After my disappointment in his last several albums (particularly If on a Winter's Night, The Last Ship, 57th & 9th, and 44/876), I was in the right mood to hear him, so I made the decision to go farther back into Sting's catalogue for some great music. But what to pick? Ten Summoner's Tales (1993) is my go to disc, but I wanted something very fresh. Something I hadn't listened to in a long time.
Mercury Falling was one I hadn't heard in a very long time.
Popping it into the car player- not my favorite way to listen to a disc but it had to do- I was surprised by how very different it felt compared his more recent albums. In a very good way!
In the past, The Hounds of Winter felt like a sheer throwaway introduction to the collection. Backed by his very skilled band, Dominic Miller, Vinnie Colaiuta, and the incredible but sadly long gone Kenny Kirkland, I could hardly believe the rich, deep, full sound of it all. Interestingly, not one instrument reigns over the other, resulting in each piece being showcased all the more effectively. On top of this, Sting's voice sails up and down the scales as the poetry leaves its impression in my head. From the rolling drum roll introduction to the repeat of the same at the end, it truly is a magnificent piece of work.
The transition to I Hung My Head was quite jarring. As one of many country songs recorded over the course of his career, this cowboy saga has some of the most clever lyrics Sting has ever written. Listen carefully as he builds a story with subtle changes to key words and their meaning.
I continue to be struck by his incredible command of the English language and the sometimes obscure literary references found in his lyrics. As a Christian, I am taken by his continued and very powerful use of Biblical imagery to paint a story. On this recording, it's represented by his use of the the phrase "Kingdom Come", a reference to Jesus' return to earth out of the book of Matthew, Chapter 6. He may be a self-proclaimed agnostic, but you would guess that Sting, like many of us, is also searching for answers to eternal questions. I'm also certain that he could release a "Country Collection" and fill it up without giving it too much thought. The tune is very well done and pulls you into the story, but in all honesty, it's perfected on the orchestral version found on 2010's live Symphonicities disc.
Guest artist Branford Marsalis brings his talent to Let Your Soul Be Your Pilot, the lead single from the album. The song reads like a mix between a gospel number, which is appropriate, and something you'd get from the great Stax records from the 1960's such as those hits from Otis Redding and Booker T. and the M.G.'s. The East London Gospel Choir adds the necessary sway with church inspired background vocals. It's not one of his best vocal performances on this disc, and perhaps it was a little strange for choice of a single. The song was never truly embraced by the buying public, just reaching the position of #86 on the U.S. Billboard charts, one of the lowest of his career. Sting is not really a singles artist as generally his songs are too textured and even quirky for pop radio, but this was still surprising. The release was quickly followed by You Still Touch Me a mere eight weeks later. (It performed only slightly better, peaking at #60.)
I Was Brought to My Senses. And so was I! After an all too lengthy minute and a half and very dry vocal intro, the song begins to take off with a lovely fiddle and acoustic guitar duet. At this point, his vocals are strong, confident, and almost bright, as Sting plays with his upper register to great effect. Marsalis' saxophone adds to the newly festive mood, making Sting's background vocals all the more playful. Just wonderful. A surprising and favorite cut.
I continue to be struck by his incredible command of the English language and the sometimes obscure literary references found in his lyrics. As a Christian, I am taken by his continued and very powerful use of Biblical imagery to paint a story. On this recording, it's represented by his use of the the phrase "Kingdom Come", a reference to Jesus' return to earth out of the book of Matthew, Chapter 6. He may be a self-proclaimed agnostic, but you would guess that Sting, like many of us, is also searching for answers to eternal questions. I'm also certain that he could release a "Country Collection" and fill it up without giving it too much thought. The tune is very well done and pulls you into the story, but in all honesty, it's perfected on the orchestral version found on 2010's live Symphonicities disc.
Guest artist Branford Marsalis brings his talent to Let Your Soul Be Your Pilot, the lead single from the album. The song reads like a mix between a gospel number, which is appropriate, and something you'd get from the great Stax records from the 1960's such as those hits from Otis Redding and Booker T. and the M.G.'s. The East London Gospel Choir adds the necessary sway with church inspired background vocals. It's not one of his best vocal performances on this disc, and perhaps it was a little strange for choice of a single. The song was never truly embraced by the buying public, just reaching the position of #86 on the U.S. Billboard charts, one of the lowest of his career. Sting is not really a singles artist as generally his songs are too textured and even quirky for pop radio, but this was still surprising. The release was quickly followed by You Still Touch Me a mere eight weeks later. (It performed only slightly better, peaking at #60.)
