The greatest travesties are found on “Contact,” an unredeemable effort that is the definition of filler, and the atrociously corny “On Any Other Day,” a monstrosity that wastes a well generated groove by brandishing lyrics that wouldn’t be found on the most self deprecating, stereotypical country album. Copeland makes a valiant attempt at saving album closer “No Time This Time,” but above average drumming cannot provide salvation from one of Sting’s worst vocal performances. “Bring on the Night” and “Does Everyone Stare” are attempts at pulling off an epic reggae atmosphere, yet both are more droning and annoying than substantial. “Deathwish” and “This Bed’s Too Big Without You” are competent at moments, but neither casts a lasting sense of memorability, collapsing under a weight of directionless meandering. “It’s Alright For You” showcases forceful drumming and strong verses, but falls apart in its repetitive, misguided chorus. Disappointment is an inescapable emotion, as while most tracks are performed well musically, almost all are missing an essential component in one shape or form. While there are positive aspects to the record, including a noticeable improvement in their instrumental playing, “Reggatta de Blanc” feels mostly like a disjointed jam session, lacking the raw energy, streamlined hooks and focused song craft of their debut.Īlthough the majority of “Reggatta de Blanc” is comprised of songs that are overwhelmingly tight from a rhythmic standpoint, most are muddled by a more sedate atmosphere and unfocused structures. Perhaps ironically, Sting indicated in an interview that the band felt little pressure to follow up their debut, and spent only two weeks in the studio recording “Regatta De Blanc,” foreshadowing a lack of focus and song writing laziness.

There are several arguments they improved on each successive album, and while that may be succinct from a musicianship standpoint, when listening to their follow up, “Reggatta De Blanc,” it is unequivocally not the case in terms of songwriting ability. In studying The Police from a career standpoint, it is clear that Sting, guitarist Andy Summers, and drummer Stewart Copeland were advanced musicians for the genre of music they resided in. The logical question after a near watershed debut is would the follow up album live up to expectations, or would The Police fall into the same knarled Sophomore trap like so many of their brethren.

The Police vaulted to stardom relatively quickly on the heels of their 1978 debut, “Outlandos d’Armour,” an energetic, well written effort that rode the wave of buzz generated by memorable singles “Roxanne,” “Can’t Stand Losing You,” and “So Lonely.” The record was an effective launching pad for Sting and company, showcasing the initial stages of their vast musicianship colliding with focused energy and mostly streamlined songwriting.

Many theories abound regarding its alienating presence, but regardless if it stems from growing pains, a lack of fresh ideas, or fatigue, legions of bands throughout rock history have been saddled with the overwhelming pressure of crafting a solid successor to a landmark debut album. One of the more dreaded quandaries in music is the all too common, almost stereotypical sophomore slump. Part 2: Reggatta De Blanc - The step back Review Summary: A slight Sophomore stumble.

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