History Music / NoJacketRequired

* TakeThat: According to Collins in a ''Magazine/{{Playboy}}'' interview, the album title is a jab at the Pump Room, a fancy UsefulNotes/{{Chicago}} known for its strict dress code. Collins attempted to join Music/LedZeppelin's Robert Plant for dinner there, but was denied entry because his jacket, which was required for entry, wasn't considered proper enough, much to his chagrin. The inner sleeve and contemporary publicity photos further mock the incident by depicting Collins in an oversized suit. The staff at the Pump Room would ultimately respond to Collins' jabs by granting him immunity to the dress code and sending him a complimentary sport coat.

* DeliberatelyMonochrome[=/=]FaceOnTheCover: The sweaty[[note]]he was actually sprayed with glycerin on his forehead to achieve the perspiration[[/note]] reddish-orange-lit head of Collins on a black background looking at the camera above him. Creepy. The 2016 remaster recreates the cover with an older, balder Collins.

* LyricalDissonance: Collins confirmed in a 1997 performance for ''Creator/VH1 Storytellers'' that the upbeat "Take Me Home" is about a patient in a mental hospital yearning for freedom and that it is inspired by Creator/KenKesey's ''Literature/OneFlewOverTheCuckoosNest''.

"I'm never coming back"''\\

It's gonna get worse if he waits too long''
-->--"Don't Lose My Number"

During the hiatus following promotion of the [[SelfTitledAlbum self-titled]] [[Music/GenesisAlbum twelfth album]] of Music/{{Genesis}}, Phil did a collaboration with Music/EricClapton before beginning work on his next solo album. He made a conscious decision to go more up-tempo with the work for this album.

* NewSoundAlbum: Collins drops the remaining ProgressiveRock elements from his first two albums and incorporates greater pop and funk elements, essentially becoming a white version of the Minneapolis Sound (Collins even described Music/{{Prince}} as an influence). For better or for worse, this would set the tone for the remainder of his solo career and his time with Music/{{Genesis}} up to the present day.

* SpecialGuest: Music/{{Sting}}, [[Music/CultureClub Helen Terry]], and former Music/{{Genesis}} bandmate Music/PeterGabriel provide backing vocals on "Take Me Home". Collins had previously provided drum parts for Gabriel's third SelfTitledAlbum (better known as ''Music/{{Melt}}''), and Gabriel's appearance on this track was a means of returning the favor.

* LyricalDissonance: The upbeat "Take Me Home" is believed by more than a few people to be about a patient in a mental hospital yearning for freedom.

[[caption-width-right:300:''They don't tell me nothing

[[caption-width-right:300:''Take that look of worry, mine's an ordinary life''[[labelnote:2016 reissue cover]]https://static.tvtropes.org/pmwiki/pub/images/no_jacket_required_remaster.jpg[[/labelnote]]]]

* DeliberatelyMonochrome[=/=]FaceOnTheCover: The sweaty reddish-orange-lit head of Collins on a black background looking at the camera above him. Creepy. The 2016 remaster recreates the cover with an older, balder Collins.

[[caption-width-right:300:''Take that look of worry, mine's an ordinary life''[[labelnote:2016 reissue cover]][[https://static.tvtropes.org/pmwiki/pub/images/no_jacket_required_remaster.jpg[[/labelnote]]]]

[[caption-width-right:300:''Take that look of worry, mine's an ordinary life'']]
[[quoteright:300:https://static.tvtropes.org/pmwiki/pub/images/no_jacket_required_remaster.jpg]]
[[caption-width-right:300:''Working when it's daylight, and sleeping when it's night'']]
->''They came at night leaving fear behind''\\
''Shadows were on the ground''\\
''Nobody knew where to find him''\\
''No evidence was found''\\
''"I'm never coming back"''\\
''They heard him cry and I believe him''\\
''Well he never meant to do anything wrong''\\
''It's gonna get worse if he waits too long''
-->--'''"Don't Lose My Number"

'''''No Jacket Required''''' is the third studio album recorded by ProgressiveRock-turned-{{pop}} rock artist Music/PhilCollins. It was released through Creator/VirginRecords in the United Kingdom, and Creator/AtlanticRecords in North America, on 18 February 1985.

Reception for the album was generally positive; Stephen Holden of ''The New York Times'' called it "refreshing". But some were recognizing his overt move to {{pop}} rock, with David Fricke of ''Magazine/RollingStone'' referring to such a transformation as an "improbable success [story]". ''The Village Voice'' was less flattering, giving the album a C. Stephen Williams of ''Newsday'' noted it lacked the tense edge of his work with Genesis.

