Sting – The Dream Of The Blue Turtles (1985)

StingFrontCover1Gordon Matthew Thomas Sumner CBE (born 2 October 1951), known as Sting, is an English musician and actor. He was the principal songwriter, lead singer, and bassist for the new wave rock band the Police from 1977 to 1984, and launched a solo career in 1985. He has included elements of rock, jazz, reggae, classical, new-age and worldbeat in his music.

As a solo musician and a member of The Police, Sting has received 17 Grammy Awards: he won Song of the Year for “Every Breath You Take”, three Brit Awards, including Best British Male Artist in 1994 and Outstanding Contribution in 2002, a Golden Globe, an Emmy and four nominations for the Academy Award for Best Original Song. In 2019, he received a BMI Award for “Every Breath You Take” becoming the most played song in radio history. In 2002, Sting received the Ivor Novello Award for Lifetime Achievement from the British Academy of Songwriters, Composers and Authors and was also inducted into the Songwriters Hall of Fame. He was inducted into the Rock and Roll Hall of Fame as a member of the Police in 2003. In 2000, he received a star on the Hollywood Walk of Fame for recording. In 2003, Sting received a CBE from Elizabeth II at Buckingham Palace for services to music. He was made a Kennedy Center Honoree at the White House in 2014, and was awarded the Polar Music Prize in 2017.


With the Police, Sting became one of the world’s best-selling music artists. Solo and with the Police combined, he has sold over 100 million records. In 2006, Paste ranked him 62nd of the 100 best living songwriters. He was 63rd of VH1’s 100 greatest artists of rock, and 80th of Q magazine’s 100 greatest musical stars of the 20th century. He has collaborated with other musicians on songs such as “Money for Nothing” with Dire Straits, “Rise & Fall” with Craig David, “All for Love” with Bryan Adams and Rod Stewart, “You Will Be My Ain True Love” with Alison Krauss, and introduced the North African music genre raï to Western audiences through the hit song “Desert Rose” with Cheb Mami. In 2018, he released the album 44/876, a collaboration with Jamaican musician Shaggy, which won the Grammy Award for Best Reggae Album in 2019.


The Dream of the Blue Turtles is the first solo album by English musician Sting, released in the United States on 1 June 1985. The album reached number three on the UK Albums Chart[8] and number two on the US Billboard 200.

In the US the album spawned four singles, “If You Love Somebody Set Them Free”, “Fortress Around Your Heart”, “Russians” and “Love Is the Seventh Wave”. The album earned Grammy nominations for Album of the Year, Best Male Pop Vocal Performance, Best Jazz Instrumental Performance and Best Engineered Recording.

The album is named after a dream of Sting’s.

Although the single “If You Love Somebody Set Them Free” reached No. 3 in the US, it only reached 26 in the UK, where the album’s track “Russians” (about Cold War nuclear Stinganxieties, which had peaked in the 1980s) proved more popular.

In the UK the album was kept off No. 1 in the week of its release by Marillion’s Misplaced Childhood and Born in the U.S.A. by Bruce Springsteen occupying the top two places. However, in the US, the album reached No. 2 on the Billboard 200.

The movie Bring on the Night documents some of the recording work that produced this album, as well as the subsequent tour

The songs include “Children’s Crusade” (paralleling the destruction of the younger generation in World War I to the devastation brought about by heroin addiction in modern-day London); the original uptempo arrangement of The Police song “Shadows in the Rain”; “We Work the Black Seam” (about the UK miners’ strike of 1984–85); and “Moon over Bourbon Street”, a song inspired by Anne Rice’s novel Interview with the Vampire. “Consider Me Gone” references the first quatrain of Shakespeare’s Sonnet 35. (by wikipedia)

