Feb 09, · Sting: The Soul Cages (LP, Album) A&M Records: Colombia: Sell This Version4/5(). Sting: The Soul Cages (LP, Album) A&M Records: Europe: Sell This Version/5(38). Mar 24, · View credits, reviews, tracks and shop for the Vinyl release of The Soul Cages on Discogs. Label: A&M Records - • Format: Vinyl LP, Album, Reissue • Country: US • Genre: Jazz, Rock, Pop • Style: Soft Rock, Pop Rock, Jazz-Rock/5(27).
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I'm very proud of that album. What I turned to was my earliest memory. The shipyard. There was always a huge ship towering above the houses at the end of Gerald Street in Wallsend where I grew up.
As soon as I got that down the thing was written in two or three weeks. It poured out. Although it was painful, it wrote itself almost, free-associating. I only realised what it was about as I went along.
The journey back to where I came from. The idea of death. Lines about this father thing kept coming up. Something was saying I had to deal with it. But I have to of course, and it serves a purpose. Even though death isn't much of a party subject it's valuable to me to think about it. I figured that I'd have to go through some sort of process where I would get this stuff out.
Once I'd worked that out, I realised that I was going to have to write a record about death. I didn't really want to. I don't think the 'Soul Cages' is going to conform to any of their expectations - I think they're expecting a record about ecology or something. If they're surprised, then I'm pleased. And the next record will hopefully surprise them again. I enjoy that music, and I like making it, but it didn't seem to apply. So the bulk of the record is based on Celtic folk melodies.
I'd written a lot of little fragments of music, but there were no real ideas coming out. I was genuinely frightened. At one point I thought, "This is it, I've just dried up! Perhaps I was afraid of what might come out if I wrote something. I think there was an awful lot of denial and blockage going on in my subconscious - there were things I wasn't ready to face.
This went on until after I'd gotten a band together and had two months before the whole process [of rehearsing and recording] was supposed to begin. I still didn't have a damn word. I spoke to Bruce Springsteen about it. He was just starting his own album, and I said, "Bruce, I don't know what to do.
Have you got any bad songs you don't want" He offered me a couple. Then one day I just sat at the piano and started to free associate, mumbling to myself there was nobody in the house - and the mumbling got louder and gradually I started to sing lines.
Words started to flow out 'Island of Souls' was one of the first. So I wrote down what I thought were just disconnected images and lines. Quite a few were about the sea, and all were linked somehow to my father and his death.
Suddenly, I realised I was mourning my father, and then the whole thing poured out of me like a river - which became the central image on 'All This Time'. That album was very personal, confessional, and therapeutic in terms of facing death and loss.
But I guess you could say the therapy worked, because now I have a new sense of freedom, Album), a desire to move on and make songs solely intended as entertainments, designed to amuse. Liner Notes Sting explains There seemed to be a certain amount of anxiety regarding this new piece of work.
To be honest, at the time I had very little to show in the way of material. In fact, since the recording of ' Nothing Like The Sun', inI hadn't written as much as a rhyming couplet, much less a whole song. I was suffering from what they call 'writer's block' It wasn't any fun at all.
I signed up Hugh Padgham to produce and hoped that a deadline and a couple of contracts would jump start the proceedings. No shortage of melodies, chord structures, harmonic themes, intros, middle eights, codas, cadenzas and contrapuntal calypsoes. But not one line of a lyric - nothing I walked from one arid beach to the next. My deadline, like an ominous tidal wave, was getting Album) and closer and was about to swamp me.
A few people I cared about were abruptly taken off the planet, plus the usual mid-life sort of stuff. No, we're going to have to look much further back than that. Let's take that long road back to the beginning of things. The river flowed to the sea Review from Q magazine by Peter Kane Some words of warning to all would-be millionaire rock stars: the job isn't always what it's cracked up to be.
Whether you're the man of LP people Phil Collins type, a hermetically sealed George Michael or another ageing juvenile Rod Stewart in the making, there comes a time when you have to stop trying to make it in films, put an end to scouring the globe in search of painless diversion or using your name to sway public opinion and get back to making records.
Sometimes it even hurts; especially if you used to be called Gordon Sumner, came from sound blue collar stock and have trouble reconciling your natural, decent, liberal instincts with the excessive rewards of your chosen career. It's been a good three years since ' Nothing Like The Sun' and 'The Soul Cages' accompanying press release, penned tellingly by the man himself, ranks much of the writer's block suffered during that fallow period when he still managed to take on the guise of Great White Protector Of The Rain Forests.
