'Songs from the Labyrinth' will appear on Deutsche Grammophon, the world's most celebrated classical-music record-label.In the early 1980s, Sting was first introduced to the music of John Dowland and has confessed that his music has been "gently haunting" him for more than twenty years. Of the twenty-three tracks, five are instrumentals and eleven are songs. Such titles as 'The Most High and Mighty Christianus the Fourth, King of Denmark, His Galliard' and '...After my departure I caled to mynde our conference' are strangely suited to his midlife Stingness, who enunciates with mind-blowing precision on this Deutsche Grammophon release. Despite the critiques from afficionadoes of early music, who find it utterly non-traditional, it's still worth the price of admission -- if nothing else, because it showcases Sting's musical adventurousness, originality and range. Help others learn more about this product by uploading a video! It went on to become the best-selling classical album of 2006, according to Billboard Magazines year-end chart. If I was doing a Dowland record to make money, you'd shoot me! On 'Come Again', 'Wilt Thou Unkind Thus Leave Me' and Dowland's famous 'In Darkness Let Me Dwell', Sting tables his ponderous lower range and invests these crack tunes with skill and soul. a healthy sense of humor. Scopri pubblicazioni, recensioni, crediti, brani, e molto altro su Sting - Songs From The Labyrinth in Discogs. Review from The Hartford Courant by Thomas KintnerSting has always dabbled outside the rock and pop realms, but a trip four centuries into the past is well beyond even his typically loose boundaries.With 'Songs from the Labyrinth', he journeys far afield from his recent forays into the light-listening mainstream to explore the music and life of Elizabethan composer John Dowland on a collection as sincere in its tribute as it is joyously free of its performer's typical commercial proclivities.Sting smartly adapts his model to fit the material rather than vice versa, adhering to a traditional approach as his lithe tenor settles earnestly into the spare and somber 'Flow, my tears'.With only the cleanly picked lute and archlute of Edin Karamazov for accompaniment on the set, Sting employs modern tools with a light touch, layering vocals into a four-part harmony alongside the plucky line of 'Fine knacks for ladies'.There are no fiery lute solos nor potential singles to be found.The project is played straight and without pretension, not so much for the masses as in service of a niche audience and fans sufficiently loyal to follow Sting into the past.Once there, he bridges songs with readings from a Dowland letter of 1595 to help contextualize songs that, although formal and firmly rooted in the past, turn out to have values, attitudes and sensibilities very much in keeping with the music produced by today's songsmiths. And the way he multi-tracks his vocals for consort passages is ingeniously musical, with the upbeat songs sounding more persuasively modern than usual. While the readings may strike some as overly "thespian," they take on real drama with repeated listens. Can't Stand Losing You (Live in Boston) Edit, Voices Inside My Head (E Smoove Pump Mix) 12'', Can't Stand Losing You (Live in Boston) Edit 7'', Message In A Box - The Complete Recordings, If I Ever Lose My Faith In You, CD digipak, VARIOUS ARTISTS: Prokofiev: Peter And the Wolf, VARIOUS ARTISTS: A Very Special Christmas, FEATURE: The Adventures of Baron Munchausen, SOUNDTRACK: Ace Ventura: When Nature Calls, VARIOUS ARTISTS: Lost in the Stars: The Music of Kurt Weill, Every Little Thing She Does Is Magic, 7'', ''Right Honorable: as I have bin most bound unto your honor...'', ''...Then in time passing on Mr. Johnson died...'', The Most High and Mighty Christianus the Fourth, King of Denmark, His Galliard, ''... And according as I desired ther cam a letter...'', ''...From thenc I went to Landgrave of Hessen...'', ''...And from thence I had great desire to see Italy...'', ''...After my departures I caled to mynde our conference...'', ''...men say that the Kinge of Spain is making gret preparation...''. This is a brave, beautiful album. It was he who introduced Sting to the works of the composer who captured the hearts of the people, if not Queen Elizabeth I herself (he was Catholic; complications ensued).Sting did learn to play the lute for this recording but wisely leaves the heavy fingering to Karamazov, who plays Dowland clearly and rhythmically. On instrumentals such as 'Forlorn Hope Fancy', his work is a lot more than a simple accompaniment. To calculate the overall star rating and percentage breakdown by star, we don’t use a simple average. It would be a good choice. "BBC Music Magazine, 10/06"For me it's all about development - becoming a better musician, a better singer, a better songwriter... a better person. Things get more interesting, though, when he finds the timelessness in the music. You don't hear a lot of lutes on pop records. Liner NotesCD 06025 170 3139Produced by Sting & Edin KaramazovEngineered & Mixed by Donal HodgsonSound Designer: Kipper EldridgeRecorded at Steerpike Studios, Il Palagio, ItalyAdditional Recording & Mixing at Metropolis StudiosAssistant at Metropolis Studios: Iain GoreMastered by Ian CooperLutes provided by Cezar Mateus and Klaus JacobsenSONGS FROM THE LABYRINTHThis autumn Sting ventures into "new" musical territory with an album featuring the music of acclaimed Elizabethan songwriter, John Dowland (1563-1626). The remaining seven tracks sees Sting interspersing the songs by reading extracts from Dowland's letters as he travelled around Europe. It's not like depression which is a serious clinical problem. Review from The Boston Globe by Joan AndermanThe math teacher-turned-Police-man-turned-solo-pop craftsman is once again branching out, and this one's a doozy. However, the melodies are intricate, complex, and provide a great sense of atmosphere and history for the discerning listener. In 1595 Dowland wrote a letter to Queen Elizabeth I's Secretary of State, Sir Robert Cecil, pleading his allegiance to the English throne in the hope of an invitation back to England and into the Royal Court. It rekindled an interest I've had for a long time in the works of John Dowland, who wrote a number of fantastic lute songs. In close collaboration with lutenist Edin Karamazov, he interweaves songs with instrumental solos and evocative readings from a Dowland letter. "BBC Music Magazine, 10/06"If people like it, public or critics, then that's the cream on the cake. That album employed then-young jazz musicians Branford Marsalis, Kenny Kirkland and Darryl Jones in service of a new pop music based on jazz harmony and scathing improvisation. Sting is joined on this recording by much-admired lutenist Edin Karamazov, in what he describes as "a soundtrack to Dowland's life in words and music". Edin Karamazov. He has it all. The voice is, well, famous.And if it takes the recognizable voice of rock star Sting to gets this music the exposure it deserves, so be it.While pop stars from Elvis Costello to Paul McCartney to Billy Joel have dabbled in classical forms before, no rocker has tried a full-length album of Renaissance music. It's not going to go platinum. In the 24 years since, it seems a handful of Sting's friends and colleagues have suggested the doleful tunes of the composer-singer-lutenist might suit one of the most melancholy of rockers.They were right. For much of the album, Sting delights in making nostalgic music that sounds exquisitely weathered - you can almost hear the Elizabethan leaves rustling in the background. Usually the classical/rock crossover leads to neither side loving the result, but sometimes it does work, as here, largely because I think Sting has a genuine love and feel for the work of John Dowland; he no longer has to do this thing for kudos or for celebrity. The songs have a luminosity to them, as well as a wistfulness (perhaps because of the convention of the time, which dictated that they be in a minor key), that is quite moving. His work was part of a renaissance in British culture - his lyrics sometimes echo the poetry of another famous Elizabethan, Shakespeare - whose effects can be felt in British music to this day, whether most youngsters have heard of him or not.Sting's distinctive voice melds smoothly into an old-fashioned rendering of a song such as 'Clear or Cloudy'.
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