Unfortunately for some, the massively-1980s production style -- which was present to an extent not seen in any of his albums before or since -- would bleed into [[Music/InvisibleTouch the next album for Genesis]]. But for the moment, this translated into Collins' most successful solo album. It sold 12 million copies in the United States, and was certified Diamond by the RIAA. It also went six-times Platinum in the United Kingdom. It hit #1 virtually everywhere (including the US and UK), and finished #6 on the year-end Billboard 200 album chart for 1985.

Unfortunately for some, the massively-1980s production style -- which was present to an extent not seen in any of his albums before or since -- would bleed into [[Music/InvisibleTouch the next album for Genesis]]. But for the moment, this translated into Collins' most successful solo album. It sold 12 million copies in the United States, and was certified Diamond by the RIAA. It also went six-times Platinum in the United Kingdom. It hit #1 virtually everywhere (including the US and UK), and finished #6 on the Billboard Year-End Top 200 album chart for 1985.

* JustForFun/IThoughtItMeant: Many thought "Take Me Home" was about some sort of resolution. It's actually about some bloke getting committed to an institution.

* LyricalDissonance: "Take Me Home", an upbeat-sounding song about a patient in a mental hospital yearning for freedom. Most people tend to misinterpret the song by taking the title literally, not helped by the music video simply being of a travelling Collins genuinely trying to return to his house.

[[MadnessMantra 'Cause I don't remember\\
Take, take me home]]''

Reception for the album was generally positive; Stephen Holden of ''The New York Times'' called it "refreshing". But some were recognizing his overt move to {{pop}} rock, with David Fricke of ''Magazine/RollingStone'' referring to such a transformation as an "improbable success [story]".

''The Village Voice'' was less flattering, giving the album a C. Stephen Williams of ''Newsday'' noted it lacked the tense edge of his work with Genesis. Public perception of the album would also decline with time, thanks to the album's production values becoming incredibly dated in later decades to an extent not illustrated by any of his other albums before or since this one. Of course, Collins being subject to one of the largest and most infamous cases of HypeBacklash throughout the 90's didn't help, but even his fans will concede that ''No Jacket Required'' tends to struggle the most at holding up to modern ears.

Unfortunately for some, this would bleed into [[Music/InvisibleTouch the next album for Genesis]]. But for the moment, this translated into Collins' most successful solo album. It sold 12 million copies in the United States, and was certified Diamond by the RIAA. It also went six-times Platinum in the United Kingdom. It hit #1 virtually everywhere (including the US and UK), and finished #6 on the Billboard Year-End Top 200 album chart for 1985.

'''''No Jacket Required''''' is the third studio album recorded by {{pop}} rock artist Music/PhilCollins. It was released through Creator/VirginRecords in the United Kingdom, and Creator/AtlanticRecords in North America, on 18 February 1985.

Several of his songs were drum machine improvisations, including "One More Night" and "Sussudio"; several were inspired by [[Music/TheJacksonFive The Jacksons]]. Another of the songs, "Don't Lose My Number", was pulled from the cutting-room floor of [[Music/FaceValue his first solo album]], though today even he doesn't understand what the song meant.

''The Village Voice'' was less flattering, giving the album a C. Stephen Williams of ''Newsday'' noted it lacked the tense edge of his work with Genesis.

* WordPureeTitle: "Sussudio" was just a jibberish working title for that particular song. It ultimately stuck.

* WordPureeTitle: "Sussudio" was just a jibberish working title for that particular song. It ultimately stuck.

* {{Parody}}: The music video for "Don't Lose My Number" parodies several contemporaneous music videos, including Music/DavidLeeRoth's version of "California Girls", "I'm Still Standing" by Music/EltonJohn, "Every Breath You Take" by Music/ThePolice, and "You Might Think" by Music/TheCars. It also paridoes scenes ''from Film/MadMax2TheRoadWarrior''.

* {{Paranoia}}: A line in "Take Me Home" may be a hint to its actual meaning:

* LyricalShoehorn: "Don't Lose My Number". Not even Phil knows what the song means. At some point, it may have been intended to mean something profound, considering it was originally played with for ''Music/FaceValue'', but that meaning has been lost to history.

* LyricalShoehorn: "Don't Lose My Number". Not even Phil knows what the song means.

* {{Parody}}: The music video for "Don't Lose My Number" parodies several contemporaneous music videos, including Music/DavidLeeRoth's version of "California Girls", and "You Might Think" by Music/TheCars.

Phil went on tour to promote the album in the first half of 1985, doing 85 shows in the UK, Australia, Japan, and North America.