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Changed line(s) 51 (click to see context) from:
* ADayInTheLife: "On Any Other Day" is a window into the life of a father having a particularly rough day.
to:
* ADayInTheLife: DayInTheLife: "On Any Other Day" is a window into the life of a father having a particularly rough day.
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Now trivia
Deleted line(s) 83 (click to see context) :
* TheWalrusWasPaul: Stewart Copeland explained that the line in "On Any Other Day" about "when the wombat comes" is intentionally meaningless and meant to confound people, comparing it to the references to scrambled eggs in the original lyrics of Music/TheBeatles' [[Music/{{Help}} "Yesterday"]].
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A hundred billion castaways looking for a home\\
\\
\\
to:
A hundred billion castaways looking for a home\\
\\home.\\\
\\
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I hope that someone gets my''
-->'''"Message in a Bottle"'''
-->'''"Message in a Bottle"'''
to:
I hope that someone gets my''
-->'''"Messagemy...''
-->-- "Message in aBottle"'''
Bottle"
-->'''"Message
-->-- "Message in a
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''Reggatta de Blanc'', released in 1979, is the second studio album by English-American PostPunk[=/=]NewWaveMusic band Music/ThePolice. Following the initial UK underperformance of ''Music/OutlandosDAmour'', it seemed as if Creator/AAndMRecords would grip the band much more tightly in an attempt to secure greater returns, but the much greater US performance of the album gave the group enough profit to record a follow-up on an equally modest budget, preventing any chance of the label being incentivized to strongarm the group.
to:
''Reggatta de Blanc'', released in 1979, Blanc'' is the second studio album recorded by English-American PostPunk[=/=]NewWaveMusic band Music/ThePolice. It was released through Creator/AAndMRecords on 2 October 1979.
Following the initial UK underperformance of ''Music/OutlandosDAmour'', it seemed as if Creator/AAndMRecords would grip the band much more tightly in an attempt to secure greater returns, but the much greater US performance of the album gave the group enough profit to record a follow-up on an equally modest budget, preventing any chance of the label being incentivized to strongarm the group.
Following the initial UK underperformance of ''Music/OutlandosDAmour'', it seemed as if Creator/AAndMRecords would grip the band much more tightly in an attempt to secure greater returns, but the much greater US performance of the album gave the group enough profit to record a follow-up on an equally modest budget, preventing any chance of the label being incentivized to strongarm the group.
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* BoDiddleyBeat: "Deathwish" uses a variation: the beat is held perfectly by Sting's bass, while Stewart Copeland introduces a slight delay in the rhythm, playing the last kick of every measure a quarter note after Sting hits the BA-dump.
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->Walked out this morning, don't believe what I saw\\
to:
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-->Walked out this morning, don't believe what I saw\\
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[[caption-width-right:350:''Walked out this morning, I don't believe what I saw\\
A hundred billion bottles washed up on the shore'']]
A hundred billion bottles washed up on the shore'']]
to:
I'd come on over but I haven't got a raincoat'']]
-->Walked out this morning,
A hundred billion bottles washed up on the
Seems I'm not alone at being alone\\
A hundred billion castaways looking for a home\\
\\
I'll send an SOS to the world\\
I'll send an SOS to the world\\
I hope that someone gets my\\
I hope that someone gets my\\
I hope that someone gets my''
-->'''"Message in a Bottle"'''
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* BrokenRecord: The outro of "Message in a Bottle" consists of nothing but "(I'm) sending out an S.O.S" being repeated 25 times.
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* BrokenRecord: The outro of "Message in a Bottle" consists of nothing but "(I'm) sending out an S.O.S" being repeated 25 times.times, although if you listen closely to the outro of that song, Sting ends it with "sending out an S.O.-- blue."
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Changed line(s) 52 (click to see context) from:
** "Message in a Bottle" is a catchy song about a castaway on an island, who hopes to find love. A year later, after no response, he despairs -- thinking that he's destined to be alone. He then sees "a hundred billion bottles" on the shore, and realizes that there are more people like him.
to:
** "Message in a Bottle" is a catchy song that sounds catchy, but is about a castaway on an island, who hopes to find love. A year later, after no response, he despairs -- thinking that he's destined to be alone. He then sees "a hundred billion bottles" on fears the shore, and realizes that there are more people like him.prospect of being alone.
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** "Message in a Bottle" is a catchy song about a castaway on an island, who hopes to find love. A year later, after no response, he despairs -- thinking that he's destined to be alone. He then sees "a hundred billion bottles" on the shore, and realizes that there are more people like him.
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Need to explain more?
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* BrokenRecord: The outro of "Message in a Bottle" consists of nothing but "(I'm) sending out an S.O.S" being repeated 25 times.
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* ShoutOut: In a 1998 interview with ''GQ'' magazine, Sting stated that the LastSecondWordSwap at the end of "Message in a Bottle", where he sings "sending out an S.O.-- blue," is a nod to [[https://www.youtube.com/watch?v=-NRbmfLVoWo a childhood advertisement for Esso Blue paraffin]].
to:
* ShoutOut: In a 1998 interview with ''GQ'' magazine, Sting stated that the LastSecondWordSwap at the end of "Message in a Bottle", where he sings "sending out an S.O.-- blue," is a nod to [[https://www.youtube.com/watch?v=-NRbmfLVoWo a childhood advertisement for Esso Blue paraffin]].kerosene]].
