The Police - Discography -flac Songs- -pmedia- --- -

2023 Favorites

12/21
75orLess
· blog · Uncategorized

Favorite releases of 2023

Motorbike – ST
Sparklehorse – Bird Machine
Quasi – Breaking the Balls of History
Scream – DC Special
Marnie Stern – The Comeback Kid
Achterlicht – Demo EP
Nina Nastasia & Marissa Paternoster – This is Love EP
Motrik – Koan EP
Angry Adults – Dust and Weight
Zero Bars – Demo EP
Department of Teleportation – Lifestyles of the Spatially Unreasonable EP
Exploding Zones – Meadow/Water Motor Gong Bell EP’s

Reissues and cover albums:

The Replacements – ‘Tim’ box set
Folk Implosion – Music for KIDS
Mercyland – No Feet on the Cowling
The Feelies – Some Kinda Love
Harvey Milk – Reckoning
Rick White – 20 Golden Hits of the 80’s
Grandaddy/Jason Lytle – Sumday The Cassette Demos

75orLess Radio FAQ

11/19
75orLess
· blog

So how does making a radio episode work? Basically, you record it at home on a computer and email it in! Here are the steps to making that happen:

First, thank you!
You will need a computer, a microphone – laptops have them standard nowadays – (usb microphones also work great) and mp3/wav/aiff formatted music to play. *** My advice is to start by organizing your music collection. By having your music ready to go, it makes everything else easier. ***
You will need a free music program, such as Audacity or Garageband. I also hear that Logic works if you use a Mac.
Mess around with the free software and learn the basics. That is all you need to create a show.
Record your show. I can show you how to do this in Audacity, or you can figure it out. You are free to talk or play as much music as you want. No racism or other bigoted stupidity will be tolerated.
Recording a weekly show is ideal, but less than that works too. As far as length goes, an hour is typical, but 30 minutes is acceptable. Also, think of a name for your show.
During your show, (if you do speak) mention you are part of the “75orLess Community Internet Radio Network.” at least once.
Email the following items to [email protected]: One large music (mp3) file – your completed music file should be between 30-130MB in size– quality should be 192kb or less, along with a photo, and a playlist.
I will upload your file to Archive.org and convert your show into an mp3 link. I will post a link each day to Facebook, Instagram, Blue Sky, & Threads letting people know who you played and a link to listen.
We currently use Archive.org for our file hosting, but please keep your older show episodes saved in a safe place!
It’s fine to take a week off! If you are burnt out, take time to refresh! Take two if needed! This is supposed to be fun!
Shows are posted here: https://75orlessrecords.com/75orless-radio/ and hosted here
How many listeners to we have? We estimate between 7-90 listeners per day according to our stats.
Please send any questions to: [email protected] or through Instragram!
Thank you again!

Updated 01/08/2025

Father Carmine ‘Ambien’ Live at Dusk 3-17-23

03/21
75orLess
· Father Carmine · video

Benji’s, The Kitty Pills Review

01/13
75orLess
· blog

The Benji’s – Kitty Pills EP

The Benji’s are an indie pop trio that’s not quite punk, but more radio ready alternative rock ala Joy Zipper or Veruca Salt. The vocals will remind you of Letters to Cleo’s Kay Hanley and the music is filled with cheerful keys, subtle guitar fills, and hooks galore. Blasts of catchy alt pop punk with the exclusion of ‘Tapes,’ which is the unofficial slow dance anthem of Sadie Hawkins dances everywhere.

Released Feb 14, check out the band’s bandcamp site

The Police - Discography -FLAC Songs- -PMEDIA- ---

That’s Not Incredible! Baseball Hats

10/09
75orLess
· 2021 · APPAREL · blog

75OL-335 That’s Not Incredible! Baseball Hats

Red, White, and Blue adjustable size hats

[sold out]

If you are looking for information about this particular release (quality, completeness, lineage), please note:

PMEDIA is known for high-quality scene/internal releases, often with proper logs, cues, and artwork.
The naming convention --- at the end might indicate a placeholder, a split archive, or a password-protected container.
A "deep story" could refer to how The Police’s studio albums (Outlandos d'Amour, Reggatta de Blanc, Zenyatta Mondatta, Ghost in the Machine, Synchronicity) plus live albums and B-sides were compiled into a single FLAC pack — often including rare tracks like "Don't Stand So Close to Me" (original 1980 version vs. 1986 re-recording).

If you meant something else by "deep story" — for example, a narrative about the band disguised as a file listing — could you clarify? I can also write a fictional "deep story" based on that title, where a detective finds a cursed hard drive containing The Police's FLAC files that reveal hidden messages from Sting's tantric past.

Let me know which direction you'd like.