The Police never really broke up, they just stopped working together — largely because they just couldn’t stand playing together anymore and partially because Sting was itching to establish himself as a serious musician/songwriter on his own terms. Anxious to shed the mantle of pop star, he camped out at Eddy Grant’s studio, picked up the guitar, and raided Wynton Marsalis’ band for his new combo — thereby instantly consigning his solo debut, The Dream of the Blue Turtles, to the critical shorthand of Sting’s jazz record. Which is partially true (that’s probably the best name for the meandering instrumental title track), but that gives the impression that this is really risky music, when he did, after Sting3all, rely on musicians who, at that stage, were revivalists just developing their own style, and then had them jam on mock-jazz grooves — or, in the case of Branford Marsalis, layer soprano sax lines on top of pop songs. This, however, is just the beginning of the pretensions layered throughout The Dream of the Blue Turtles. Only twice does he delve into straightforward love songs — the lovely measured “Consider Me Gone” and the mournful closer, “Fortress Around Your Heart” — preferring to consider love in the abstract (“If You Love Somebody Set Them Free,” one of his greatest solo singles, and the childish, faux-reggae singalong “Love Is the Seventh Wave”), write about children in war and in coal mines, revive a Police tune about heroin, ponder whether “Russians love their children too,” and wander the streets of New Orleans as the vampire Lestat. This is a serious-minded album, but it’s undercut by its very approach — the glossy fusion that coats the entire album, the occasional grabs at worldbeat, and studious lyrics seem less pretentious largely because they’re overshadowed by such bewilderingly showy moves as adapting Prokofiev for “Russians” and calling upon Anne Rice for inspiration. And that’s the problem with the record: with every measure, every verse, Sting cries out for the respect of a composer, not a pop star, and it gets to be a little overwhelming when taken as a whole. As a handful of individual cuts — “Fortress,” “Consider Me Gone,” “If You Love Somebody,” “Children’s Crusade” — he proves that he’s subtler and craftier than his peers, but only when he reins in his desire to show the class how much he’s learned. (by Stephen Thomas Erlewine)


Robert Ashworth (guitar)
Eddy Grant  (percussion)
Omar Hakim (drums)
Darryl Jones (bass)
Kenny Kirkland (keyboards)
Branford Marsalis (saxophone, percussion)
Frank Opolko (trombone)
Danny Quatrochi (synclavier, background vocals)
Sting (vocals, guitar, synthesizer, bass on 09.)
background vocals:
Dolette McDonald – Janice Pendarvis – Pete Smith – Elliot Jones – Jane Alexander – Vic Garbarini – Pamela Quinlan – The Nannies Chorus – Rosemary Purt – Stephanie Crewdson – Joe Sumner – Kate Sumner – Michael Sumner


01. If You Love Somebody Set Them Free 4.16
02. Love Is the Seventh Wave 3.32
03. Russians  3.58
04. Children’s Crusade 5.02
05. Shadows In The Rain 4.52
06. We Work The Black Seam 5.43
07. Consider Me Gone 4.21
08. The Dream Of The Blue Turtles 1.18
09. Moon Over Bourbon Street 4.01
10. Fortress Around Your Heart 4.39

All song written by Sting
except 03. written by Sergei Prokofiev & Sting

Side Two1


Sting – If On A Winter’s Night (2009)

FrontCover1.jpgIf on a Winter’s Night… is the ninth studio album from British musician Sting.[10] The album is a collection of Christmas and winter-themed songs mostly written by others, including folk songs, madrigals and religious hymns from past centuries. Dozens of musicians appear on the album in various configurations, including jazz, folk and classical players.

It was released in most countries on 26 October 2009, on 27 October 2009 in the United States and 2 November 2009 in the United Kingdom. The album was released in several formats: vinyl LP, a single-disc CD, a limited edition CD and making-of DVD entitled The Genesis of ‘If on a Winter’s Night…’ in Six Chapters in hardback book packaging, an exclusive version, as well as various import editions (of note is the Japanese edition). The limited edition and Amazon exclusive both include bonus songs; the Japanese edition include them as well but adds “The Coventry Carol.” The album includes a reworking of “The Hounds of Winter” from his album Mercury Falling.

The title of the album is based on the novel If on a winter’s night a traveler by Italo Calvino. (by wikipedia)

Booklet09AIt’s no secret that Sting is a serious man, so it’s only logical that his holiday album — his first new music since the Police reunion, not that it really matters — is a serious endeavor, thank you. No niceties for him, no comforts of carols; he favors formal over familiar, writing madrigals, not ditties. It is music made by someone who lives in a castle, which isn’t necessarily such a bad thing: the austerity is genuine, not affected, and the cerebral nature of the album is fascinating, albeit mildly so, as this is as sleepy as it is thoughtful. And it’s that thoughtfulness that does distinguish If on a Winter’s Night…; no other Christmas album exists in the head like this. It’s a holiday album for people who have never wanted to hear a holiday album, let alone own one. (by Stephen Thomas Erlewine)


Sting relishes a bleak and beautiful season:

Sting eschews the conventional approach to holiday releases – slap dash versions of jingle bell-dressed carols and reverential hymns-with-strings – with this shivery homage to the season of icicles and introspection.

