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Sting: Symphonicities

 A l b u m   D e t a i l s


Label: Deutsche Grammophon
Released: 2010.07.13
Time:
 55:39
Category: Rock, Classical
Producer(s): Sting, Rob Mathes
Rating:
Media type: CD
Web address: www.sting.com
Appears with: The Police
Purchase date: 2012
Price in €: 1,00





 S o n g s ,   T r a c k s


[1] Next to You (Sting) - 2:30
[2] Englishman in New York (Sting) - 4:23
[3] Every Little Thing She Does Is Magic (Sting) - 4:56
[4] I Hung My Head (Sting) - 5:31
[5] You Will Be My Ain True Love (Sting) - 3:44
[6] Roxanne (Sting) - 3:37
[7] When We Dance (Sting) - 5:26
[8] The End of the Game (Sting) - 6:07
[9] I Burn for You (Sting) - 4:03
[10] We Work the Black Seam (Sting) - 7:19
[11] She's Too Good for Me (Sting) - 3:03
[12] The Pirate's Bride (Sting) - 5:02

 A r t i s t s ,   P e r s o n n e l


Sting - Vocals, Acoustic Guitar on [9,11], Rabble Rousers on [11]

The New York Chamber Consort - Orchestra on [1,2,9,11,12]
The London Players - Orchestra on [3,6]
The Royal Philharmonic Concert Orchestra - Orchestra on [4,5,7,8]
Lisa Kim - Concertmaster on [1,2,9,12]
Jackie Shave - Concertmaster on [3,6]
Gerald Gregory - Concertmaster on [4,7,8]
Rob Mathes - Arrangements on [1-3,6,8-12], Conducting on [1-3,6,9,10,12]
Steven Mercurio - Arrangements on [5,7], Conducting on [4,7,8]
David Hartley - Arrangements on [4]

Jo Lawry - Backing Vocals on [1-9,11-12], Duet Vocals on [5,11]
David Finck - Double Bass on [1-3,6]
Ira Coleman - Double Bass on [4,5,7,8,11]
Dominic Miller - Acoustic Guitar on [4,5,7,8,12], Electric Guitar on [11]
Rob Mathes - Piano on [1-3,6,12], Acoustic Guitar on [3,6,11], Rabble Rousers on [11]
David Cossin - Percussion on [1-8], Solo Percussion on [9]
Joe Bonadio - Percussion on [1,2,9-12]
Ben Wittman - Loop Programming on [9]
Aaron Heick - Clarinet Solo on [2]
Anthony Pleeth - Solo Cello on [6]
Shelley Woodworth - Solo Oboe on [12]
Barbara Allen - Harp on [12]
Jeff Kievit - Lead Trumpet on [10]
Jim Hynes - Trumpet on [10]
James Delagarza - Trumpet on [10]
Dylan Schwab - Trumpet on [10]
Larry Dibello - Horn on [10]
Chad Yarborough - Horn on [10]
David Peel - Horn on [10]
Theo Primus - Horn on [10]
Birch Johnson - Trombone on [10]
Dick Clark - Trombone on [10]
Jeff Nelson - Bass Trombone on [10]
Marcus Rojas - Tuba on [10]
Chris Botti - Rabble Rousers on [11]
Ed Cherner - Mixing, Rabble Rousers on [11]
Tracy Bufferd - Rabble Rousers on [11]
Kathryn Schenker - Rabble Rousers on [11]

Rob Mathes - Producer
Jonathan Allen - Recording
Lewis Jones - Recording Assistant
Tim Mitchell - Pro-Tools, Recording Assistant
Elliot Scheiner - Mixing
Claudius Mittendorfer - Mixing
Alex Venguer - Mixing, Overdub Engineer, Pro-Tools, Recording
Matt Scheiner - Mixing Assistant
Scott Hull - Mastering
Ben Wittman - Loop Programming
Lars Fox - Editing
Lori Casteel - Music Preparation
Mike Casteel - Music Preparation
Stefan Smith - Cover Design, Package Design
Fabrizio Ferri - Photography
Anthony DeCurtis - Liner Notes
Jennifer Fusco - Booklet Editor
Isobel Griffiths - Contractor
Donal Hodgson - Digital Operations
Martin Kierszenbaum - A&R
Evelyn Morgan - A&R
Christopher Roberts - A&R
Danny Quatrochi - Guitar Technician
Lucy Maxwell-Stewart - Publicity

 C o m m e n t s ,   N o t e s


We could quibble that Sting played it safe Saturday night at the Winspear Opera House. We could complain that he and his stellar three-piece band - drummer Josh Freese, keyboardist David Sancious and guitarist Dominic Miller - pandered to the 30-and-up audience by giving them many familiar solo and Police tunes as well as a few album cuts from that hit-making era.

