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Nothing Like the Sun (Remastered)

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Reseña de álbum

If Dream of the Blue Turtles was an unabashedly pretentious affair, it looks positively lighthearted in comparison to Sting's sophomore effort, Nothing Like the Sun, one of the most doggedly serious pop albums ever recorded. This is an album where the only up-tempo track, the only trifle — the cheerfully stiff white-funk "We'll Be Together" — was added at the insistence of the label because they believed there wasn't a cut on the record that could be pulled as a single, one that would break down the doors to mainstream radio. And they were right, since everything else here is too measured, calm, and deliberately subtle to be immediate (including the intentional throwaway, "Rock Steady"). So, why is it a better album than its predecessor? Because Sting doesn't seem to be trying so hard. It flows naturally, largely because this isn't trying to explicitly be a jazz-rock record (thank the presence of a new rhythm section of Sting and drummer Manu Katche for that) and because the melodies are insinuating, slowly working their way into memory, while the entire record plays like a mood piece — playing equally well as background music or as intensive, serious listening. Sting's words can still grate — the stifling pompousness of "History Will Teach Us Nothing" the clearest example, yet calls of "Hey Mr. Pinochet" also strike an uneasy chord — but his lyricism shines on "The Lazarus Heart," "Be Still My Beating Heart," "They Dance Alone," and "Fragile," a quartet of his very finest songs. If Nothing Like the Sun runs a little too long, with only his Gil Evans-assisted cover of "Little Wing" standing out in the final quarter, it still maintains its tone until the end and, since it's buoyed by those previously mentioned stunners, it's one of his better albums.

Biografía

Nacido(a): 02 de octubre de 1951 en Wallsend, England

Género: Rock

Años de actividad: '70s, '80s, '90s, '00s, '10s

Tras causar la diseminación de los Police en la cima de su popularidad en 1984, Sting se estableció rápidamente como un viable artista solista. Incorporó a su música elementos identificables del jazz, de la clásica y del worldbeat, componiendo letras cultas y concientes de su significado. Por su deliberada ambición, fue tan querido como repudiado con seguidores que lo creían en la avanzada del rock culto e inteligente y con críticos que calificaban de pomposo a todo el corpus de su obra. Como fuese,...
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