Sting isn't always hemmed-in, even ending "Inside" with a hysterical rant that makes him seem like a madman, but it has the effect of making the rest of the album seeming too deliberate and far from adventurous.
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Swedish Albums Chart . Swiss Albums Chart . US Billboard . Dutch Albums Chart . Retrieved 1 June Retrieved 11 June Retrieved 23 November Retrieved 20 September Archived from the original PDF on 18 October Retrieved 9 September Retrieved 15 November London: Guinness World Records Limited.
Les Charts. Retrieved 14 September Retrieved 26 April Archived from the original on 21 July Retrieved 20 October Universal Music Group. Retrieved 15 June Retrieved 19 November Apple Music. Retrieved 7 December Retrieved 9 July Retrieved 21 November CD Universe. Retrieved 13 September Dominic Miller explains that the point of the rehearsals is to reach the lowest common denominator as far as the songs arrangements are confirmed - once they have this together, they can build the songs back up again.
One of the interesting features of the DVD is that no drummer was used and Sting explains that this should not be seen as a slight against the profession, but that omitting drums at this early stage of the song's live development allows the "colours to emerge" in the arrangements. Including the drums at this stage, Sting explains, can sometimes prevent this development as he finds the drums are often all you can hear.
The track Inside features a mixture of footage from both the Mayan and Malibu and Sting describes how backing singer Joy Rose a star in the making for sure has grown into the group's role and is now much more than a backing singer and is now trading lines with Sting during the song and how he found that this was subsequently shifting the song's meaning.
The footage of 'Dead Man's Rope' again shifts seamlessly between Malibu and the Mayan, but the Malibu footage was filmed the night after Kim Turner's passing, and Sting's moving words about Kim to the rest of the band are very touching. The commentary reveals that the song is about a man trapped inside a 'well of memory' - as Sting found himself to be during the writing of his biography - and that the song deals with the place where you need to deal with reality and once you accept this then comfort arrives.
Sting and Dominic feature in a short and amusing segment about 'Shape Of My Heart', where Sting explains how they co-wrote the song and how Dominic is convinced that Sting found the lyrics in the garden under a stone.
The album's sound is a typically sophisticated mix of pop, jazz, funk, and world music. Leave a Reply Cancel reply Your email address will not be published.
Blige on the gospel-etched 'Whenever I Say Your Name', however, brings out the best in both of these excellent artists, a vocal interchange that has both sensual and spiritual heat. Review from The Mail On Sunday by Tim de Lisle Sting is sometimes accused of smoothness, among other crimes, but next to Dido his new album is as rugged as his new Abraham Lincoln beard.
It's a record steeped in the spirit of the age. Sting lost a friend on September 11, , and had to decide, before he knew the victim's fate, whether to go ahead with a concert that evening at his house in Tuscany. He did it, with necessarily mixed feelings, and the next day his family flew off, leaving him brooding on the state of the world and the role of the singer. That day he started writing this album, which is full of the anger and fear of the past two years.
The first single, 'Send Your Love', targets religion and the hatred it can inspire. But the more political numbers are overstuffed with words, ending in educated rants, as if your ears were being boxed with a rhyming dictionary.
The music, as ever since Sting left The Police in , is pop-soul with plenty of complexity smuggled in. As Randy Newman said recently: 'He won't settle for the same old chords. A duet with Mary J. Blige, this is a gospel hymn to the only deities Sting acknowledges: the gods of love and music.
The melody is a gorgeous rolling thing that is both exuberant and elegant. One day there will be an album called 'Sting: The Love Songs', and it will be very good. Review from The New York Post by Dan Aquilante Sting's reedy voice is naturally compelling to the point of urgency as he sings about devotion on 'Sacred Love', but his smarts lie in how he's tapped world music as the canvas for his treatise.
This album's musical eclecticism represents Sting's global outlook. Stylistically, the album progresses from pop to Moroccan acoustic guitar to electronic beats to strains of the sitar. On 'Sacred Love', it's evident Sting considers music and love the common threads running through us all, but he deftly dodges the sap and hearts and flowers.
Check out the album's second song, 'Send Your Love', where he opens the tune with the lyrics, "Finding the world in the smallness of a grain of sand and holding infinities in the palm of your hand. On the intriguing 'Inside', Sting sings, "Love is the child of an endless war, love is an open wound still raw. Love is an explosion, love is the fire of the world.
And if you don't want to think about the words, the music's rock stance is unrelenting. Sting hasn't forgot about old-fashioned lusty love. In that department, he's best on his duet with Mary J. Blige, 'Whenever I Say Your Name', a sweet 'n' sour couple's confessional that soars with gospel power by its conclusion.
Only a few shades of connotation separate devotion from obsession, but they make all the difference on the new albums of love songs by two multimillion-selling British songwriters, Sting and Dido. Sting wraps his habitual brooding in a concept on 'Sacred Love'.
In song after song, thoughts of romance lead to ideas of faith. Love becomes a pilgrimage, a prayer, a ritual and a benediction. It is an old connection that is at the root of devotional music worldwide.
And while Sting is more an agnostic than an evangelist, somehow ideas that could become dry and abstract bring out his old fervor. As he did on his album, 'Brand New Day', Sting collaborates with the producer and keyboardist Kipper on densely layered tracks that merge programmed rhythms with flourishes of improvisation. The music floats in from plush, echoey spaces to focus on riffs, rhythms and Sting's voice, while otherworldly choruses and horns still arrive from the beyond.
The songwriting reshuffles Sting's past efforts: major-key hymns, minor-key ballads, jazzy shuffles, crisp funk and quasi-Celtic slow airs. Sting cheerfully quotes a few lines from past songs, slipping 'We'll be together' into 'Whenever I Say Your Name', a gospel-tinged duet in which Mary J. Blige pushes Sting to match her volatile voice. Sting's globe-hopping imperative continues on 'Sacred Love'.
In 'Stolen Car Take Me Dancing ', which may be Sting's penance for his Jaguar commercial, a thief imagines the luxurious life of the car's owner. The most impassioned song on 'Sacred Love' is about politics, not love.
In 'This War', Sting summons the turbulence of psychedelia, with a beefy Hammond organ and guitars distorted to the point of feedback, to denounce war profiteering and deplore the state of the world: "There's a war on education, a war on information, a war between the sexes and every nation.Album details Peak chart positions Certifications (sales thresholds) UK AUS AUT FRA GER NLD NOR SWE SWI US; The Dream of the Blue Turtles (Sting & The Police) 17 — — — — 69 — 59 The Very Best of Sting & The Police "Brand New Day" Sacred Love "Whenever I Say Your Name" (with Mary J. Blige) 60 — 56 — — —