Note, not only his bass and guitar work throughout the album, but his singing - certainly some of his most expressive yet. Delight in the deep funk of 'Perfect Love Gone Wrong', a love song, of all things of the canine variety "I think I may have been a dog in a previous life," Sting jokes. Hear how the descending melody of 'The End of the Game', a metaphoric tale of love as a cycle of hunter and hunted, glides into another of Sting's cunning rhythmic forays.
Check the smoky string-swept beauty of 'Tomorrow We'll See', a bittersweet take on love for sale, about the compassionate rendering of the song's streetwalking gender-bender. Sting says, "I remember nine years ago, in Paris, when I was making 'Soul Cages', walking through a neighbourhood which was a festival of exotic creatures. Mainly South American males dressed as women, in a very spectacular fashion. I realised this wasn't just commerce, it was showbusiness.
My wife, Trudie, made a BBC documentary of their lives. One of these characters came to me as inspiration and invaded the song.
There's a Brazilian aspect to it, an aspect of 50s noir film, but this character is very proud - not willing to be judged. I asked Cheb Mami Algerian singing sensation to compose Arabic lyrics.
I gave him the counter-melody, but didn't tell him what the song was about. He came back a few days later and started to sing. When I said 'what are you singing about' he replied, 'longing. Never complacent, always a risk-taker, he continues to explore new realms of sound, of soul, of surprise.
It's a 'Brand New Day' indeed. Review from Billboard Magazine by author unknown Never one to rest on his considerable laurels, Sting rides a wave of cosmopolitan pop inspiration with this, his seventh solo album Album) most ambitious and affecting since 's 'The Soul Cages'.
A song cycle on the sands of time and seeds of love, 'Brand New Day' brims with exoticisms from medieval chanson to Algerian rai to country, although the atmospheres are always at the service of a deeply communicative lyricism.
The moody, moving 'A Thousand Years' takes the breath away immediately with its intimate grandeur, while 'Desert Rose' ups the ante like the royal flush it is. A boldly cinematic duet with French-Algerian vocal star Cheb Mami, 'Desert Rose' swirls and soars on a new-hued groove of electric arabesques. The arrangement's international vibe demonstrates Sting's ability to ever expand his vision, and the tune - every bit the equal of 'Every Breath You Take' or 'If Ever I Lose My Faith in You' - reinforces his stature as a matchless melodist.
Gone Wrong' - the former blessed by cool-toned clarinet from Branford Marsalis, the latter a sexy French rap from Ste. Sting's compelling vocals and rock-steady bass drive the beguiling title track and first singleas it seals the album with a kiss of adult pop.
Far from going "Hollywood," Sting remains a voice of sanity and sophistication. Review from Uncut Magazine by Nigel Williamson Sting's seventh solo album has a millennial theme as he adopts an upbeat tone of new age optimism in defiance of the doomsayers. Musically it's an ambitious work, encompassing as many styles as there are songs. Guests include James Taylor and Stevie Wonder and critics will no doubt dismiss it as on over-polished coffee-table album for talking over at Notting Hill dinner parties.
The reaction is understandable for 'Brand New Day' is not really a rock record at all. But burrow under it's glossy sophistication and there is a deep and satisfying soulfulness to which you will want to return.
Musically, 'Brand New Day' offers the usual humalong melodies stretched over excruciatingly complicated rhythmic structures smoothed out by musicianship of almost supernatural grace and coated in a sophisticated production gloss.
Sting chases some exotic Middle Eastern harmonic intervals in 'Desert Rose', a duet with the Arab singer Cheb Mami, but for the most part he ends up sounding like the educated and regally detached observer he so obviously is.
Review from The Los Angeles Times by Robert Hilburn The millennium is a perilous topic Album) songwriters, because it's so easy to embarrass yourself with grandiose or overly sentimental statements. So it's clear that Sting is in top form when he opens his latest album with a millennium-minded love song that doesn't come close to making you wince. From its graceful melody to its delicate arrangement, the devotional 'A Thousand Years' recalls the intimacy and individuality of the veteran singer-songwriter's most winning works.
And things get even better with 'Desert Rose', a tale of almost mystical longing filled with exotic images and highlighted by Sting's hookup with Algerian singer Cheb Mami. Over the next eight numbers, Sting explores various facets of romance in a wide range of musical styles that move between bossa nova Big Lie, Small Worlddown-home country 'Fill Her Up' and his trademark mix of jazz, pop-rock and world music.
The wry 'Fill Her Up' and the moody 'Tomorrow We'll See' another story of a prostitute's plight should work well in concert, but their overtly dramatic structures undermine the innocence and introspection of the album.
Mostly, however, 'Brand New Day', featuring such guest artists as Stevie Wonder and James Taylor, overflows with the imagination and ambition that have characterised Sting's solo career.
Review from The Orange County Register by Ben Vener For all his rhythmic complexities and fluid skills at blending world musics and jazz into palatable pop, Sting is still at his best when he's at his simplest - just a great hook, a killer groove, maybe an anthemic chorus. It's a formula, sure, one he perfected by the time he left The Police, but it remains his forte. Witness the strongest moments of his first four solo albums, all of which retain a winning sense of mainstream craft amid the smoky atmosphere and off-beat time signatures.