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* GayPanic: An in-universe example: one of the misfortunes the narrator of "On Any Other Day" describes his how "my fine young son has turned out gay." The song was written at a time when it was socially acceptable to view one's son being gay as a genuine misfortune.
to:
* GayPanic: An in-universe example: one of the misfortunes the narrator of "On Any Other Day" describes his is how "my fine young son has turned out gay." The song was written at a time when it was socially acceptable to view one's son being gay as a genuine misfortune.
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* LastSecondWordSwap: Listening closely to the outro of "Message in a Bottle" reveals that Sting accidentally ends it with "sending out an S.O.-- blue."
to:
* LastSecondWordSwap: Listening closely to the outro of "Message in a Bottle" reveals that Sting accidentally ends it with "sending out an S.O.-- blue."
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* RearrangeTheSong: The band members had trouble coming up with material for the album, so they frequently resorted to raiding old material they had written and cannibalizing it to make new songs: "The Bed's Too Big Without You" and the "Bring on the Night" were recycled and reworked from songs Sting had written with the band Last Exit, "Reggatta de Blanc" originated as a jam they played on stage during their first tour as filler (it seems to have evolved from the instrumental break in "Can't Stand Losing You"), and "Does Everyone Stare" was cribbed from a piano piece Stewart had written in college.
to:
* RearrangeTheSong: The band members had trouble coming up with material for the album, so they frequently resorted to raiding old material they had written and cannibalizing it to make new songs: "The Bed's Too Big Without You" and the "Bring on the Night" were recycled and reworked from songs Sting had written with the band Last Exit, "Reggatta de Blanc" originated as a jam they played on stage during their first tour as filler (it seems to have evolved from the instrumental break in "Can't Stand Losing You"), and "Does Everyone Stare" was cribbed from a piano piece Stewart had written in college.
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* ShoutOut: In a 1998 interview with ''GQ'' magazine, Sting stated that the LastSecondWordSwap at the end of "Message in a Bottle", where he sings "sending out an S.O.-- blue," is a nod to [[https://www.youtube.com/watch?v=-NRbmfLVoWo a childhood advertisement for Esso Blue paraffin]].
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Changed line(s) 2,4 (click to see context) from:
[[caption-width-right:350:''Just cast away and I am lost at sea\\
Another lonely day and no one here but me'']]
Another lonely day and no one here but me'']]
to:
Another lonely day and no one here but me'']]
A hundred billion bottles washed up on the shore'']]
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Changed line(s) 2,3 (click to see context) from:
[[caption-width-right:350:''"Sendin' out an S.O.S."'']]
to:
Another lonely day and no one here but me'']]
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Changed line(s) 4,5 (click to see context) from:
''Reggatta de Blanc'', released in 1979, is the second studio album by English-American PostPunk[=/=]NewWaveMusic band Music/ThePolice. Following the initial UK underperformance of ''Music/OutlandosDAmour'', it seemed as if Creator/AAndMRecords would grip the band much more tightly in an attempt to secure greater returns, but the much greater US performance of the album gave the group enough profit to record a follow-up on an equally modest budget, preventing any chance of the label being incentivized to strongarm the group. Indeed, the band took their time with this record, taping its songs over a total of four weeks-- spread out across several months-- and with the same studio and producer as before (the belated UK success of ''Outlandos d'Amour'' motivated A&M to push the Police to record in a bigger studio and with a more famous producer, but the band ignored these requests). However, the more relaxed recording period was also the result of a creative block for the band: while ''Outlandos d'Amour'' was created during a particularly strong songwriting period for Sting, he found himself short on material this time around, leading him and his bandmates to dig through older, unused cuts to find stuff that they could use as AlbumFiller to make up for it, up to and including sticking the "So Lonely" BSide "No Time This Time" on.
to:
''Reggatta de Blanc'', released in 1979, is the second studio album by English-American PostPunk[=/=]NewWaveMusic band Music/ThePolice. Following the initial UK underperformance of ''Music/OutlandosDAmour'', it seemed as if Creator/AAndMRecords would grip the band much more tightly in an attempt to secure greater returns, but the much greater US performance of the album gave the group enough profit to record a follow-up on an equally modest budget, preventing any chance of the label being incentivized to strongarm the group. group.
Indeed, the band took their time with this record, taping its songs over a total of four weeks-- spread out across several months-- and with the same studio and producer as before (the belated UK success of ''Outlandos d'Amour'' motivated A&M to push the Police to record in a bigger studio and with a more famous producer, but the band ignored these requests). However, the more relaxed recording period was also the result of a creative block for the band: while ''Outlandos d'Amour'' was created during a particularly strong songwriting period for Sting, he found himself short on material this time around, leading him and his bandmates to dig through older, unused cuts to find stuff that they could use as AlbumFiller to make up for it, up to and including sticking the "So Lonely" BSide "No Time This Time" on.
Indeed, the band took their time with this record, taping its songs over a total of four weeks-- spread out across several months-- and with the same studio and producer as before (the belated UK success of ''Outlandos d'Amour'' motivated A&M to push the Police to record in a bigger studio and with a more famous producer, but the band ignored these requests). However, the more relaxed recording period was also the result of a creative block for the band: while ''Outlandos d'Amour'' was created during a particularly strong songwriting period for Sting, he found himself short on material this time around, leading him and his bandmates to dig through older, unused cuts to find stuff that they could use as AlbumFiller to make up for it, up to and including sticking the "So Lonely" BSide "No Time This Time" on.
