By 1979's (translation: White Reggae), nonstop touring had sharpened 's original blend of reggae-rock to perfection, resulting in breakthrough success. Containing a pair of massive hit singles - the inspirational anthem 'Message in a Bottle' and the spacious 'Walking on the Moon' - the album also signaled a change in the band's sound. Whereas their debut got its point across with raw, energetic performances, was much more polished production-wise and fully developed from a songwriting standpoint. While vigorous rockers did crop up from time to time ('It's Alright for You,' 'Deathwish,' 'No Time This Time,' and the Grammy-winning instrumental title track), the material was overall much more sedate than the debut - 'Bring on the Night,' 'The Bed's Too Big Without You,' and 'Does Everyone Stare.' Also included was one of 's two lead vocal appearances on a album, the witty 'On Any Other Day,' as well as one of the band's most eerie tracks, 'Contact.' With, many picked and company to be the superstar band of the '80s, and would prove them correct on the band's next release.
Release dateSeptember 30, 1993 Liner NotesReleased in 1993 this is almost 'The Complete Recordings', but not quite. A small number of officially released tracks are strangely omitted from this release - for example:. 'Truth Hits Everybody (Remix)' which appeared on the bonus single included as a limited edition in the UK gatefold release of 'Every Breath You Take'. 'Don't Stand So Close To Me (Live) which was the b-side to the 'Don't Stand So Close To Me '86' single. 'Don't Stand So Close To Me '86 (Dance Mix)' which was a bonus track on the 'Don't Stand So Close To Me '86' 12' single.
Disc 2. Walking on the Moon. On Any Other Day. The Bed's Too Big Without You.
Contact. Does Everyone Stare. No Time This Time. Visions of the Night. The Bed's Too Big Without You (mono). Truth Hits Everybody (live).
Friends. Don't Stand So Close To Me. Driven To Tears. When the World Is Running Down, You Make the Best of What's Still Around. Canary in a Coalmine. Voices Inside My Head.
Bombs Away. De Do Do Do, De Da Da Da. Behind My Camel.
Man in a Suitcase. Shadows in the Rain. The Other Way of Stopping. Phew, what an amazing mass of magical music, the legacy of a band who soared across the late seventies and early eighties like a comet of energy and inspiration. It's fascinating to hear these classic cuts in chronological order, so we can trace the musical development of Sting, Andy Summers and Stewart Copeland. Who were these street urchins bashing out punk music on Fall Out and Dead End Job It certainly wasn't Andy on guitar on the first cut, but one Henri Padovani.
The change of guitarist and Stewart's abrupt change of drum style on So Lonely heralded the classic era of The Police's development. The cuts from their 1978 Outlandos d'Amour showed all the characteristics that would combine to make the band both so commercially attractive and musically innovative. Just listen to the carefree confidence of Roxanne. Sting's casual laugh, Stewart's reggae drums grooving their own sweet way and Andy's simple rhythm guitar lines show how a rock band should be recorded - live! It's amazing to think back to the ludicrously vindictive reviews the band used to get from a confused and jealous music press at the time.
Now they are no longer a threat but a sweet memory perhaps at last their output will be put into proper artistic perspective. Of course not everything they recorded was great.
Indeed sometimes they could be very neurotic and repetitive. Sometimes Sting's vocals were strained to breaking point as he tried to hit those elusive high notes.
But there was so much good stuff - so many great songs and a lot of ideas that set standards for years to come. Here is one boxed set well worth the investment!- By Chris Welch. Review from Musicians Only magazine by Chris WelchPhew, what an amazing mass of magical music, the legacy of a band who soared across the late seventies and early eighties like a comet of energy and inspiration. It's fascinating to hear these classic cuts in chronological order, so we can trace the musical development of Sting, Andy Summers and Stewart Copeland. Who were these street urchins bashing out punk music on 'Fall Out' and 'Dead End Job' It certainly wasn't Andy on guitar on the first cut, but one Henri Padovani. The change of guitarist and Stewart's abrupt change of drum style on So Lonely heralded the classic era of The Police's development. The cuts from their 1978 'Outlandos d'Amour' showed all the characteristics that would combine to make the band both so commercially attractive and musically innovative.
Just listen to the carefree confidence of 'Roxanne'. Sting's casual laugh, Stewart's reggae drums grooving their own sweet way and Andy's simple rhythm guitar lines show how a rock band should be recorded - live! It's amazing to think back to the ludicrously vindictive reviews the band used to get from a confused and jealous music press at the time. Now they are no longer a threat but a sweet memory perhaps at last their output will be put into proper artistic perspective. Of course not everything they recorded was great.
Reggatta De Blanc Meaning
Indeed sometimes they could be very neurotic and repetitive. Sometimes Sting's vocals were strained to breaking point as he tried to hit those elusive high notes. But there was so much good stuff - so many great songs and a lot of ideas that set standards for years to come. Here is one boxed set well worth the investment!