM the morning of their ensuing tour. The being said, “Side 1” (back when album sides actually mattered) is an outstanding mix of pop, reggae and unique Police-esque sounds/vocals that rival any “side” of a Police album. In addition to the aforementioned opening 2 tracks, “When The World…” has such an infectious bass line, you forget it repeats the same 3 chords throughout…with no bridge even! That’s pretty impressive to pull off if you ask me. (As an aside, I would’ve loved to have heard a Police mash-up of “Bring on the Night into When The World” a la Sting’s solo concert version.) Side 2 of ZM, on the other hand, seems far too bipolar in its attempt to incorporate varying styles. “De Do Do Do” nicely opens it with an upbeat, elegantly simple sound/vocal, but is borderline poppy. And then I have to agree with Sting that “Behind My Camel” majorly disrupts the momentum with its slow, plodding guitar. (The irony that Camel actually won the same Best Instrumental Grammy that Regatta’s title track deservedly did always makes me shake my head…but I digress.) “…Suitcase” picks up the pace again by going back to a more reggae feel only to have it brought back down by the Police’s version of “Shadows In The Rain” (as opposed to Sting’s much more appealing up-tempo/jazzy solo version on “Dream of the Blue Turtles.”) And lastly, “The Other Way Stopping” tries its best to end the album on a happy note, so to speak, but the repetitive rhythms leaves you wanting more. So despite the fact that Synchronicity, Regatta de Blanc, Ghost in the Machine and Outlandos D’Amour all arguably outshine this one, Zenyatta Mondatta contains enough strong, Police-defining songs to more than carry the load of the band’s enduring legacy….Thanks! Ee-yoh!

  6. This album was gifted to me rather randomly Christmas of 1980. I was into that “punk and new wave stuff” and this was getting a lot of attention in that regard. All of their records had a specific frequency and this one fell right in the middle of the epic. At this point, I want Sting to come down off the mountain and write an entire album with Andy and Stewart that sounds like “Shadows In The Rain”. (The original one. Not the Blue Turtles’ yacht rock version.) I want him to resurrect his one time fascination with William Burroughs and wreck shop on all of the other bands as only they could back in the day. I can’t imagine what Andy would bring to the table after making a recent recording like his “Metal Dog” album. The band hits were just that. Hits. Irrefutably so. But it has always been the deep cuts and especially the B – sides they kept me as a fan decades running. “Friends” was recorded during these sessions, Andy’s savory cannibalism song with vocalizations from Sting akin to the kind of nightmarish howls that wake you from a cold sweat fever dream. (Make note of the James Brown’s JB’s on LSD b-side jam “Flexible Strategies” from the GITM sessions.) C’mon guys. You can do it…!

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