His muse must have been merely puffing her feet up, though, for he's gouged out of himself another most Sting-like affair: a panoramic sweep of the soul that is fastidiously mounted, overtly literate and, against the odds even occasionally quite moving, not least on the fragile closing ballad 'When The Angels Fall' or 'Why Should I Cry For You's' elegantly simple melody set against a looping Third World beat.
Water is everywhere, whether looking out across the river and beyond on the deceptively bouncy 'All This Time' or going under for good in 'The Wild Wild Sea' which as a tune, manages to exhibit distinct latter-day sea shanty possibilities.
Even the title track, which comes complete with nagging rock guitar motif seems to warn of an eternal watery damnation a full five fathoms below the surface, so much so that it's hard not to put all this down to his "going native" in the Amazon and a greening belief that salvation lies only in the return to a more natural order. Few would argue with that or even the grim Biblical forebodings of 'Jeremiah Blues Part 1 ', one of those jazzy funk items with a bit of disembodied piano-tinkling thrown in that he often favours.
In the face of such gushing humanity, the slender Latinate instrumental, 'St Agnes And The Burning Train', comes as a welcome breather. As one who has built himself virtually from scratch, Sting has proved a master of artifice as well as one of rock's more articulate practitioners.
He's not unaware of the ambiguous reaction that his caring, sharing, all-purpose, adult-branded music tends to provoke, nor is he likely to be oblivious to the fact that, in the true spirit of the times, sensitivity sells, especially when it's as carefully packaged as this.
Still, let's face it, there are worse things to be accused of. Review from Rolling Stone magazine by Paul Evans Something of a pop culture superman, Sting can seem like a daunting - and perhaps overly self conscious - model of higher evolution.
A hitmaker erudite enough to quote Prokofiev, a studiously literate lyricist equally fond of venturing into the mists of Jungian psychology and citing such sly ironists as Nabokov, and a millionaire who's fastidiously politically correct, Sting is a rock star of a complexity that never could have been imagined by such raw geniuses as Little Richard. A tireless media crusader for the Brazilian rain forest and a more credible actor than most rockers-as-actors, he's also a proud father and the lurky possessor of looks sharp enough to qualify him as a fashion-mag cover boy.
The Renaissance man on hyperdrive, he gulps challenge with every breath he takes. Highly serious and sonically gorgeous, 'The Soul Cages' is Sting's most ambitious record yet - and maybe his best. Like 'The Dream of the Blue Turtles', fromand ' Nothing Like the Sun', fromit forgoes Police-style catchiness and the safety of conventional song structure for vast swirls of sound that build to either musical or emotional crescendo; the nine pieces are minidramas of intensity and will.
What elevates Sting's new music is its freer, deeper and more unified mood. If Sting's deliberate smarts open him up to charges of being an artist who too obviously thinks while he dances, 'The Soul Cages' may trash that perception.
It's his most moving performance. It's also a difficult one. Dense with images of dead fathers and trapped sons, of bitter weather, of moonlight and oceans that threaten oblivion or tempt with release, the songs seldom waver from a deep fatalism that, no matter how romantic its guise, is almost unbearably tense. The long-standing sidemen of Sting's solo career, saxophonist Branford Marsalis and keyboardist Kenny Kirkland, undergird a crew of players who seem to relish the test of the intricate, longish material.
Drummer Manu Katche provides complicated, sometimes free, sometimes tight propulsion, and Marsalis remains Sting's ace ally, insinuating graceful, nearly Arabic melodies. Sting's bass playing is supple throughout, and his voice - startling, ever since the Police's 'Roxanne' - has gained subtlety.
It's now a truly expressive instrument, whether slurring in a sort of artful Scottish burr or clear-throatedly declaiming. At times recalling the highly textured moodiness of such hip classical movie composers as Angelo Badalamenti 'Twin Peaks' and Ennio Morricone 'The Mission' and any number of spaghetti-western masterpiecesthe music has a cinematic breadth.
It helps that the sounds are so enticing. They pull the listener into verbal landscapes that, for all their lush description, are psychic wastelands - cages, snares, dead ends. In 'All This Time', Christian hope is undercut: "Blessed are the poor, for they shall inherit the earth The effect at times is a bit overwhelming, but it's gripping, too - the tossing and turning of an anxious superman.
The timing couldn't have been better. Pro-rain forest activist and generally concerned rock star Sting has released his third solo album, The Soul Cages. For maximum environmental protection, the CD is packaged in a "digipack," a fold-over cardboard case designed as an alternative to the wasteful, tree-killing longbox. The records not only supplement each other perfectly; they also help answer one of the most vital questions ever considered by man.