The Police Discography

The Police are a British rock band that formed in 1977, consisting of Sting (lead vocals, bass guitar), Andy Summers (guitar), and Stewart Copeland (drums). During their career, they released five studio albums, one live album, and several compilations. Here's a detailed list of their discography:

Studio Albums

Outlandos d'Amour (1978)
- Released: November 2, 1978
- Label: A&M Records
- FLAC Tracks:
  - 1. "Roxanne"
  - 1. "Can't Stand Losing You"
  - 1. "Chinese Man"
  - 1. "Next to You"
  - 1. "So Lonely"
  - 1. "They're Coming to Take Me Away"
  - 1. "Truth Hits Everybody"
  - 1. "Born in the U.S.A."
  - 1. "Rivers of Blood"
Reggatta de Blanc (1979)
- Released: October 5, 1979
- Label: A&M Records
- FLAC Tracks:
  - 1. "Message in a Bottle"
  - 1. "Welcome to My Nightmare"
  - 1. "Whispers"
  - 1. "Don't Stand So Close to Me"
  - 1. "De Doo Doo Doo De Da Da Da"
  - 1. "No Time"
  - 1. "Walking on the Moon"
  - 1. "White Briar"
Zenyattà Mondatta (1980)
- Released: October 3, 1980
- Label: A&M Records
- FLAC Tracks:
  - 1. "Don't Stand So Close to Me"
  - 1. "De Doo Doo Doo De Da Da Da"
  - 1. "King of Pain"
  - 1. "Trouble"
  - 1. "Visions of the Night"
  - 1. "Roxanne (live)"
  - 1. "The Other Side of the World"
  - 1. "Zenyattà Mondatta"
Ghost in the Machine (1981)
- Released: September 25, 1981
- Label: A&M Records
- FLAC Tracks:
  - 1. "Invisible Sun"
  - 1. "Every Little Thing She Does Is Magic"
  - 1. "Ghost in the Machine"
  - 1. "Securing the Locks"
  - 1. "One World"
  - 1. "Dog Eat Dog"
  - 1. "The Gold Rush"
  - 1. "Better Be Good to Me"
Synchronicity (1983)
- Released: June 17, 1983
- Label: A&M Records
- FLAC Tracks:
  - 1. "Synchronicity Part I"
  - 1. "Every Breath You Take"
  - 1. "Wrapped Around Your Finger"
  - 1. "Synchronicity Part II"
  - 1. "The Post War Dream"
  - 1. "No Reply"
  - 1. "Lost King's Car"
  - 1. "Shadows in the Rain"

Live Album

Live! (1995)
- Released: November 6, 1995
- Label: A&M Records
- FLAC Tracks:
  - 1. "Roxanne"
  - 1. "Can't Stand Losing You"
  - 1. "Message in a Bottle"
  - 1. "Every Little Thing She Does Is Magic"
  - 1. "King of Pain"
  - 1. "Every Breath You Take"
  - 1. "Synchronicity Part I"
  - 1. "Synchronicity Part II"

Compilations

The Police: Certifiable (2008)
- Released: November 10, 2008
- Label: A&M Records
- FLAC Tracks:
  - 1. "Roxanne"
  - 1. "Can't Stand Losing You"
  - 1. "Message in a Bottle"
  - 1. "Every Little Thing She Does Is Magic"
  - 1. "King of Pain"
  - 1. "Every Breath You Take"
  - 1. "Synchronicity Part I"
  - 1. "Synchronicity Part II"

FLAC Details

The FLAC (Free Lossless Audio Codec) files from PMEDIA are encoded at a high quality, with the following specifications:

Sample rate: 44.1 kHz
Bit depth: 16-bit
Bitrate: 1,411 kbps
Compression ratio: 50-60%

PMEDIA

PMEDIA is a popular online repository for FLAC music files, known for its high-quality encodings and comprehensive discography. However, I must note that downloading copyrighted content without permission may be against the law in your region.

Title: The Police - Complete Studio Discography [FLAC] -PMEDIA- Release Info: Genre: Rock / New Wave / Post-Punk | Codec: FLAC (Free Lossless Audio Codec) | Bit Depth: 16-bit | Sample Rate: 44.1kHz | Artwork: Included (600x600 DPI)

3. Zenyatta Mondatta (1980)

Key tracks: “Don’t Stand So Close to Me,” “Driven to Tears,” “Behind My Camel”
Recording notes: Tighter, drier production. Stewart Copeland’s drumming is unusually forward in the mix.

1. Outlandos d’Amour (1978)

Key tracks: “Roxanne,” “Can’t Stand Losing You,” “So Lonely”
Recording notes: Raw, punk-energy production. Good FLAC rip reveals the room ambience and Sting’s unpolished vocal urgency.