Indeed, Sting has said his approach to songwriting is similar to an attack on a crossword puzzle; slowly but surely, the pieces fall into place until there's a completed form, Unknown - Timetrap (2) - Waiting For The Unexpected (CD. That doesn't happen on 'Brand New Day', perhaps because Sting is working with too many pieces. Convoluted, overwrought, at times even bombastic something the artist has been on the verge of for some timethe album never coalesces with the same impact as, say, the noir sizzle of ' It's almost all there, which makes it maddening.
In nearly every song, it's as if one element too many pushes things too far - the herky-jerky French rap in 'Perfect Love Gone Wrong', for instance, or the plodding, Yanni-esque string swirl that concludes 'Desert Rose' or the odd gospel-tinged world beat finish to the Nashville country of 'Fill Her Up'. Most irritating in those last two instances, the extra bits tend to overshadow fine contributions from outsiders, including Cheb Mami's lovely chanting on 'Rose' and James Taylor's faux-burliness on 'Up'.
In many ways, 'Brand New Day' feels like well-covered ground. And much of the most personal moments here don't hold a candle to the primal hunger of the earlier I Burn for You.
Worse, when he Album) in character say, the prostitute of 'Tomorrow We'll See' he's terribly pedantic. That doesn't mean, however, that the album is worthless. At his weakest, Sting is still capable of tunes and arrangements that are light-years ahead of anyone else working in a similar vein, and a few cuts here the burbling bossa nova of 'Big Lie Small World', the Princely 'After the Rain Has Fallen' and the suitably ethereal 'Ghost Story' rank among his best.
It's just not as smart overall as it should be. Review from Best Magazine France by author unknown A particular fad has been going on for several years. Some adhere to it, but some are left perplexed. After a while, these mysterious stickers have taken on a meaning synonymous of "loved car", polished, which despite not necessarily being fast, has the look and the flash.
If it's immediately recognizable and contains the usual elements of a Sting album, 'Brand New Day' is nonetheless different on many levels. Faithful to his intellectual-gentleman-open-to-the-world image, Sting continues to mature and question himself, accumulating multiple influences with wit and cunning: to have friends is very useful.
Point taken when his new friend Cheb Mami lays down his soaring rai and his darboukas on 'Desert Rose'. The result is a marvel that should create a buzz. Another notable orientation: Sting has been leaning towards electronics. He incorporates it abundantly but tastefully to create elaborate and profound ambiences the wonderful 'A Thousand Years'. With good surprises, innovations, and classic compositions, 'Brand New Day' is sometimes uneven, but faithful to all that Sting produces: Touched by "class.
It opens as a pedal steel Nashville pastiche, a yarn about a disgruntled country-road petrol pump attendant who runs off with the day's take and a plan to 'head west' with his girl.
Until, that is, after six verses he runs into both a different, far moodier tune and the beauty of nature in the woods around the gas station. You gotta 'Fill Her Up' with love'. After this, nothing more is said, but a spacious jazz piano and double bass outro - the fifth melodic theme - somehow suggests a lesson taken to heart.
If that's not enough, while tired souls bowl 'pretentious! Throughout, 'Brand New Day''s goodie bag of class-rock, breakbeats, bossa nova, rap, chanson and whatever next gives more the more It's played. Sting's preoccupation this year is romantic love.
His stories' large embrace includesArabesque exotica The 'Desert Rose'Sinatra-in-Paris urban tragedy 'Tomorrow We'll See', doomed hero a drag queen prostitute and cod-smoochy anthropomorphic farce 'Perfect Love Gone Wrong', doomed hero a jealous dog. But even when he risks generalisation, Sting can still pull it off: the candidly millennium-referencing A Thousand Years is a quiet, aeon-spanning romance sung beautifully, which helps. Prone, as ever, to the odd plunk down into mundanity when the wax wings of imagination melt - here, with one or two choruses de trop re the power of love - Sting can still rely on musical instinct for a little bit of what he fancies to do him good, be it Algerian Cheb Mami warbling on A 'Desert Rose', French rapper Ste upbraiding her pooch on 'Perfect Love Gone Wrong', or, marvellously, Stevie Wonder frolicking his harmonica - surely the sunniest sound of the century - through the title track.
It may be that nobody is going to like Sting who doesn't already, but 'Brand New Day' is full of vaulting ambition and cat-killing curiosity. Review from USA Today by Edna Gundersen Sting, the undisputed king bee of adult-contemporary pop, delivers more of his exoticism, sophistication and melodic brilliance on this seventh solo album, a vibrant work free of the fatigue or rote maneuvers you might expect at this stage in a long and lucrative career.
Sting explores the healing powers of romance in warm, beautifully crafted music bolstered by impeccable musicianship, rich vocals and such impressive guests as James Taylor, Stevie Wonder and Branford Marsalis playing an elegant clarinet on 'Tomorrow We'll See'.
Review from The New York Post by author unknown On his first disc in more than three years, Sting turns in a nine-song album that explores the secret language of love. Unknown - Timetrap (2) - Waiting For The Unexpected (CD style-defying disc taps jazz, African pop, country and just about everything else that has tickled Sting's ear lately.
Rather than sounding like a musical raider pillaging his way across any culture that gets within his grasp, here Sting respects the music and always give it enough room to develop. Although the theme is love, Sting avoids getting soft and mushy.
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