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Despite this creative drought, the resultant album quickly became another commercial success for the Police, boosted by the greater performance that reissues of ''Outlandos d'Amour'' and its singles were seeing in the UK that year. During the 1979-1981 chart period, the album was a chart-topper in the UK, Australia, and the Netherlands, additionally peaking at No. 25 on the Billboard 200; it would later be certified platinum in the UK, the US, Australia, Canada, France, the Netherlands, and New Zealand, as well as gold in Belgium and Germany. Leadoff singles "Message in a Bottle" and "Walking on the Moon" both became No. 1 successes in the UK, their first singles to do so, and rapidly rose to join "Roxanne" as the band's most famous songs up to that point; in hindsight, analysts marked this as the true beginning of the Police's reign as the number one band in the world up through the early 80's as well as their time as mainstream forerunners of the PostPunk movement.
Additionally, compared to the initial mixed reviews of its predecessor, ''Reggatta de Blanc'' was an immediate hit with critics, who widely considered it either a SurprisinglyImprovedSequel or an EvenBetterSequel to ''Outlandos d'Amour'' (the latter label growing more popular as the debut album got VindicatedByHistory): ''Magazine/RollingStone'', who previously decried ''Outlandos d'Amour'' as posturing and artistically hypocritical, praised ''Reggatta de Blanc'' as energetic and rhythmically punchy, and though its chief critic Robert Christgau was somewhat lukewarm about it, ''The Village Voice'' would rank the album as the 35th-best of the year in its Pazz and Jop critics' poll. At the 1981 Grammies, the album's TitleTrack took home the award for Best Rock Instrumental Performance. The album's acclaim would only continue to grow with time; in 2003, ''Rolling Stone'' ranked the album at No. 369 on its [[UsefulNotes/RollingStone500GreatestAlbumsOfAllTime list]] of the 500 greatest albums of all time, knocking it down to No. 372 on the 2012 revision, and in 2006 it was included in the book ''1001 Albums You Must Hear Before You Die''. As of 2020, it currently sits at No. 418 on ''WebSite/AcclaimedMusic''[='s=] [[UsefulNotes/AcclaimedMusicAllTimeTopAlbums dynamic list]] of the 3000 most critically lauded albums ever, and it not only continues to be a favorite among fans, but was listed by drummer Stewart Copeland as his personal favorite Police album as well.
Additionally, compared to the initial mixed reviews of its predecessor, ''Reggatta de Blanc'' was an immediate hit with critics, who widely considered it either a SurprisinglyImprovedSequel or an EvenBetterSequel to ''Outlandos d'Amour'' (the latter label growing more popular as the debut album got VindicatedByHistory): ''Magazine/RollingStone'', who previously decried ''Outlandos d'Amour'' as posturing and artistically hypocritical, praised ''Reggatta de Blanc'' as energetic and rhythmically punchy, and though its chief critic Robert Christgau was somewhat lukewarm about it, ''The Village Voice'' would rank the album as the 35th-best of the year in its Pazz and Jop critics' poll. At the 1981 Grammies, the album's TitleTrack took home the award for Best Rock Instrumental Performance. The album's acclaim would only continue to grow with time; in 2003, ''Rolling Stone'' ranked the album at No. 369 on its [[UsefulNotes/RollingStone500GreatestAlbumsOfAllTime list]] of the 500 greatest albums of all time, knocking it down to No. 372 on the 2012 revision, and in 2006 it was included in the book ''1001 Albums You Must Hear Before You Die''. As of 2020, it currently sits at No. 418 on ''WebSite/AcclaimedMusic''[='s=] [[UsefulNotes/AcclaimedMusicAllTimeTopAlbums dynamic list]] of the 3000 most critically lauded albums ever, and it not only continues to be a favorite among fans, but was listed by drummer Stewart Copeland as his personal favorite Police album as well.
to:
Despite this creative drought, the resultant album quickly became another commercial success for the Police, boosted by the greater performance that reissues of ''Outlandos d'Amour'' and its singles were seeing in the UK that year. During the 1979-1981 chart period, the album was a chart-topper in the UK, Australia, and the Netherlands, additionally peaking at No. 25 on the Billboard 200; it would later be certified platinum in the UK, the US, Australia, Canada, France, the Netherlands, and New Zealand, as well as gold in Belgium and Germany. Leadoff singles "Message in a Bottle" and "Walking on the Moon" both became No. 1 successes in the UK, their first singles to do so, and rapidly rose to join "Roxanne" as the band's most famous songs up to that point; in hindsight, analysts marked this as the true beginning of the Police's reign as the number one band in the world up through the early 80's as well as their time as mainstream forerunners of the PostPunk movement.