In the liner notes he explains that the snowy season is his favorite, calling it “both bleak and profoundly beautiful.’’ He expertly captures that mood on this mix of traditional songs, lullabies, hymns, and a pair of originals.

The ultra-tasteful arrangements trot the globe from Gaelic revelry to Middle Eastern rhythms.


The upbeat, bluegrass-tinged “Soul Cake’’ offers pleasant Dickensian undertones in the poverty-stricken-yet-jolly lyrics. The melancholic “Christmas at Sea’’ finds Sting setting a Robert Louis Stevenson poem to windswept music. He recasts the midtempo pop song “The Hounds of Winter’’ from his “Mercury Falling’’ album with layers of bass clarinet, melodeon, and cello into a ballad of exquisite wistfulness. As is the simple voice and guitar arrangement of “The Snow It Melts the Soonest,’’ with Sting exploring a ragged part of his voice perfect for the tune’s mournful tone.

The disc absolutely veers into stuffy corners, thick with overemphasized, Sting-ian portent, notably on the mannered spoken word passages of “Lo How a Rose E’er Blooming.’’ And the more contemporary energy of a tune like “The Burning Babe’’ doesn’t mesh as well with its throwback peers.

But mostly, with its wintry hush and flurries of harmonies, the album evokes the title, a not unpleasant vision of contemplatively gazing out a window encrusted with frost in a thick Irish wool sweater drinking a steaming cup of cider. (by Sarah Rodman)


Chris Botti (trumpet)
John Clark (horn)
Ira Coleman (bass)
Charles Curtis (cello)
Jack DeJohnette (drums)
Daniel Druckman (drums)
Chris Dudley (trombone)
John Ellis (clarinet)
Kenny Garrett (saxophone)
Chris Gekker (trumpet)
David Hartley (harmonium)
Daniel Hope (violin)
Bashiri Johnson (drums, percussion)
Edin Karamazov (lute)
Ibrahim Maalouf (trumpet)
Mary MacMaster (harp, vocals)
David Mansfield (dulcimer, guitar, mandocello, mandolin)
Melissa Meell (cello)
Dominic Miller (guitar)
Daphna Mor (recorder)
Leslie Neish (tuba)
Dean Parks (guitar, mandolin)
Marcus Rojas (tuba)
Bassam Saba (ney, oud)
David Sancious (organ)
Dov Scheindlin (viola)
Vincent Ségal (cello)
Sting (vocals, percussion, guitar, lute, snare drum)
Julian Sutton (accordion)
Kathryn Tickell (northumbrian smallpipes, violin)
Peter Tickell (violin)
Bijan Chemirani – Rhani Krija – Cyro Baptista – Daniel Freedman – Donald Hay
background vocals:
Joe Sumner – Lisa Fischer – The Webb Sisters – Jasmine Thomas
Stile Antico (vocal ensemble)
MusicAeterna (strings)


01. Gabriel’s Message (Traditional) 2.33
02. Soul Cake (Stookey/Batteast/Mezetti) 3.27
03. There Is No Rose of Such Virtue (Anonymous) 4.03
04. The Snow It Melts The Soonest (Traditional) 3.43
05. Christmas At Sea (Stevenson/Sting/MacMaster) 4.37
06. Lo, How A Rose E’er Blooming (Praetorius/Baker) 2.41
07. Cold Song (Purcell/Dryden) 3.16
08. The Burning Babe (Wood/Southwell) 2.43
09. Now Winter Comes Slowly (Purcell/Betterton) 3.05
10. The Hounds Of Winter (Sting) 5.49
11. Balulalow (Warlock/Traditional) 3.10
12. Cherry Tree Carol (Traditional) 3.11
13. Lullaby For An Anxious Child (Sting/Miller) 2.50
14. The Hurdy-Gurdy Man (Schubert/Müller) 2.49
15. You Only Cross My Mind In Winter (Bach/Sting) 2.35





Jools Holland & His Rhythm & Blues Orchestra – Jools Holland & Friends (2011)

FrontCover1.jpgJulian Miles “Jools” Holland, OBE, DL (born 24 January 1958) is an English pianist, bandleader, singer, composer and television presenter. He was an original member of the band Squeeze and his work has involved him with many artists including Sting, Eric Clapton, Mark Knopfler, George Harrison, David Gilmour, Magazine, The The and Bono.

