“Reggatta de Blanc” Review
1) Message In A Bottle; 2) Reggatta De Blanc; 3) It’s Alright For You; 4) Bring On The Night; 5) Deathwish; 6) Walking On The Moon; 7) On Any Other Day; 8) The Bed’s Too Big Without You; 9) Contact; 10) Does Everyone Stare; 11) No Time This Time.
9+ out of 10
The singles from “Outlandos d’ Amour” were pretty successful instantly, giving “The Police” a commercial success that many of their more respected and critically acclaimed compatriots struggled to obtain or sustain.
In contrast, “The Police” continued to have more and more commercial success while becoming more and more experimental and textural. A strange contrast perhaps and more of the more interesting success stories of the “New Wave” period. Of course, some argue that their last and most successful “Synchronicity” was a total bland sell-out while others claim it was their best, most experimental album.
All of this build up has a point, I promise. Basically, there are two ways to look at this band: as a complete sell-out band that jumped from a once-promising punk/reggae band into an ego-vehicle for Sting’s pop pretensions and desire for money. Or you can look at them as a cutting edge band that successfully blended light experimental and texture tendencies with a rock and pop sensibility.
1979’s “Reggatta de Blanc” is the first warning sign that this band was not going to be “just” a punk or reggae band. While there are perhaps a few instances of punk speed and reggae styling (especially the Sting-Copeland co-write “It’s All Right for You” and the hard hitting “No Time This Time”) the band expands their sound to include a more atmospheric sound.
The best example of this is the classic, immortal “Walking On the Moon.” In spite of a few of Sting’s worst lyrical gaffes (the first lines “Giant steps are what you take/walking on the moon/I hope my legs don’t break/walking on the moon” are grammatically and logically erroneous) the song creates a unique atmosphere that hadn’t really been heard in the world of rock.
The basic set-up for the song is a simple but memorable Sting bass line which creates the melodic hook. Copeland plays some of the most interesting and intelligent atmospheric drumming I’ve ever heard: his work on the high-high defies description.
And who can’t forget Summers echoey, reverbed “BAM!” guitar chord? An instant atmosphere of moon walking. During the verse, Summers plays a more reggae based rhythm but it doesn’t detract from a song that matches the lyrical message of escapism.
Perhaps the most famous song on the album is “Message in a Bottle” one of the band’s main calling cards and a huge hit. It can be easy to dismiss the silly lyrics here (“seems I’m not alone in being alone” is almost good, though) but what can’t be denied are the constant barrage of great musical ideas. The simple but memorable guitar arpeggios. The way the songs transitions between sections organically and flawlessly. The drive of the song.
Yes, the song is very atmospheric but it’s also a hard driving, instantly memorable pop song. Yes, Sting repeats his annoying tendency of repeating a single phrase at the end of the song until you want to slap him but somehow it works better here than the first album.
The band pulls off another solid instrumental with “Regatta de Blanc.” The song isn’t as “world beat memorable” as “Maskogo Tanga” but it has a great build, amazing energy and is highly atmospheric. The same is true of the semi-instrumental “Deathwish.” Both of these tunes were band co-writes, leading me to believe that they were at the very least semi-improvised.
Copeland steps into his own as a songwriter with three solo-written songs to go with his earlier co-write. His first, “On Any Other Day” shows off Copeland’s rather…blunt sense of humor. It is funny, especially to hear and Copeland harmonizing (flatly) during the chorus. However, the song’s a bit too unmemorable to be a highlight.
“Does Everyone Stare” is perhaps the best Copeland written song on the album. It starts out with a mumbled Copeland vocal supported by cabaret style piano. Later, the band comes in and supports it with an appropriate rock cabaret arrangement as Sting takes over the vocalizations. It may depart slightly from the rather “blue” atmosphere of the album but it’s still a good tune.
“Contact” is a very strange song with deep synth bass swoops during the verse contrasting with the guitar arpeggios driving the “have we got contact?” chorus. Summers plays up a storm on this song, including simple arpeggios and driving rhythm guitar that show off his skills as a rock-solid, in the pocket rhythm guitarist with an almost unlimited knowledge of chords.
Speaking of Summers, his best showcase comes with the reggae ballad “The Bed’s Too Big Without You.” The chords he’s playing are rather simple but he nails that interesting hammered on progression perfectly. He also messed with the beat, throwing in off beat chords. Sting perhaps puts in his best vocal performance on this song. You actually believe him, for once.
The list of ballads and songs ends with “Bring on the Night” another semi-reggae ballad that features pretty sharp guitar playing, excellent singing and more of Copeland’s amazing drumming. The guy isn’t exactly the king of flash but he really knows how to throw in interesting variations on rhythms to keep the song from becoming too boring.
“Regatta de Blanc” is an improvement over “Outlandos d’Amour” because it (mostly) eliminates the weird stylistic detours of the debut album (such as “Sally”) and eliminates any serious songwriting gaffes (such as “Born in the 50’s”) and tightens up the playing to the point of pain. The band plays so tight during the album it almost seems uncanny.
However, the biggest improvement on the album is that it feels like an album. Instead of feeling like a collection of songs, it feels cohesive, atmospheric and engaging. The band uses synthesizers fairly sparingly throughout the album but it often feels like there are is something creating that depressing, despairing mood throughout the album.
The band might throw in more reverb than normal and play a bit slower but the atmosphere comes not from any real production tricks but from the songs and playing. These are moody tunes that all combine to create a moody album. It’s easy to feel blue while listening to this album.
However, the band doesn’t seem to wallow in its own depression and pretensions of atmospheric mood making. They avoid becoming overbearing by making their little depressing pop tunes catchy as hell and avoiding blunt, over-obvious lyrical sadness. The songs are a little sad, yes, but Sting does his best to avoid pure unhinged sadness.
A breakthrough for the band that sets the stage for their critical and commercial success.