Additionally, compared to the initial mixed reviews of its predecessor, ''Reggatta de Blanc'' was an immediate hit with critics, who widely considered it either a SurprisinglyImprovedSequel or an EvenBetterSequel to ''Outlandos d'Amour'' (the latter label growing more popular as the debut album got VindicatedByHistory): ''Magazine/RollingStone'', who previously decried ''Outlandos d'Amour'' as posturing and artistically hypocritical, praised ''Reggatta de Blanc'' as energetic and rhythmically punchy, and though its chief critic Robert Christgau was somewhat lukewarm about it, ''The Village Voice'' would rank the album as the 35th-best of the year in its Pazz and Jop critics' poll. At the 1981 Grammies, the album's TitleTrack took home the award for Best Rock Instrumental Performance. The album's acclaim would only continue to grow with time; in 2003, ''Rolling Stone'' ranked the album at No. 369 on its [[UsefulNotes/RollingStone500GreatestAlbumsOfAllTime list]] of the 500 greatest albums of all time, knocking it down to No. 372 on the 2012 revision, and in 2006 it was included in the book ''1001 Albums You Must Hear Before You Die''. As of 2020, it currently sits at No. 418 on ''WebSite/AcclaimedMusic''[='s=] [[UsefulNotes/AcclaimedMusicAllTimeTopAlbums dynamic list]] of the 3000 most critically lauded albums ever, and it not only continues to be a favorite among fans, but was listed by drummer Stewart Copeland as his personal favorite Police album as well.
so.
Additionally, compared to the initial mixed reviews of its predecessor, ''Reggatta de Blanc'' was an immediate hit with critics, who widely considered it either a SurprisinglyImprovedSequel or an EvenBetterSequel to ''Outlandos d'Amour'' (the latter label growing more popular as the debut album got VindicatedByHistory): ''Magazine/RollingStone'', who previously decried ''Outlandos d'Amour'' as posturing and artistically hypocritical, praised ''Reggatta de Blanc'' as energetic and rhythmically punchy, and though its chief critic Robert Christgau was somewhat lukewarm about it, ''The Village Voice'' would rank the album as the 35th-best of the year in its Pazz and Jop critics' poll. At the 1981 Grammies, the album's TitleTrack took home the award for Best Rock Instrumental Performance. The album's acclaim would only continue to grow with time; in 2003, ''Rolling Stone'' ranked the album at No. 369 on its [[UsefulNotes/RollingStone500GreatestAlbumsOfAllTime list]] of the 500 greatest albums of all time, knocking it down to No. 372 on the 2012 revision, and in 2006 it was included in the book ''1001 Albums You Must Hear Before You Die''. As of 2020, it currently sits at No. 418 on ''WebSite/AcclaimedMusic''[='s=] [[UsefulNotes/AcclaimedMusicAllTimeTopAlbums dynamic list]] of the 3000 most critically lauded albums ever, and it not only continues to be a favorite among fans, but was listed by drummer Stewart Copeland as his personal favorite Police album as well.
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* UncommonTime: The end of "Walking on the Moon" pairs a 4/4 guitar and bass riff with a triplet-based drum track.
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Additionally, compared to the initial mixed reviews of its predecessor, ''Reggatta de Blanc'' was an immediate hit with critics, who widely considered it either a SurprisinglyImprovedSequel or and EvenBetterSequel to ''Outlandos d'Amour'' (the latter label growing more popular as the debut album got VindicatedByHistory): ''Magazine/RollingStone'', who previously decried ''Outlandos d'Amour'' as posturing and artistically hypocritical, praised ''Reggatta de Blanc'' as energetic and rhythmically punchy, and though its chief critic Robert Christgau was somewhat lukewarm about it, ''The Village Voice'' would rank the album as the 35th-best of the year in its Pazz and Jop critics' poll. At the 1981 Grammies, the album's TitleTrack took home the award for Best Rock Instrumental Performance. The album's acclaim would only continue to grow with time; in 2003, ''Rolling Stone'' ranked the album at No. 369 on its [[UsefulNotes/RollingStone500GreatestAlbumsOfAllTime list]] of the 500 greatest albums of all time, knocking it down to No. 372 on the 2012 revision, and in 2006 it was included in the book ''1001 Albums You Must Hear Before You Die''. As of 2020, it currently sits at No. 418 on ''WebSite/AcclaimedMusic''[='s=] [[UsefulNotes/AcclaimedMusicAllTimeTopAlbums dynamic list]] of the 3000 most critically lauded albums ever, and it not only continues to be a favorite among fans, but was listed by drummer Stewart Copeland as his personal favorite Police album as well.
to:
Additionally, compared to the initial mixed reviews of its predecessor, ''Reggatta de Blanc'' was an immediate hit with critics, who widely considered it either a SurprisinglyImprovedSequel or and an EvenBetterSequel to ''Outlandos d'Amour'' (the latter label growing more popular as the debut album got VindicatedByHistory): ''Magazine/RollingStone'', who previously decried ''Outlandos d'Amour'' as posturing and artistically hypocritical, praised ''Reggatta de Blanc'' as energetic and rhythmically punchy, and though its chief critic Robert Christgau was somewhat lukewarm about it, ''The Village Voice'' would rank the album as the 35th-best of the year in its Pazz and Jop critics' poll. At the 1981 Grammies, the album's TitleTrack took home the award for Best Rock Instrumental Performance. The album's acclaim would only continue to grow with time; in 2003, ''Rolling Stone'' ranked the album at No. 369 on its [[UsefulNotes/RollingStone500GreatestAlbumsOfAllTime list]] of the 500 greatest albums of all time, knocking it down to No. 372 on the 2012 revision, and in 2006 it was included in the book ''1001 Albums You Must Hear Before You Die''. As of 2020, it currently sits at No. 418 on ''WebSite/AcclaimedMusic''[='s=] [[UsefulNotes/AcclaimedMusicAllTimeTopAlbums dynamic list]] of the 3000 most critically lauded albums ever, and it not only continues to be a favorite among fans, but was listed by drummer Stewart Copeland as his personal favorite Police album as well.