Since 1992, he has hosted Later… with Jools Holland, a music-based show aired on BBC2, on which his annual show Hootenanny is based.[1] Holland is a published author and appears on television shows besides his own and contributes to radio shows. In 2004, he collaborated with Tom Jones on an album of traditional R&B music.

Holland also regularly hosts the weekly programme Jools Holland on BBC Radio 2, which is a mix of live and recorded music and general chat and features studio guests, along with members of his orchestra.

Holland was educated at Shooters Hill Grammar School, a former state grammar school on Red Lion Lane in Shooter’s Hill (near Woolwich), in the Royal Borough of Greenwich in southeast London, from which he was expelled for damaging a teacher’s Triumph Herald.

Holland began his career as a session musician; his first studio session was with Wayne County & the Electric Chairs in 1976 on their track “Fuck Off”.

Holland was a founding member of the British pop band Squeeze, formed in March 1974, in which he played keyboards until 1981 and helped the band to achieve millions of record sales, before pursuing his solo career.


Holland began issuing solo records in 1978, his first EP being Boogie Woogie ’78. He continued his solo career through the early 1980s, releasing an album and several singles between 1981 and 1984. He branched out into TV, co-presenting the Newcastle-based TV music show The Tube with Paula Yates. Holland used the phrase, “be there, or be an ungroovey fucker” in one early evening TV trailer for the show, live across two channels, causing him to be suspended from the show for six weeks. He referred to this in his sitcom The Groovy Fellers with Rowland Rivron.[citation needed] Holland also appeared as a guest host on MTV.

In 1983 Holland played an extended piano solo on The The’s re-recording of “Uncertain Smile” for the album Soul Mining. In 1985, Squeeze (which had continued in Holland’s absence through to 1982) unexpectedly regrouped including Holland as their keyboard player. Holland remained in the band until 1990, at which point he again departed to resume his solo career as a musician and a TV host.


In 1987, Holland formed the Jools Holland Big Band, which consisted of himself and for the show Gilson Lavis from Squeeze. This gradually became the 18-piece Jools Holland’s Rhythm and Blues Orchestra. The Orchestra includes singers Louise Marshall and Ruby Turner and his younger brother, singer-songwriter and keyboard player, Christopher Holland.

Between 1988 and 1990 he performed and co-hosted along with David Sanborn during the two seasons of the music performance programme Sunday Night on NBC late-night television.[5] Since 1992 he has presented the music programme Later… with Jools Holland, plus an annual New Year’s Eve Hootenanny.

In 1996, Holland signed a recording contract with Warner Bros. Records,[3] and his records are now marketed through Rhino Records.

On 29 November 2002, Holland was in the ensemble of musicians who performed at the Concert for George, which celebrated the music of George Harrison. In January 2005 Holland and his band performed with Eric Clapton as the headline act of the Tsunami Relief Cardiff.


On 29 August 2005, Holland married Christabel McEwen, his girlfriend of 15 years and daughter of artist Rory McEwen. Holland lives in the Westcombe Park area of Blackheath in southeast London, where he had his studio, Helicon Mountain, built to his design and inspired by Portmeirion, the setting for the 1960s TV series The Prisoner.[6] He also owns a manor house near medieval Cooling Castle in Kent.[7][8]

He appeared on the cover of Railway Modeller magazine in January 2019. In the attic of his house, Holland has spent ten years building a 100-foot (30 m) model railway. It is full of miniature buildings and landscapes that stretch from Berlin to London. He started with photographs and paintings from early 1960s London. “In the evenings, he builds some trains and buildings before switching on some music, pouring a glass of wine and switching on the trains to watch them move around the room.”