Live & Compilation Albums (often included in “complete discography” packs)

Live! (1995) – Carnegie Hall performance
Every Breath You Take: The Singles (1986)
The Police: Greatest Hits (1992) – often remastered
Certifiable: Live in Buenos Aires (2008) – 24-bit/48kHz available officially

Important: A true “Discography FLAC PMEDIA” set typically includes the five studio albums in original CD or vinyl-rip FLAC, plus live albums and B-sides. However, no official release ever carried the “PMEDIA” tag.

Motif reviews Jodie Treloar Sampson’s “I Thought I Was Dead”….

04/02
75orLess
· blog · Treloar, Jodie

You can read the article here

Jodie Treloar Sampson — I Thought I Was Dead, but I Was Really Alive (75orLess Records)

The second EP from Jodie Treloar Sampson is absolutely vibrant! “Water” opens like a campfire lullaby then flows into something more. “Cotton Candy Girl” navigates the nostalgia of youth and how time changes us. It kind of reminds me of post-modern ’70s folk. Timeless is probably more accurate, but I get paid the big bucks to make up genres that don’t exist. “Pangea” rocks against the continental drifts of a past relationship with searing lines like, “All I know is what I feel and it’s all too fucking real, going to make this good as a death row meal.” My favorite is the ballad “Fits and Starts” because the sparse instrumentation of the piano and percussion allows one to sway in the glow of Sampson’s vocals. I Thought I Was Dead, but I Was Really Alive is available on all the streaming sites.

Jodie Treloar Sampson Interview in the Pawtucket Times

03/15
75orLess
· blog · Treloar, Jodie

You can read the article here

The most satisfying part of creating a piece of art is when it’s done. This is especially true when the artist is also dealing with multiple diseases during the process of making it. Swansea native and stellar singer-songwriter Jodie Treloar Sampson had to deal with this while writing the music for her latest record, I Thought I Was Dead, But I Was Really Alive. The record was released via the Warren based label 75orLess Records on January 21 and since its release she’s been looking on to the next step. She’s also been managing her time between running her own business and pursuing another creative outlet.

We recently had a conversation about the music she grew up with, having a bunch of people being involved in the making of the album, a commercial she’s recently been a part of, wanting to do a lot of things and being reinvigorated.

Rob Duguay: How would you describe your upbringing with music? Did your parents play records for you when you were a kid or did you get into it on your own?

Jodie Treloar Sampson: It was definitely both. I’m 40, which is not that old but my family did have a record player in the living room when I was growing up. This was before we had CDs or a CD player and my parents had a lot of records, I used to listen to a lot of folk. Stuff like Simon & Garfunkel and Joni Mitchell but I also listened to their rock records, I remember when they had The Rolling Stones’ Sticky Fingers on vinyl and I’d look at the zipper on the cover and it was crazy. My parents were kind of easy with that stuff, we’d watch bad shit on HBO and do things that we probably shouldn’t have.

We had Led Zeppelin and The Who, I remember really being into The Who’s A Quick One because it had “Boris The Spider” on it. The Beatles were also a big part of me growing up, I remember being really young around six or seven years old when I started with music and I think it was because I’m the baby of the family. My brother and sister are about five years older and they’re only a year apart but I was way younger while always trying to catch up with them and do everything they were doing that I thought was cool. I listened to everything they were listening to with my parents, my sister was obsessed with The Beatles and I’m not even trying to brag but I think I can play every single Beatles song. My brother brought a lot to the table too musically as well and I grew up playing piano probably at age six.

My mom got us all piano lessons, I was always more rebellious though. My siblings were really disciplined and better students, my brother got his master’s in music and he’s actually the band director at B.M.C. Durfee High School in Fall River. He’s a very accomplished musician, when he was in college he was a big brass player but he also played guitar and he’s just phenomenal. His kids are awesome too. My sister stopped after high school but I started playing guitar when I was 20, it was really because I wanted to sing.

I can play piano really well without singing but sometimes it’s not easy for me to play and sing that way so I wanted something that made it easier to do that. To be honest with you, all I ever really wanted to do was sing even as a kid. I think that’s why I’m so adept at harmonies because I was alwaying singing with The Beatles when I was young. I don’t know whether I just have a natural ability for it and it was encouraged by what I was listening to or it was something else. I also love Neil Young and Crosby, Stills & Nash, I like ‘60s and ‘70s folk and rock music.

RD: Those harmonies that you mention are very apparent in your latest album, I Thought I Was Dead, But I Was Really Alive. It’s a mix of folk, dream pop and alternative rock and you also say in the liner notes that it was born of confusion, illness and healing. Do you consider the making of the album to be a very cathartic experience for you?

JTS: Oh my God yeah. It was even more cathartic getting it out because honestly when I was writing some of the songs I was really ill with lyme disease and Rocky Mountain spotted fever. I was finishing grad school and I was just really tired and ill. Writing the songs wasn’t even the hard part, it was cathartic but I think the most cathartic part was getting everything recorded. I just didn’t have the energy and that’s what I named the record what it is, I really felt that way.