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* PrecisionFStrike: "On Any Other Day" opens with Stewart Copeland quipping "hey, the other ones are complete bullshit," one of the only instances of foul language on the band's back catalog and the only instance of such on one of their actual studio albums.
to:
* PrecisionFStrike: "On Any Other Day" opens with Stewart Copeland quipping "hey, the other ones are complete bullshit," one of the only instances of foul language on in the band's back catalog and the only instance of such on one of their actual studio albums.catalog.
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* WordSaladTitle: ''Reggatta de Blanc'' is an attempt at writing out "white reggae" in horribly broken French.
to:
* WordSaladTitle: ''Reggatta de Blanc'' is an attempt at writing out "white reggae" in horribly broken French.French.
----
----
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* MythologyGag: The shot of the tops of the band members' heads on the back cover is taken from a promotional flyer depicted on the back cover of ''Music/OutlandosDAmour''[='s=] LP release.
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* CreditsGag: The album credits the band for "all noises" rather than the conventional "all music."
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* {{Irony}}: On his official website, Stewart Copeland described this as the driving force behind "On Any Other Day":
-->"The funny thing is that all the poor man's misfortune happens on the day he should be happier than ever: his birthday!"
-->"The funny thing is that all the poor man's misfortune happens on the day he should be happier than ever: his birthday!"
* PrecisionFStrike: "On Any Other Day" opens with Stewart Copeland quipping "hey, the other ones are complete bullshit," one of the only instances of foul language on the band's back catalog and the only instance of such on one of their actual studio albums.
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* PrecisionFStrike: "On Any Other Day" opens with Stewart Copeland quipping "hey, the other ones are complete bullshit," one of the only instances of foul language on the band's back catalog and the only instance of such on one of their actual studio albums.
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* StylisticSuck: "On Any Other Day" is meant to sound as corny as it is, as given away during the song's spoken-word intro.
-->'''Stewart Copeland:''' "You want something corny? You got it!"
-->'''Stewart Copeland:''' "You want something corny? You got it!"
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* TheWalrusWasPaul: Stewart Copeland explained that the line in "On Any Other Day" about "when the wombat comes" is intentionally meaningless and meant to confound people, comparing it to the references to scrambled eggs in the original lyrics of Music/TheBeatles' [[Music/{{Help}} "Yesterday"]].
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* BirthdayEpisode: "On Any Other Day" is revealed to be one for the narrator during the outro, explaining why the bad events happening to him are sticking out far more than usual.
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* BirthdayEpisode: "On Any Other Day" is revealed to be one for the narrator during the outro, explaining why the bad events happening to him are sticking out far more than usual. Stewart Copeland later explained on his website that the irony of this is meant to be the driving punchline to the song.
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* StepUpToTheMicrophone: Stewart Copeland sings lead vocals for "On Any Other Day".
to:
* StepUpToTheMicrophone: Stewart Copeland not only sings lead vocals for "On Any Other Day".Day", but he also plays almost every instrument on the song.
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* BirthdayEpisode: "On Any Other Day" is revealed to be one for the narrator during the outro, explaining why the bad events happening to him are sticking out far more than usual.
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* HappyBirthdayToYou: "On Any Other Day" closes out with a high-pitched voice singing the song, addressing it to the narrator-- ultimately revealing that the reason why he's so fixated on the bad events happening today is because it's all occurring during his birthday.
to:
* HappyBirthdayToYou: "On Any Other Day" closes out with a high-pitched voice singing the song, song over Stewart Copeland's vocals, addressing it to the narrator-- narrator and ultimately revealing that the reason why he's so fixated on the bad events happening today is because it's all occurring during his birthday.
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* HappyBirthdayToYou: "On Any Other Day" closes out with a high-pitched voice singing the song, addressing it to the narrator-- ultimately revealing that the reason why he's so fixated on the bad events happening today is because it's all occurring during his birthday.
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* {{Fingore}}: The narrator of "On Any Other Day" describes how he cut his fingers off by accidentally slamming the car door on them.
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* PrecisionFStrike: "On Any Other Day" opens with Stewart Copeland quipping "hey, the other ones are complete bullshit," one of the only instances of foul language on the band's back catalog and the only instance of such on one of their actual studio albums.
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* SpokenWordInMusic: "On Another Day" starts with a spoken snark courtesy of Stewart Copeland.
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Deleted line(s) 32 (click to see context) :
* {{Blooper}}: Listening closely to the outro of "Message in a Bottle" reveals that Sting accidentally ends it with "sending out an S.O.-- blue."
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* LastSecondWordSwap: Listening closely to the outro of "Message in a Bottle" reveals that Sting accidentally ends it with "sending out an S.O.-- blue."
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[[quoteright:350:https://static.tvtropes.org/pmwiki/pub/images/reggatta_de_blanc.jpg]]
[[caption-width-right:350:''"Sendin' out an S.O.S."'']]