He received an OBE in 2003 in the Queen’s Birthday Honours list, for services to the British music industry as a television presenter and musician. In September 2006, Holland was appointed a Deputy Lieutenant for Kent. Holland was appointed an honorary fellow of Canterbury Christ Church University at a ceremony held at Canterbury Cathedral on 30 January 2009. On 1 February 2011 he was appointed honorary colonel of 101 (City of London) Engineer Regiment.


In June 2006 Holland performed in Southend for HIV/AIDS charity Mildmay, and in early 2007 he performed at Wells and Rochester Cathedrals to raise money for maintaining cathedral buildings. He is also patron of Drake Music.

A fan of the 1960s TV series The Prisoner, in 1987 Holland demonstrated his love of the series and starred in a spoof documentary, The Laughing Prisoner, with Stephen Fry, Terence Alexander and Hugh Laurie. Much of it was shot on location in Portmeirion, with archive footage of Patrick McGoohan, and featuring musical numbers from Siouxsie and the Banshees, Magnum and XTC. Holland performed a number towards the end of the programme.

Holland was an interviewer for The Beatles Anthology TV project, and appeared in the 1997 film Spiceworld as a musical director.

In 2008, Holland commissioned TV series Bangla Bangers (Chop Shop) to create a replica of the Rover JET1 for personal use. Holland is a greyhound racing supporter and has previously owned dogs. (by wikipedia)


And here´his first “Friends” album including a lot of great artists (see tracklist) … and you will her this great mixture between Big Bnd Jazz and Rhythm & Blues…

It´s hot, baby !!!


Mark Flanagan (guitar)
Roger Goslyn (trombone, accordion)
Lisa Graham (saxophone)
Christopher Holland (organ)
Jools Holland (piano)
Gilson Lavis (drums, percussion)
Nick Lunt (saxophone)
Jason McDermid (trumpet)
Derek Nash (saxophone)
Rico Rodriguez (trombone)
Winston Rollins (trombone)
Michael Bammi Rose (saxophone)
Jon Scott (trumpet)
Chris Storr (trumpet)
Dave Swift (bass)
Phil Veacock (saxophone)
Fayyaz Virji (trombone)
background vocals:
Sam Brown – Ruby Turner
a lot of guests (see tracklist)

01. Horse To The Water (feat. George Harrison) (G.Harrison/D.Harrison) 4.57
02. Marie (feat. Herbert Grönemeyer) (Newman) 3.14
03. The Informer (feat. Ruby Turner) (Holland) 3.33
04. Wohin die Liebe fällt (Wheel Of Fortune) (feat. Valerie) (Holland/Bronner) 4.01
05. Seventh Son (feat. Sting) (Dixon) 3.04
06. Out Of This World (feat. Melanie C) (Holland/Brown/Hynde) 3.38
07. I Love Every Little Thing About You (feat. Roger Cicero) (Wonder) 5.17
08. Übers Meer (feat. Ina Müller) (Reiser) 4.17
09. Mabel (feat. Eric Clapton & Solomon Burke) (Burke/Clapton/Holland) 4.52
10. I Put A Spell On You (feat. David Gilmour & Mica Paris) (Hawkins) 4.08
11. Think (feat. Tom Jones) (Malone/Cracklin) 4.00
12. I Went By (feat. Louise Marshall) (Ash Howes Radio Mix) (Holland) 2.59
13. Ba-Ba Boo-Boo (Into Your Heart) (feat. The Baseballs) (Brans) 4.14
14. The Kiss Of Love (feat. Nick Cave & Sam Brown) (Holland/Brown) 4.23
15. Let The Boogie Woogie Roll (feat. Robert Plant) (Ertegun/Wexler) 2.37
16. Just To Be Home With You (feat. Herbert Grönemeyer) 2.29
17. Tuxedo Junction (Dash/Feyne/Hawkins/Johnson) 3.35
18. Miniatur Wunderland (feat. Axel & Torsten Zwingenberger) (Holland/ A.Zwingenberger)) 2.40
19. Say Hello, Wave Goodbye (feat. Marc Almond) (Almond/Ball) 4.33
20. If You Wear That Velvet Dress (feat. Bono) (Clayton/Evans/Mullen/Hewson) 6.15




Sting – Bring On The Night (1986)

FrontCover1.jpgBring on the Night is a 1986 live album by Sting recorded over the course of several live shows in 1985 and released in 1986. The title is taken from a song by The Police from their 1979 album Reggatta de Blanc. The songs performed include Sting’s early solo material from the studio album The Dream of the Blue Turtles, and from his time with The Police, with a few of the performances played as medleys of the two. The touring band features the prominent jazz musicians Branford Marsalis, Darryl Jones, Kenny Kirkland, and Omar Hakim.

