Ranking The Albums: The Police

Written: 8th June 2025

Although The Police have been part of my musical world for many years, I did not come to know their music properly until after they had split up. I was almost eleven when Synchronicity was released so I was aware of the singles on the radio but little else. It was not until a few years later with the release of the Every Breath You Take (The Singles) that I fully became a fan and went back to explore these five wonderful albums.

Since then, their albums have remained important to me. Each record features the unmistakable voice and songwriting of Sting, the innovative guitar work of Andy Summers, and Stewart Copeland’s brilliant, energetic drumming. Together, they created something truly unique in rock music.

Ranking the five studio albums by The Police is not an easy task, especially because each of them have strengths and the band do not have a poor album in their discography. Each album offers something different whether it is raw energy, clever experimentation, or polished musicianship. The gaps between each album is very close and as with all of my other rankings, my personal experience of these albums, the moments they entered my life, and how much they still resonate have shaped their positions here. I also considered the number of tracks I rate highly and the way the albums work as complete listening experiences.

Remember, ranking albums is purely subjective and no list is any more valid than any other. Please add your own thoughts and rankings at the end.

5: Zenyatta Mondatta (1980)

Even in a list of five great albums, someone has to take the fifth spot. Zenyatta Mondatta is a crucial transitional album for The Police, capturing a band at a crossroads. Here, they started to balance their early punk and reggae influences with a more polished, radio-friendly sound that hinted at the musical heights they would soon reach. Sting’s songwriting shines with its blend of catchy hooks and thoughtful lyricism. However, I now cannot hear De Do Do Do, De Da Da Da without picturing Alan Partridge calling it a 'gibberish classic', which adds a layer of humour to my listening experience.

Andy Summers really comes into his own on this record, particularly with the mysterious and haunting guitar solo on Behind My Camel, an instrumental that feels like an intriguing outlier. Stewart Copeland’s drumming remains tight and inventive, especially on Bombs Away, where his rhythmic creativity lifts the track beyond a straightforward rock beat. While not as immediate as some albums, Zenyatta Mondatta rewards multiple listens and shows a band growing more confident in their signature style. An essential bridge between their raw beginnings and polished brilliance.

Three favourite tracks: Don’t Stand So Close To Me, Driven To Tears, When The World Is Running You Make The Best of What’s Still Around,  

4: Outlandos d'Amour (1978)

The Police’s debut, Outlandos d’Amour, bursts with raw energy and unfiltered urgency. It is the sound of a young band hungry to prove themselves, full of restless enthusiasm and spirited ambition. Sting’s songwriting here is fresh and immediate, with classics like Roxanne standing tall as timeless anthems that still resonate decades later.

Stewart Copeland’s drumming is a standout feature: his inventive fusion of punk aggression and reggae rhythm gives the band a unique edge and dynamic that set them apart from their contemporaries. Andy Summers’s guitar work, though less refined than in later records, is memorable in its own right, especially the vibrant riffs on So Lonely that inject a sense of urgency and emotion. The production feels a bit rough around the edges, but that only adds to the album’s charm, making it feel like a genuine snapshot of a band finding their sound in real time. Outlandos d’Amour retains the thrill of discovery, capturing the spark of a band on the brink of something much bigger and more influential.

Three favourite tracks: Next To You, Roxanne, Can’t Stand Losing You

3: Synchronicity (1983)

That initial compilation aside, this was the first album by The Police that I owned. There is no doubt that there are some excellent tracks on Synchronicity and it just misses out on the number two spot in this ranking due to the occasionally abrupt tonal shifts on Side One. Mother feels jarringly out of place, almost undermining the cohesion built elsewhere. However, the brilliance of Side Two more than makes up for this. I have always felt it is close to flawless in both construction and emotional impact and it pulls the album back into sharp focus.

Sting’s lyrics on Synchronicity delve deep into themes of obsession, isolation, and duality with philosophical nuance that adds richness beyond the catchy melodies. King of Pain and Every Breath You Take reveal a masterful balance between profound lyrical content and accessible pop sensibility, showing Sting’s growth as a songwriter capable of marrying depth with mainstream appeal. This album is a mature statement, where the band explore more complex emotional territory without losing the hooks that make their music compelling.

Three favourite tracks: Synchronicity II, King Of Pain, Wrapped Around Your Finger

2: Reggatta de Blanc (1979)

Reggatta de Blanc marks The Police at a pivotal moment where instinct, invention, and identity align. Sharper and more assured than their debut, this album presents a clearer sense of dynamics, seamlessly weaving punk, reggae, and rock into a cohesive whole. There is an undeniable urgency throughout the record, yet it also shows an elegant restraint knowing when to fill space and when to pull back. The title track is a masterclass in atmosphere, pairing minimalist arrangements with an infectious groove that sticks long after the song ends. Walking on the Moon extends this spacey vibe, with Andy Summers’s echoing guitar tones creating a hypnotic soundscape. Bring on the Night and The Bed’s Too Big Without You further demonstrate the band’s refined ability to stretch grooves without losing focus or momentum. Much of the album’s drive comes from Stewart Copeland’s rhythmic creativity; his drumming feels unpredictable yet perfectly controlled, injecting a kinetic energy that animates both the loud and quiet moments. Reggatta de Blanc is adventurous and endlessly re-listenable, capturing a band confident in carving out their own unique space in rock music.

Three favourite tracks: Message in a Bottle, Bring on the Night, Deathwish

1: Ghost in the Machine (1981)

By the time I acquired Ghost In The Machine, I was listening to a lot of rock music including darker edge progressive rock so I was extremely open to this album that stands apart as The Police’s boldest artistic statement, moving away from the sharp-edged minimalism of earlier albums and diving into a denser, more atmospheric sound. Here, the band builds emotional weight through layers of instrumentation, tone, and mood, creating a richer, more textured sonic landscape. Unlike their previous records, which thrived on rhythmic agility and clarity, this one feels heavier and slower, more introspective and abstract without ever losing focus. The expanded use of synthesizers and horns gives the album a unique character and signals a band willing to reinvent themselves rather than just refine their established formula. Andy Summers’s guitar work shifts from lead instrument to an integral part of the overall sonic fabric, adding ghostly textures and subtle detail instead of overt solos. Lyrically, Sting explores darker themes like societal alienation, technology, and existential angst, matching the album’s atmospheric weight with equally thoughtful content. Ghost in the Machine is not just a collection of singles but a unified piece – the deep cuts are among the best songs on the album -  that rewards repeated listens. To me, it remains the band’s most immersive achievement.

Three favourite tracks: Demolition Man, Secret Journey, Darkness

Listen to my The Police Through The Years playlist below - my three favourite songs from each album in chronological order.