''Reggatta de Blanc'', released in 1979, is the second studio album by English-American PostPunk[=/=]NewWaveMusic band Music/ThePolice. Following the initial UK underperformance of ''Music/OutlandosDAmour'', it seemed as if Creator/AAndMRecords would grip the band much more tightly in an attempt to secure greater returns, but the much greater US performance of the album gave the group enough profit to record a follow-up on an equally modest budget, preventing any chance of the label being incentivized to strongarm the group. Indeed, the band took their time with this record, taping its songs over a total of four weeks-- spread out across several months-- and with the same studio and producer as before (the belated UK success of ''Outlandos d'Amour'' motivated A&M to push the Police to record in a bigger studio and with a more famous producer, but the band ignored these requests). However, the more relaxed recording period was also the result of a creative block for the band: while ''Outlandos d'Amour'' was created during a particularly strong songwriting period for Sting, he found himself short on material this time around, leading him and his bandmates to dig through older, unused cuts to find stuff that they could use as AlbumFiller to make up for it, up to and including sticking the "So Lonely" BSide "No Time This Time" on.
Despite this creative drought, the resultant album quickly became another commercial success for the Police, boosted by the greater performance that reissues of ''Outlandos d'Amour'' and its singles were seeing in the UK that year. During the 1979-1981 chart period, the album was a chart-topper in the UK, Australia, and the Netherlands, additionally peaking at No. 25 on the Billboard 200; it would later be certified platinum in the UK, the US, Australia, Canada, France, the Netherlands, and New Zealand, as well as gold in Belgium and Germany. Leadoff singles "Message in a Bottle" and "Walking on the Moon" both became No. 1 successes in the UK, their first singles to do so, and rapidly rose to join "Roxanne" as the band's most famous songs up to that point; in hindsight, analysts marked this as the true beginning of the Police's reign as the number one band in the world up through the early 80's as well as their time as mainstream forerunners of the PostPunk movement.
Additionally, compared to the initial mixed reviews of its predecessor, ''Reggatta de Blanc'' was an immediate hit with critics, who widely considered it either a SurprisinglyImprovedSequel or and EvenBetterSequel to ''Outlandos d'Amour'' (the latter label growing more popular as the debut album got VindicatedByHistory): ''Magazine/RollingStone'', who previously decried ''Outlandos d'Amour'' as posturing and artistically hypocritical, praised ''Reggatta de Blanc'' as energetic and rhythmically punchy, and though its chief critic Robert Christgau was somewhat lukewarm about it, ''The Village Voice'' would rank the album as the 35th-best of the year in its Pazz and Jop critics' poll. At the 1981 Grammies, the album's TitleTrack took home the award for Best Rock Instrumental Performance. The album's acclaim would only continue to grow with time; in 2003, ''Rolling Stone'' ranked the album at No. 369 on its [[UsefulNotes/RollingStone500GreatestAlbumsOfAllTime list]] of the 500 greatest albums of all time, knocking it down to No. 372 on the 2012 revision, and in 2006 it was included in the book ''1001 Albums You Must Hear Before You Die''. As of 2020, it currently sits at No. 418 on ''WebSite/AcclaimedMusic''[='s=] [[UsefulNotes/AcclaimedMusicAllTimeTopAlbums dynamic list]] of the 3000 most critically lauded albums ever, and it not only continues to be a favorite among fans, but was listed by drummer Stewart Copeland as his personal favorite Police album as well.
''Reggatta de Blanc'' was supported by four singles: "Message in a Bottle", "Walking on the Moon", "Bring On the Night", and "The Bed's Too Big Without You".
!!Tracklist:
[[AC:Side One]]
# "Message in a Bottle" (4:51)
# "Reggatta de Blanc" (3:06)
# "It's Alright For You" (3:13)
# "Bring On the Night" (4:15)
# "Deathwish" (4:13)
[[AC:Side Two]]
# "Walking on the Moon" (5:02)
# "On Any Other Day" (2:57)
# "The Bed's Too Big Without You" (4:26)
# "Contact" (2:38)
# "Does Everyone Stare" (3:52)
# "No Time This Time" (3:17)
!!''Some may say I'm troping my days away'':
* AlliterativeTitle: "The '''B'''ed's Too '''B'''ig Without You"
* AsLongAsItSoundsForeign: The album title, which is meant to suggest "white reggae" but in fact means "boat race" (Italian, misspelled) and "of white" (French).
* BagsOfLetters: Over a year after sending out his message, the narrator of "Message in a Bottle" eventually gets "a hundred billion bottles" in response.
* {{Blooper}}: Listening closely to the outro of "Message in a Bottle" reveals that Sting accidentally ends it with "sending out an S.O.-- blue."
* BreakupSong: "The Bed's Too Big Without You", right down to the name.
* DatingWhatDaddyHates: Implied to be the case with the line "my teenage daughter ran away" in "On Any Other Day".
* ADayInTheLife: "On Any Other Day" is a window into the life of a father having a particularly rough day.
* DespairEventHorizon: "Message in a Bottle" is about trying to keep from crossing it, and successfully avoiding it after eventually finding out that everyone feels lonely sometimes.
* DualMeaningChorus: That of "Message in a Bottle", which can be interpreted as a literal plea from a castaway for rescue or a regular guy's cry for attention after ages of loneliness.
* FaceOnTheCover: A monochrome, blue-tinted photo of the band members cropped in an angular {{letterbox}}.
* GayPanic: An in-universe example: one of the misfortunes the narrator of "On Any Other Day" describes his how "my fine young son has turned out gay." The song was written at a time when it was socially acceptable to view one's son being gay as a genuine misfortune.