I Was Brought to My Senses. And so was I! After an all too lengthy minute and a half and very dry vocal intro, the song begins to take off with a lovely fiddle and acoustic guitar duet. At this point, his vocals are strong, confident, and almost bright, as Sting plays with his upper register to great effect. Marsalis' saxophone adds to the newly festive mood, making Sting's background vocals all the more playful. Just wonderful. A surprising and favorite cut.
The most commercial sounding recording on this disc is its second single, You Still Touch Me. It's short length and punchy production are in stark contrast to the more pensive tunes found elsewhere. Sting's vocal performance reminds me of his work on The Police's classic Roxanne.
Our English cowboy rides the frontier again with the next cut, I'm So Happy I Can't Stop Crying. In this ironically clever upbeat version of the classic country tale of "I lost my truck, my wife, and my job", Sting plays with the devastation of an infidelity, a breakup, and a legal separation while "laughing" about getting joint custody of the kids. The song's been covered by Toby Keith and Johnny Cash, showing once again that a good song is a good song in most any genre performed by any decently talented artist.
Returning to the Soul/R&B format, All Four Seasons brings a sense of fun to the old adage of a woman being able to change her mind and opinions as she chooses. The tune swings and rolls with Sting providing the playful vocal work that ties it all together. After so many "serious" cuts, the disc needed the change in tone. But it doesn't prepare the listener for what comes next.
On it's own La Belle Dame Sans Regret takes an interesting place in the canon of his work. I'm not that familiar with the French language, so I can't really say whether his accent works or not. More of a curiosity piece, even the translation of the lyrics reveals a tale of ambiguity. With so few songs on the disc, it's a pleasant diversion but nothing more. In interviews, even the artist himself questioned it appearing on the disc.
The last two selections continue the overall sombre tone of this mostly interesting but forgotten collection, making "Side Two" less compelling than the first half. Valparaiso won't be making any "Best of" compilations with its less than catchy melody and extended instrumental ending, but it presents Sting as an artist that will do whatever he pleases.
Lithium Sunset brings us full circle with another cowboy tune. Proving once again, he could and should do an all country disc, Sting's vocals slide up and down the scales with a twang that makes Nashville proud. The last words of the song tie it all together as the album starts and ends with the lyrics "Mercury Falling". Quite clever. I love these kind of artistic touches.
Was Sting losing steam with this disc? Hard to say. As with most artists and a lengthy career, things wax and wane as their lives and interests influence art to often mixed but interesting results.
Our English cowboy rides the frontier again with the next cut, I'm So Happy I Can't Stop Crying. In this ironically clever upbeat version of the classic country tale of "I lost my truck, my wife, and my job", Sting plays with the devastation of an infidelity, a breakup, and a legal separation while "laughing" about getting joint custody of the kids. The song's been covered by Toby Keith and Johnny Cash, showing once again that a good song is a good song in most any genre performed by any decently talented artist.
Returning to the Soul/R&B format, All Four Seasons brings a sense of fun to the old adage of a woman being able to change her mind and opinions as she chooses. The tune swings and rolls with Sting providing the playful vocal work that ties it all together. After so many "serious" cuts, the disc needed the change in tone. But it doesn't prepare the listener for what comes next.
On it's own La Belle Dame Sans Regret takes an interesting place in the canon of his work. I'm not that familiar with the French language, so I can't really say whether his accent works or not. More of a curiosity piece, even the translation of the lyrics reveals a tale of ambiguity. With so few songs on the disc, it's a pleasant diversion but nothing more. In interviews, even the artist himself questioned it appearing on the disc.
The last two selections continue the overall sombre tone of this mostly interesting but forgotten collection, making "Side Two" less compelling than the first half. Valparaiso won't be making any "Best of" compilations with its less than catchy melody and extended instrumental ending, but it presents Sting as an artist that will do whatever he pleases.
Lithium Sunset brings us full circle with another cowboy tune. Proving once again, he could and should do an all country disc, Sting's vocals slide up and down the scales with a twang that makes Nashville proud. The last words of the song tie it all together as the album starts and ends with the lyrics "Mercury Falling". Quite clever. I love these kind of artistic touches.
Was Sting losing steam with this disc? Hard to say. As with most artists and a lengthy career, things wax and wane as their lives and interests influence art to often mixed but interesting results.
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