The Bridge (Deluxe) Sting
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- 1Rushing Water03:17
- 2If It's Love03:14
- 3The Book of Numbers03:18
- 4Loving You04:24
- 5Harmony Road03:18
- 6For Her Love03:45
- 7The Hills on the Border04:16
- 8Captain Bateman04:14
- 9The Bells of St. Thomas04:08
- 10The Bridge02:33
- 11Waters of Tyne02:10
- 12Captain Bateman's Basement03:41
- 13(Sittin' On) The Dock of the Bay02:54
Info for The Bridge (Deluxe)
The Bridge showcases Sting’s prolific and diverse songwriting prowess, with this new set of songs representing styles and genres explored throughout his unrivalled career. The upbeat, breezy and infectious pop tune exhibits his undeniable gift for melody. In his signature voice, and taking a different approach to a straight-forward love song, Sting likens contemplating his romantic feelings to calling the doctor about his symptoms.
"I’m certainly not the first songwriter to equate falling in or out of love with an incurable sickness, nor will I be the last,” says Sting. “’If It’s Love’ is my addition to that canon where the tropes of metaphorical symptoms, diagnosis, and downright incapacity are all familiar enough to make each of us smile ruefully."
The Bridge was written in a year of global pandemic and finds Sting ruminating on personal loss, separation, disruption, lockdown, and extraordinary social and political turmoil.
Exploring a multitude of concepts and themes, a “bridge” represents the enduring and ever-evolving link between ideas, cultures, continents, and even the banks of a river. It’s also a route into the past, and so it was that Sting found himself considering the music and the places that have formed his own foundations, and that indeed are embedded in his very DNA.
He explains, “These songs are between one place and another, between one state of mind and another, between life and death, between relationships. Between pandemics, and between eras – politically, socially and psychologically, all of us are stuck in the middle of something. We need a bridge.”
Representing various stages and styles from throughout his career and drawing inspiration from genres including rock n’ roll, jazz, classical music and folk, the eclectic album features Sting’s quintessential sound on pop-rock tracks such as the album’s opening rock salvo “Rushing Water” and new indie-pop sounding “If It’s Love,” to the smoldering electronic ballad “Loving You” and the romantic “For Her Love” which evokes Sting’s trademark “Fields of Gold” period. “The Book of Numbers,” “Harmony Road” and “The Bells of St. Thomas” showcase Sting’s collaboration with his long-time guitarist/“right and left-hand,” Dominic Miller.
Written and recorded over the last year in lockdown, a coterie of trusted musicians beamed into Sting’s studio remotely including Dominic Miller (guitar), Josh Freese (drums), Branford Marsalis (saxophone), Manu Katché (drums), Martin Kierszenbaum (keyboards), Fred Renaudin (synthesizer) and backing vocalists Melissa Musique, Gene Noble, Jo Lawry and Laila Biali, The Bridge’s influences are vast; from grappling with the murky origins of the folk ballads in Cecil Sharp’s ‘Collection of English Folk Songs’, to J. Robert Oppenheimer, from the Roman history of Northumbria to Saint Thomas.
All songs on The Bridge are produced by Sting and Martin Kierszenbaum, except “Loving You” produced by Sting, Maya Jane Coles and Martin Kierszenbaum. The album was mixed by Robert Orton, engineered by Donal Hodgson and Tony Lake, and mastered by Gene Grimaldi at Oasis Mastering.
Born 2 October 1951, in Wallsend, north-east England, Gordon Sumner's life started to change the evening a fellow musician in the Phoenix Jazzmen caught sight of his black and yellow striped sweater and decided to re-christen him Sting. Sting paid his early dues playing bass with local outfits The Newcastle Big Band, The Phoenix Jazzmen, Earthrise and Last Exit, the latter of which featured his first efforts at song writing. Last Exit were big in the North East, but their jazz fusion was doomed to fail when punk rock exploded onto the music scene in 1976. Stewart Copeland, drummer with Curved Air, saw Last Exit on a visit to Newcastle and while the music did nothing for him he did recognise the potential and charisma of the bass player. The two hooked up shortly afterwards and within months, Sting had left his teaching job and moved to London.
Seeing punk as flag of convenience, Copeland and Sting - together with Corsican guitarist Henri Padovani - started rehearsing and looking for gigs. Ever the businessman, Copeland took the name The Police figuring it would be good publicity, and the three started gigging round landmark punk venues like The Roxy, Marquee, Vortex and Nashville in London. Replacing Padovani with the virtuoso talents of Andy Summers the band also enrolled Stewart's elder brother Miles as manager, wowing him with a Sting song called 'Roxanne'. Within days Copeland Senior had them a record deal. But the hip London music press saw through The Police's punk camouflage and did little to disguise their contempt, and the band's early releases had no chart success. So The Police did the unthinkable - they went to America.
The early tours are the stuff of legend - bargain flights to the USA courtesy of Freddie Laker's pioneering Skytrain; driving their own van and humping their own equipment from gig to gig; and playing to miniscule audiences at the likes of CBGB's in New York and The Rat Club in Boston. Their tenacity paid off though as they slowly built a loyal following, got some all important air-play, and won over their audiences with a combination of new wave toughness and reggae rhythms.
They certainly made an odd trio: guitarist Summers had a career dating back to the mid-60s, the hyper-kinetic Copeland was a former prog-rocker, and Sting's background was in trad jazz and fusion. The sound the trio made was unique though, and Sting's pin-up looks did them no harm at all. The band returned to the UK to find the reissued 'Roxanne' single charting, and played a sell-out tour of mid-size venues. The momentum had started. The debut album 'Outlandos d'Amour' (Oct 78) delivered three sizeable hits with 'Roxanne', 'Can't Stand Losing You' and 'So Lonely' which in turn led to a headlining slot at the '79 Reading Festival which won the band some fine reviews, but it was with 'Reggatta de Blanc' (Oct 79) that the band stepped up a gear.
Reggatta's first single, 'Message In A Bottle', streaked to number one and the album's success was consolidated further when 'Walking On The Moon' also hit the top slot. The band was big, but about to get even bigger. 1980 saw them undertake a world tour with stops on all continents - including the first rock concerts in Bombay - and the band eventually returned to the UK exhausted, for two final shows in Sting's hometown of Newcastle. Much of this groundbreaking tour was captured on the 'Police Around The World' video and a BBC documentary entitled 'The Police in the East'
Within weeks, the band were in a Dutch studio recording new material but Sting's stock of pre-Police songs and ideas were wearing out. When 'Zenyatta Mondatta' was released (Oct 80) although it sold well and produced another number one single in 'Don't Stand So Close To Me' and a top five hit with 'De Do Do Do, De Da Da Da' a rethink was required. Sting later admitted that he felt 'Zenyatta' was the band's weakest album but by the end of 1980 the band were undoubtedly the biggest-selling band in the country selling out two shows in a huge marquee on Tooting Bec Common in London. For more please visit www.sting.com
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