Despite not featuring any hit singles, the album reached number 16 on the UK Album Charts[3] and won Sting a Grammy Award in 1988 for Best Pop Vocal Performance, Male.

Bring on the Night is also a 1985 documentary directed by Michael Apted covering the formative stages of Sting’s solo career—released as DVD in 2005. (by wikipedia)


Sting really got carried away with the idea that his supporting crew for Dream of the Blue Turtles was a real jazz band, and technically, he was kind of right. He did pluck them straight out of Wynton Marsalis’ backing band (thereby angering Wynton and emboldening his anti-rock stance, while flaring up a sibling rivalry between the trumpeter and his saxophonist brother Branford — a veritable hat trick, that), and since he was initially a jazz bassist, it seemed like a good fit. At the very least, it seemed like a monumental occasion because he documented the entire development of the band and making of Dream with a documentary called Bring on the Night, releasing a double live album as its soundtrack just a year after the debut hit the stores. This could be called hubris (and it will be called that here), especially because the appearance of the live album feels like a way of showcasing Sting’s jazz band and jazz chops. Most of the songs run around five minutes long and there are no less than three medleys, two of which marry an old Police number with a tune from Dream. Arriving as a second solo album, it can’t help but feel a little unnecessary, even if the loose, rather infectious performances show what Sting was trying to achieve with his debut. Even so, this is a record for the cult, and while it will satisfy them, to others it will seem like, well, hubris. (by Stephen Thomas Erlewine)


Omar Hakim (drums, background vocals, electronic percussion)
Darryl Jones (bass)
Kenny Kirkland (keyboards)
Branford Marsalis (saxophone, clarinet, rap, percussion)
Sting (bass, guitar, vocals, keyboards)
background vocals:
Janice Pendarvis – Dolette McDonald


CD 1:
01. Bring On the Night/When the World Is Running Down, You Make the Best of What’s Still Around (Sting) 11.46
02. Consider Me Gone (Sting) 4.52
03. Low Life (Sting) 4.07
04. We Work The Black Seam (Sting) 7.01
05. Driven To Tears (Sting) 6.59
06. Dream Of The Blue Turtles/Demolition Man (Sting) 5.55

CD 2:
01. One World (Not Three)/Love Is The Seventh Wave (Sting)  11.13
02. Moon Over Bourbon Street (Sting)  4.25
03. I Burn For You (Sting) 5.26
04. Another Day (Sting) 4.45
05. Children’s Crusade (Sting) 5.30
06. Down So Long (Atkins/Lenoir) 4.37
07. Tea In The Sahara (Sting) 6.26



Sting – The Soul Cages (1991)

FrontCover1Emboldened by the enthusiastic response to the muted Nothing Like the Sun and reeling from the loss of his parents, Sting constructed The Soul Cages as a hushed mediation on mortality, loss, grief, and father/son relationships (the album is dedicated, in part, to his father; its predecessor was dedicated to his mother). Using the same basic band as Nothing Like the Sun, the album has the same supple, luxurious tone, stretching out leisurely over nine tracks, almost all of them layered mid-tempo tunes (the exception being grinding guitars of the title track). Within this setting, Sting hits a few remarkable peaks, such as the elegant waltz “Mad About You” and “All This Time,” a deceptively skipping pop tune that hides a moving tribute to his father. If the entirety of The Soul Cages was as nimbly melodic and urgently emotional as these two cuts, it would have been a quiet masterpiece. Instead, it turns inward — not just lyrically, but musically — and plays as a diary entry, perhaps interesting to those willing to spend hours immersing themselves within Sting’s loss, finding parallels within their own life. This may be too much effort for anyone outside of the devoted, since apart from those two singles (and perhaps “Why Should I Cry for You”), there are few entry points into The Soul Cages — and, once you get in there, it only rewards if your emotional state mirrors Sting’s. (by Stephen Thomas Erlewine)