Which is more irritating-mosquitoes or pompous rock stars The Soul Cages has little to do with rain forests or any subject as overtly global as Brazilian Rainforest. Like everything Sting has done since the Police established themselves as the most commercially successful of all power-pop bands, the album is intended as a serious artistic statement.
Early word of mouth had it that the record would be a return to Sting's rock- oriented roots especially since he is playing bass, not guitar, for the first time since the Police's 'Synchronicity' in Blaring guitars probably wouldn't be appropriate anyway, since the songs are mostly a sullen bunch that explore personal and romantic loss and relationships gone astray, with the recent death of Sting's father casting a shadow over the proceedings.
In 'Island of Souls', a shipbuilder's son mourns the death of his dad from a work accident, while Sting's own loss is more directly expressed in 'All This Time' and the mournful 'Why Should I Cry for You' In comparison, the inevitable tract about world destruction, 'Jeremiah Blues Part 1 ', sounds like good news.
Somber themes, even those of an intimate bent, are nothing new for a Sting record. The Wild Wild Sea - Sting - The Soul Cages (Vinyl rarely have songs about feeling awful sounded so stillborn and unmoving. The man was never as much of a sucker for a hook as Elton John was, but throughout 'The Soul Cages', Sting defiantly resists hummability as if a mere catchy pop chorus were too frivolous for such weighty content.
Likewise, his latest band-a mix of jazz and rock veterans-seems to be taking its cue from its leader, a man incapable of leaving a simple thought alone. Just when the group settles into a cozy groove on 'Jeremiah Blues Part 1 ' for instance, the mood is broken with a noodling piano break. At other times, the arrangements don't make sense: 'All This Time', which should be one of the record's most touching moments, is upbeat for no discernible reason.
Review from The Baltimore Sun by J D Considine If making a successful rock and roll album was simply a matter of following a formula, Sting's new album, 'The Soul Cages', which was released yesterday, would be a recipe for disaster.
It isn't that the music is bad. Listen closely, though, and what Sting sings about Album) anything but typical hit-parade material. Whether he's forecasting the demise of civilization, as he does in the biting 'Jeremiah Blues Part 1 ', or being haunted by the death of his father, as he is in 'Why Should I Cry for You' and the title tune, Sting's lyrical focus could hardly be called upbeat, much less light-hearted.
It's bad enough that the album's only love song, 'Mad About You', describes romantic passion in terms of desperate insanity. But even the single - the cheerily melodic 'All This Time' - can't stay awayfrom the big issues, wrestling as it does with death and religion. Can't this guy just write a simple pop song?
Well, sure he can. But what makes 'The Soul Cages' so captivating is that Sting manages to convey most of the pleasures of a simple pop song - the engaging rhythm, the hummable tune - without making the album seem overly simplistic. If anything, the songs collected here practically beg to be debated and dissected, argued over and analyzed.
Part of that stems from the lyrics, which convey all the intelligence of his earlier albums but none of the name-dropping ostentation. Rather than try to impress us with allusions to Shakespeare and Jung, Sting lets his language speak for itself - and as a result, his lyrics almost sing.
Instead, he keeps our attention focused on the sound of the song, not in hopes of distracting us from its meaning, but so the music's whimsy is what colors our understanding of the words.
It's not an obvious way to make pop music, but then, 'The Soul Cages' is not an obvious pop album. Certainly, it has enough pop appeal to reward the casual listener, but considering how much more these songs have to offer, it's hard to imagine why anyone would want to give them only half an ear.
Review from The Boston Globe by Steve Morse Sting, the English teacher turned rock star, has forged his own path since leaving the supergroup the Police in the mid-'80s. He's delved adventurously, if somewhat sleepily, into mellow jazz, didactic protest music and much soft, poetic pop that's a long way from the tougher reggae-rock and funk that the Police often embodied.
But Sting's new album, 'The Soul Cages', which comes out Tuesday, finally balances his experimental tastes with some lift-off rock 'n' roll reminiscent of his Police days - notably the band's No. It is Sting's way of coming to grips with the death two years ago of his father - a milkman in Newcastle, England - and of probing the lives of other working-class heroes who lead equally unsung existences. The album thus has a more immediate, emotional impact than either of his previous solo efforts, 'The Dream of the Blue Turtles' and 'Nothing Like the Sun' Rather than expand upon world problems, which has been a constant preoccupation of the post-Police Sting, he looks inwardly at his relationship with his father and their home life in the rough 'n' tumble city of Newcastle.