I thought I was dying, both physically and mentally. I didn’t have the same “umph” anymore and I didn’t have the same life force anymore, so now that it’s out I’m much more thrilled. I feel like now I have the space and the freedom to get to work on my next project, which I’m excited about.

RD: Did you make the record before COVID-19 hit and you were just waiting to put it out? Did the pandemic get in the way of everything at all?

JTS: It didn’t get in the way, it was actually good because it gave me some time to try and get my shit together, get the artwork done and do everything that I had to do for it. The pandemic was kind of a relief in a way because I was running around way less. It’s nice because I had a little bit of time to think about what I really wanted to do with it and it didn’t feel rushed. While COVID-19 completely sucks in every possible way it did allow for some more time. I will tell you that I really wasn’t creative during the height of the pandemic, I’ve written a couple of songs and one of those I really like but maybe two, maybe two. It’s been a weird time.

RD: It definitely has been.

JTS: Creatively I don’t feel in touch like I did but to your point, the catharsis of putting the new album out has released me and unburdened me in a big way so that chunk of me is now done and I can move on to the next chapter.

RD: That’s great to hear. You had a lot of people involved in the making of the album including Stephen Demers, your husband Eric Sampson, Tom Chase, Kraig Jordan, Rachel Blumberg and Scott Janovitz on various songs. How were you able to get everyone together? Was it pretty much you emailing everybody and that’s how it came about or did they reach out to you?

JTS: I have a really wonderful relationship with Kraig, he’s my producer, sound engineer and creative partner all rolled up into one person. He runs a recording studio in Providence called Plan Of A Boy and we started working together a long time ago. The first thing I recorded with him was when I was doing backing vocals for a song by Six Star General and that was in 2010. He’s the best, we both have such similar tastes in so many ways and he’s just so open-minded, so enthusiastic and he’s always excited about working. Talk about a prolific musician, he’s put out so much music that it’s unbelievable.

He also has so many people that he loves to work with that he’ll have them jump in on a recording, like how he got Scott to jump in on piano for a few of my songs. I knew I wanted to ask Rachel to do the drums because she’s just so good and I got lucky that she had the time and she could do it. She recorded the drums in 2016 so it was a while ago. I’ve worked with Tom on numerous things over the years and Kraig is really the catalyst for all of these people coming together on the record. He just has all of these different connections and good relationships with different musicians of such high quality and talent.

Tom and I did a commercial together for Bob’s Discount Furniture, the one for the Bob-O-Pedic mattress. It’s on TV right now with me singing “Bob’s Bob-O-Pedic”.

RD: Wow, that’s you? I had no idea.

JTS: Yeah, that’s me and Tom is the gummy bear character. The guy who directed the commercial is connected to Kraig and honest to God, Kraig is the keystone in the bridge of getting all of these people together. I could not be more grateful for him, truly. Of course, Stephen Demers is my guitar player and I’ve worked with him for years. My husband Eric is super easy, I just ask him to play on something and he’ll do it. This record is so special to me, I’m so happy I did it.

RD: I can see why, you had a lot of great people involved and I enjoyed listening to it.

JTS: Thanks.

RD: No problem. You alluded to how after the release of this record you feel motivated to start the next chapter of your music career, so what is it? What do you have in mind so far? Are you still putting things together for your next release? I know a lot of artists are putting out singles on a monthly basis, so perhaps it’s something like that?

JTS: I like what you just said about releasing singles because I’ve never really done that and I think that’s going to be the next little project I’m going to take on. I am putting out a little companion to the new record for all of the people who participated and donated to the GoFundMe for the album, which will have a b-side on it. That’s in the works right now and then I plan on doing at least one single as soon as I can. 75orLess has another compilation they’re putting out and my husband, Kraig and I did a cover of an Aimee Mann song titled “Save Me” which is her really big hit from the film Magnolia. The reason I bring that up is because Eric and I recorded it at our house and we sent the files to Kraig, he just mixes and adds his magic to it.

I’ve been doing voiceover work for the last year too and I’ve learned how to do my own recording at my house so I think my recording will be a lot more accessible to me now. I live on Martha’s Vineyard so I’d have to ferry off the island and drive all the way to Providence. This is definitely an easier way to do it so the next step for me is to definitely get more voiceover work whenever that can happen. There’s so many things that I want to do and I have a full-time acupuncture practice that I run out of my home. I’m actually kind of happy that I took a break from dealing with the pressure of playing live and now I’m longing to get back on stage.

When the pandemic is over that’ll be a really good next step and I might even put together a tiny mini tour of the East Coast. Nothing major but I like to keep it small but also quality so it’s well curated the best I can.

David Tessier’s ASBOAS “Big Rock” video

02/16
75orLess
· video

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