But that would be dismissing a fabulous show of musicianship, stage presence and song selection. Sting, whose performance was part of the Super Bowl XLV Kick-Off Concert Series, was in stellar artistic form. He was so good that he made us forget how coy those North Texas Super Bowl XLV Host Committee bigwigs were about the headliner of the Sept. 10 gig dubbed "XLV Countdown Live From Cowboys Stadium."

All we know is this person is a Grammy-winner and has sold more than 40 million albums. "Contractual obligations" prohibit them from saying anything else. Instead we got banter from hosts Troy Aikman and Daryl Johnston as well as Roger Staubach, Drew Pearson and Tony Dorsett.

Sting commanded undivided attention for 90 minutes. Looking and sounding most youthful at 58, the Englishman born Gordon Sumner opened with a loosely R&B rendition of "If I Ever Lose My Faith In You." He would effortlessly travel through gems showcasing his grasp of melodies, rhythm and memorable lyrics.

The highlights were the unexpected numbers such as the sauntering "Walking On the Moon" segueing into the moody "Tea In the Sahara," or the solemn, spare "Shape Of My Heart" and the rocking "Driven to Tears." But there was also no ignoring the punk-rock energy of "Message In a Bottle," the stunning beauty of "Fields of Gold" and the sinewy, sexy allure of "Wrapped Around Your Finger."

By the time he reached the end of two encores, Sting had touched on every significant turn of his career. Closing with "Fragile," one of his most covered solo compositions, reminded us just how accomplished his repertoire has been.

Mario Tarradell / The Dallas Morning News



Given Sting’s far-reaching ambition and interests, it was merely a matter of time before he recorded an orchestral album, but 2010’s Symphonicities surprises by offering symphonic arrangements of his older songs instead of a new work. This is a canny move, for the common complaint lodged against rock-classical crossovers is against the quality of the material - think Paul McCartney or Billy Joel - a criticism that can’t be leveled here, as this is a selection of some of Sting’s best songs. By relying on his catalog, Sting wound up with an album that is pop, not classical, in structure, but the sound of Symphonicities is surely symphonic, with “Next to You” driven by sawing strings instead of buzzing guitars. Occasionally, this changes the impact of a song, but rarely does it alter its intent; indeed, there are a handful of tunes, like “Englishman in New York” and “When We Dance,” that feel unaltered in this larger setting. Naturally, it’s the Police songs that are changed most - “Every Little Thing She Does Is Magic” bears a sprightly yet dreamy arrangement, “Roxanne” trades its reggae rhythm for a languid, seductive lilt - and it’s also on these familiar songs where Sting’s engagement is palpable. He may not be radically reinventing these songs, but he’s certainly reinvigorated by this lush setting, and this energy prevents Symphonicities from falling into pretentious traps; it’s lively and fun, and it’s Sting’s most satisfying record in a long time.

Thomas Erlewine - All Music Guide



Who would have guessed that Sting's most exciting album in years would be a set of orchestral remakes? Symphonicities rocks hard from the outset, with a wallop of cellos and violins replacing the staccato guitars of the early Police song "Next to You." The most inspired moments are the whimsical ones: the harp-and-flute intro to "Every Little Thing She Does Is Magic," the lush treatment of "Roxanne," and an "Englishman in New York" that's more playful than the original. Sting has shown he's a rocker who knows how to scale up.

Mark Kemp - August 2, 2010
RollingStone.com



Symphonicities is the tenth studio album by English musician Sting. It was released on 13 July 2010 on Deutsche Grammophon. The album is a companion piece to the tour of the same name in which Sting, performing with the Royal Philharmonic Concert Orchestra, reinterprets some of his songs as classical symphonic compositions. Symphonicities was recorded at Abbey Road Studios, and produced by Rob Mathes and Sting. Elliot Scheiner and Claudius Mittendorfer mixed the record, and it was mastered by Scott Hull. As of November 2010, the album had sold over 600,000 copies worldwide.

Wikipedia.org
 

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