The lead track, the stately 'Island of Souls', which opens with Northumbrian pipes, is about their living next to a shipyard, where a ship would grow before their eyes and "her great hull would blot out the light of the sun. Sting's father reappears in the ballad 'The Wild Wild Sea', a bracing goodbye suffused with more elegiac pipe sounds.
Agnes and the Burning Train'. Overall, Sting has fashioned a well-balanced, highly insightful record that functions as a musical diary of the heart. Review from The Arizona Republic by Jim Rosenberg Sting's third solo album, 'The Soul Cages,' maintains much of the vitality and energy of his other solo work, yet it has a sound that is uniquely its own.
The sound has something to do with the album's theme - the death of Sting's father. Sting employs Northumbrian pipes, exclusive to northern England, to give the track a cold, pallid feeling of loneliness and alienation. It's not the uplifting, buoyant sound Sting has been associated with in the past.
He has a message to convey, a story to tell, and he does just that. Then comes the first single, 'All This Time'. The track seems like a departure for Sting because most of his solo work is typified by jazzy wind instrument solos and clear-cut, easily-understood lyrics. Like most of the other tracks on 'The Soul Cages', 'Jeremiah Blues' gives the listener a feeling of awe, a sense of musical travel to another place and time that can only be experienced by listening to the album.
Sting's style has evolved from one of edgy and rough rock to a more smooth and defined ''jazz'' sound. He's probably the only artist that can be heard on album rock, Top 40, alternative and new age radio. Sting's newer style is an evolution. It's different from the Police.
When compared, it should be kept in mind that the style of Sting's earlier work is just as valid and just as powerful and unique as his later work. The only difference is that the style has changed.
Whether for better or worse is left to personal tastes. I like both. Nothing Like the Sun' - Sting was in danger of falling prey to that final stage in the celebrity process: People lose track of what made you famous in the first place.
Songwriters write songs, after all, and maybe Sting the Spokesman had so much to say because Sting the Songwriter had nothing left to say.
Mar 24, · referencing The Soul Cages, LP, Album, This is a terrific, underrated album. It captures Sting in contemplative mood, but has many powerful musical moments too/5(K). Sting's third solo album, 'The Soul Cages,' maintains much of the vitality and energy of his other solo work, yet it has a sound that is uniquely its own. The sound has something to do with the album's theme - the death of Sting's father. 'The Soul Cages' begins with a somber, haunting melody that deals with ''Billy'' and his father, the shipbuilder. Dec 01, · Song The Wild Wild Sea; Artist Sting; Licensed to YouTube by UMG (on behalf of A&M); LatinAutor, CMRRA, EMI Music Publishing, SOLAR Music Rights Management, UNIAO BRASILEIRA DE EDITORAS DE MUSICA - UBEM, LatinAutor - SonyATV, BMI - .
Barnes & Noble® has the best selection of Vinyl LPs. Buy Sting's album titled Soul Cages [LP]. Our Stores Are Open Book Annex Membership Educators Gift Cards Stores & Events Help. Auto Suggestions are available once you type at least 3 letters. Use up arrow (for mozilla firefox browser alt+up arrow) and down arrow (for mozilla firefox browser Price: $
Sep 30, · The Official Sting Fan Club. The Studio Collection includes eight essential A&M Records albums across eleven LPs – The Dream Of The Blue Turtles (), Nothing Like The Sun () (double LP), The Soul Cages (), Ten Summoner’s Tales (), Mercury Falling (), Brand New Day () (double LP), Sacred Love () (double LP) and The Last Ship () – with both Brand . The Soul Cages is the third full-length studio album released by Sting and the first to feature longtime guitarist Dominic Miller. Released in , it became his second No. 1 album in the United Kingdom.
Feb 09, · Sting: The Soul Cages (LP, Album) A&M Records: Colombia: Sell This Version4/5().
The Soul Cages, Sting's third solo studio album released after a three and half year hiatus opens with "Island of Souls", which immediately ensures that this is not a merry Police record. The song is lengthy, and while its lyrical content has a certain value, musically there is something wrong with it. The Official Sting Fan Club. Recorded during a series of concerts at The Hague in early May , this show is from 10 May and served as a benefit gig for Kurd Aid.
Sting is describing the area between earth and the afterlife. His father's soul helps him get back to the living. You go after the dead, clinging to them. We get no answers to our human questions. Much anxiety and frustration, We are lost on the wild, wild sea. No one answers us as if those who could only mock us. "as if mocking my frail human.
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