* GratuitousFrench: The album title tries to be this, meaning "white reggae" (the band's description for their mix of {{reggae}} and PunkRock), though as mentioned under AsLongAsItSoundsForeign, it's more broken gibberish if you try to read it through that lens.
* {{Instrumentals}}: The TitleTrack.
* {{Letterbox}}: An angular one is featured on the front cover, bordering the band photo.
* LyricalDissonance:
** "Bring On the Night" is commonly interpreted as being the internal monologue of a man on death row accepting his fate, though you wouldn't tell that right away with how jaunty the song sounds.
** "On Any Other Day" is a really cheerful-sounding tune about a guy who's having a really bad day. The dissonance is further highlighted by Stewart Copeland's deadpan vocals on the song.
* MessageInABottle: Take a wild guess. In fact, the song currently provides the trope's page quote.
* RearrangeTheSong: The band members had trouble coming up with material for the album, so they frequently resorted to raiding old material they had written and cannibalizing it to make new songs: "The Bed's Too Big Without You" and the "Bring on the Night" were recycled and reworked from songs Sting had written with the band Last Exit, "Reggatta de Blanc" originated as a jam they played on stage during their first tour as filler (it seems to have evolved from the instrumental break in "Can't Stand Losing You"), and "Does Everyone Stare" was cribbed from a piano piece Stewart had written in college.
* {{Robinsonade}}: "Message in a Bottle" is narrated by a guy who describes himself as a castaway on a deserted island.
* {{Scatting}}: The few vocals on the TitleTrack consist solely of this.
* StepUpToTheMicrophone: Stewart Copeland sings lead vocals for "On Any Other Day".
* TitleOnlyChorus: "It's Alright For You", "The Bed's Too Big Without You".
* TitleTrack: This album and ''Music/{{Synchronicity}}'' are the only two in the band's catalog to sport one (''Synchronicity'' having two of them).
* TraumaCongaLine: "On Any Other Day" is a comical version, featuring the narrator ranting about the variety of cartoonish mishaps that happen to him during one particularly bad day.
* WhatTheHellIsThatAccent: Stewart Copeland, being an American who grew up in the Middle East before moving to England-- his accent on the first verse of "Does Everyone Stare" is more neutral, while "On Any Other Day" sounds more American (which is admittedly pretty comical to hear for lyrics with British colloquialisms like "I'm the chap who lives in it").
* WordSaladTitle: ''Reggatta de Blanc'' is an attempt at writing out "white reggae" in horribly broken French.
[[caption-width-right:350:''"Sendin' out an S.O.S."'']]
''Reggatta de Blanc'', released in 1979, is the second studio album by English-American PostPunk[=/=]NewWaveMusic band Music/ThePolice. Following the initial UK underperformance of ''Music/OutlandosDAmour'', it seemed as if Creator/AAndMRecords would grip the band much more tightly in an attempt to secure greater returns, but the much greater US performance of the album gave the group enough profit to record a follow-up on an equally modest budget, preventing any chance of the label being incentivized to strongarm the group. Indeed, the band took their time with this record, taping its songs over a total of four weeks-- spread out across several months-- and with the same studio and producer as before (the belated UK success of ''Outlandos d'Amour'' motivated A&M to push the Police to record in a bigger studio and with a more famous producer, but the band ignored these requests). However, the more relaxed recording period was also the result of a creative block for the band: while ''Outlandos d'Amour'' was created during a particularly strong songwriting period for Sting, he found himself short on material this time around, leading him and his bandmates to dig through older, unused cuts to find stuff that they could use as AlbumFiller to make up for it, up to and including sticking the "So Lonely" BSide "No Time This Time" on.
Despite this creative drought, the resultant album quickly became another commercial success for the Police, boosted by the greater performance that reissues of ''Outlandos d'Amour'' and its singles were seeing in the UK that year. During the 1979-1981 chart period, the album was a chart-topper in the UK, Australia, and the Netherlands, additionally peaking at No. 25 on the Billboard 200; it would later be certified platinum in the UK, the US, Australia, Canada, France, the Netherlands, and New Zealand, as well as gold in Belgium and Germany. Leadoff singles "Message in a Bottle" and "Walking on the Moon" both became No. 1 successes in the UK, their first singles to do so, and rapidly rose to join "Roxanne" as the band's most famous songs up to that point; in hindsight, analysts marked this as the true beginning of the Police's reign as the number one band in the world up through the early 80's as well as their time as mainstream forerunners of the PostPunk movement.
Additionally, compared to the initial mixed reviews of its predecessor, ''Reggatta de Blanc'' was an immediate hit with critics, who widely considered it either a SurprisinglyImprovedSequel or and EvenBetterSequel to ''Outlandos d'Amour'' (the latter label growing more popular as the debut album got VindicatedByHistory): ''Magazine/RollingStone'', who previously decried ''Outlandos d'Amour'' as posturing and artistically hypocritical, praised ''Reggatta de Blanc'' as energetic and rhythmically punchy, and though its chief critic Robert Christgau was somewhat lukewarm about it, ''The Village Voice'' would rank the album as the 35th-best of the year in its Pazz and Jop critics' poll. At the 1981 Grammies, the album's TitleTrack took home the award for Best Rock Instrumental Performance. The album's acclaim would only continue to grow with time; in 2003, ''Rolling Stone'' ranked the album at No. 369 on its [[UsefulNotes/RollingStone500GreatestAlbumsOfAllTime list]] of the 500 greatest albums of all time, knocking it down to No. 372 on the 2012 revision, and in 2006 it was included in the book ''1001 Albums You Must Hear Before You Die''. As of 2020, it currently sits at No. 418 on ''WebSite/AcclaimedMusic''[='s=] [[UsefulNotes/AcclaimedMusicAllTimeTopAlbums dynamic list]] of the 3000 most critically lauded albums ever, and it not only continues to be a favorite among fans, but was listed by drummer Stewart Copeland as his personal favorite Police album as well.