Skip Burney (percussion)
Ray Cooper (percussion)
Munyungo Jackson (percussion)
Manu Katché (drums)
Kenny Kirkland (keyboards)
Branford Marsalis (saxophone)
Dominic Miller (guitar)
Paola Paparelle (oboe)
David Sancious (keyboards)
Sting (vocals, bass, mandolin, synclavier)
Bill Summers (percussion)
Kathryn Tickell (northumbrian smallpipe)
Tony Vacca (percussion)
Vinx (percussion)


01. Island Of Souls 6.41
02. All This Time 4.54
03. Mad About You 3.53
04. Jeremiah Blues (Part 1) 4.54
05. Why Should I Cry For Yoi 4.46
06. Saint Agnes And The Burning Train 2.43
07. The Wild Wild Sea 6.41
08. The Soul Cages 5.51
09. When The Angels Fall 7.48

All songs written by Sting




Sting – …Nothing Like The Sun (1987)

FrontCover1 If Dream of the Blue Turtles was an unabashedly pretentious affair, it looks positively lighthearted in comparison to Sting’s sophomore effort, Nothing Like the Sun, one of the most doggedly serious pop albums ever recorded. This is an album where the only up-tempo track, the only trifle — the cheerfully stiff white-funk “We’ll Be Together” — was added at the insistence of the label because they believed there wasn’t a cut on the record that could be pulled as a single, one that would break down the doors to mainstream radio. And they were right, since everything else here is too measured, calm, and deliberately subtle to be immediate (including the intentional throwaway, “Rock Steady”). So, why is it a better album than its predecessor? Because Sting doesn’t seem to be trying so hard. It flows naturally, largely because this isn’t trying to explicitly be a jazz-rock record (thank the presence of a new rhythm section of Sting and drummer Manu Katche for that) and because the melodies are insinuating, slowly working their way into memory, while the entire record plays like a mood piece — playing equally well as background music or as intensive, serious listening.

Booklet01ASting’s words can still grate — the stifling pompousness of “History Will Teach Us Nothing” the clearest example, yet calls of “Hey Mr. Pinochet” also strike an uneasy chord — but his lyricism shines on “The Lazarus Heart,” “Be Still My Beating Heart,” “They Dance Alone,” and “Fragile,” a quartet of his very finest songs. If Nothing Like the Sun runs a little too long, with only his Gil Evans-assisted cover of “Little Wing” standing out in the final quarter, it still maintains its tone until the end and, since it’s buoyed by those previously mentioned stunners, it’s one of his better albums. (by Stephen Thomas Erlewine)

And his version of “Little Wing” is one of the best versions of this Jimi Hendrix song ever recorded !

Mino Cinelu (percussion, vocoder)
Manu Katché (drums)
Kenny Kirkland (keyboards)
Branford Marsalis (saxophone)
Sting (vocals, bass, guitar on 04. + 06.)
Rubén Blades (spoken Spanish on 05.)
Hiram Bullock (guitar on 11.)
Eric Clapton (guitar on 05.)
Kenwood Dennard (drums on 11.)
Mark Egan (bass on 11.)
Fareed Haque (guitar on 05.)
Ken Helman (piano on 12.)
Mark Knopfler (guitar on 05.)
Andy Newmark (additional drums)
Andy Summers (guitar on 01. + 02.)
Gil Evans & His Orchestra (on 11.)
background vocals:
Renée Geyer – Dollette McDonald – Janice Pendarvis – Vesta Williams

01.The Lazarus Heart (Sting) 4,34
02. Be Still My Beating Heart (Sting) 5.32
03. Englishman In New York (Sting) 4.25
04. History Will Teach Us Nothing (Sting) 4.58
05. They Dance Alone (Sting) 7.16
06. Fragile (Sting) 3.54
07. We’ll Be Together (Sting) 4.52
08. Straight To My Heart (Sting) 3.55
09. Rock Steady (Sting) 4.27
10. Sister Moon (Sting) 3.46
11. Little Wing (Hendrix) 5.04
12. The Secret Marriage (Eisler/Sting) 2.03