Sound — 10
The first album by the band has a magnificent and unique sound that I haven't heard from any other band since The Police emerged. There's a remarkable mix of white-reggae ("Roxanne", "Can't Stand Losing You") and general rock ("Truth Hits Everybody", "Next To You") on here, which works very well, considering that mixing two genres on one album is usually hard to do. I find it hard to believe that there were only three members of this gigantic Rock/Reggae band. They show with some ease just what a small band like The Police can produce, and had set an example for many other small, three man bands to follow (The Offspring for example, who covered The Police's "Next To You," the opening track of this album). Andy Summers plays his guitar parts extremely diligently, yet makes it look and sound easy. The chords of "Roxanne" and "Can't Stand Losing You" don't sound like much at first, but when you delve further into how the songs are written, you see just how much of a genius he is, through the progressions and through the chords themselves. The constant lead guitar in "So Lonely" has you captivated from start to finish, whether you like The Police or not. Stewart Copeland has a style of drumming which I can't seem to find with any other drummer in any other band. Most drummers would go crazy if they didn't have a big drum part, but Copeland hardly every has a massive drum part for the best part of the songs. The beat is very modest in most of the songs, and it works beautifully with the rest of the bands efforts. In other songs, Copeland has a much larger drum part which allows him to put his heart and soul into what he does, such as in "Peanuts", which has a memorable drum intro, up-tempo beat and plenty of fills. The impression I get is that Copeland can do drums for any style and make it work extremely well. Sting, I would say, is more of a master bassist than a master vocalist. Though he is brilliant at both, his bass playing stands out more to me than his singing. These days, a lot of people play these single note basslines with the odd little fill here and there, which go well with the songs they are written for, but show no skill or effort. Sting gives his bass playing everything he's got, and this is extremely apparant in Outlandos D' Amour. The basslines are a lot more complicated and well written than anything I've heard that's been written in my lifetime. Those who think that his playing isn't as up-to-scratch as I say it is, must listen to the basslines in "Can't Stand Losing You", "Hole In My Life" and "Masoko Tanga".
Lyrics — 10
Sting obviously knew that he had to make this album count as the band's step into stardom, and boy, did he make it count. The vocal's couldn't have been that much better than they were on here, both in melody and range. Sting has a vocal range which is good, yet still average, though he doesn't make this very apparant at all. His vocals never seem to go out of tune or time in any of the songs. There is magnificent melody and "texture" in his voice, which makes up for anything lost in his vocal range. He flaunts this vocal skill of this the most in songs such as "Born In The 50s" and "Next To You".
Overall Impression — 10
This has to be the best Police album that had been made. Regatta De Blanc, Zenyatta Mondatta, Ghost In The Machine and Synchronicity were all good productions but none of them could follow up Outlandos D'Amour, not in my oppinion. With the hits "Roxanne", "So Lonely" and "Can't Stand Losing You"; hidden gems like "Truth Hits Everybody", "Peanuts" and the live favourite, "Next To You", Outlandos comes head and shoulders above all other Police productions, with no exceptions. Those who don't see how revolutionary The Police were have to hear this album and see if thier minds are changed, because they were (and are) revolutionary and will never die out.