''Reggatta de Blanc'' was supported by four singles: "Message in a Bottle", "Walking on the Moon", "Bring On the Night", and "The Bed's Too Big Without You".
!!Tracklist:
[[AC:Side One]]
# "Message in a Bottle" (4:51)
# "Reggatta de Blanc" (3:06)
# "It's Alright For You" (3:13)
# "Bring On the Night" (4:15)
# "Deathwish" (4:13)
[[AC:Side Two]]
# "Walking on the Moon" (5:02)
# "On Any Other Day" (2:57)
# "The Bed's Too Big Without You" (4:26)
# "Contact" (2:38)
# "Does Everyone Stare" (3:52)
# "No Time This Time" (3:17)
!!''Some may say I'm troping my days away'':
* AlliterativeTitle: "The '''B'''ed's Too '''B'''ig Without You"
* AsLongAsItSoundsForeign: The album title, which is meant to suggest "white reggae" but in fact means "boat race" (Italian, misspelled) and "of white" (French).
* BagsOfLetters: Over a year after sending out his message, the narrator of "Message in a Bottle" eventually gets "a hundred billion bottles" in response.
* {{Blooper}}: Listening closely to the outro of "Message in a Bottle" reveals that Sting accidentally ends it with "sending out an S.O.-- blue."
* BreakupSong: "The Bed's Too Big Without You", right down to the name.
* DatingWhatDaddyHates: Implied to be the case with the line "my teenage daughter ran away" in "On Any Other Day".
* ADayInTheLife: "On Any Other Day" is a window into the life of a father having a particularly rough day.
* DespairEventHorizon: "Message in a Bottle" is about trying to keep from crossing it, and successfully avoiding it after eventually finding out that everyone feels lonely sometimes.
* DualMeaningChorus: That of "Message in a Bottle", which can be interpreted as a literal plea from a castaway for rescue or a regular guy's cry for attention after ages of loneliness.
* FaceOnTheCover: A monochrome, blue-tinted photo of the band members cropped in an angular {{letterbox}}.
* GayPanic: An in-universe example: one of the misfortunes the narrator of "On Any Other Day" describes his how "my fine young son has turned out gay." The song was written at a time when it was socially acceptable to view one's son being gay as a genuine misfortune.
* GratuitousFrench: The album title tries to be this, meaning "white reggae" (the band's description for their mix of {{reggae}} and PunkRock), though as mentioned under AsLongAsItSoundsForeign, it's more broken gibberish if you try to read it through that lens.
* {{Instrumentals}}: The TitleTrack.
* {{Letterbox}}: An angular one is featured on the front cover, bordering the band photo.
* LyricalDissonance:
** "Bring On the Night" is commonly interpreted as being the internal monologue of a man on death row accepting his fate, though you wouldn't tell that right away with how jaunty the song sounds.
** "On Any Other Day" is a really cheerful-sounding tune about a guy who's having a really bad day. The dissonance is further highlighted by Stewart Copeland's deadpan vocals on the song.
* MessageInABottle: Take a wild guess. In fact, the song currently provides the trope's page quote.
* RearrangeTheSong: The band members had trouble coming up with material for the album, so they frequently resorted to raiding old material they had written and cannibalizing it to make new songs: "The Bed's Too Big Without You" and the "Bring on the Night" were recycled and reworked from songs Sting had written with the band Last Exit, "Reggatta de Blanc" originated as a jam they played on stage during their first tour as filler (it seems to have evolved from the instrumental break in "Can't Stand Losing You"), and "Does Everyone Stare" was cribbed from a piano piece Stewart had written in college.
* {{Robinsonade}}: "Message in a Bottle" is narrated by a guy who describes himself as a castaway on a deserted island.
* {{Scatting}}: The few vocals on the TitleTrack consist solely of this.
* StepUpToTheMicrophone: Stewart Copeland sings lead vocals for "On Any Other Day".
* TitleOnlyChorus: "It's Alright For You", "The Bed's Too Big Without You".
* TitleTrack: This album and ''Music/{{Synchronicity}}'' are the only two in the band's catalog to sport one (''Synchronicity'' having two of them).
* TraumaCongaLine: "On Any Other Day" is a comical version, featuring the narrator ranting about the variety of cartoonish mishaps that happen to him during one particularly bad day.
* WhatTheHellIsThatAccent: Stewart Copeland, being an American who grew up in the Middle East before moving to England-- his accent on the first verse of "Does Everyone Stare" is more neutral, while "On Any Other Day" sounds more American (which is admittedly pretty comical to hear for lyrics with British colloquialisms like "I'm the chap who lives in it").
* WordSaladTitle: ''Reggatta de Blanc'' is an attempt at writing out "white reggae" in horribly broken French.
