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I Dreamed There Was No War Backing Track.rar [PORTABLE]



Sumner's Tales: Sting talks..."Following the massive success of 'Synchronicity', I decided to set out on my own. This decision, I admit, was not particularly logical. In the eyes of some it was the highest folly to leave what was arguably the biggest band in the world at that time. Of course it was a risk, but I can only say that I listened to my instincts, no matter how irrational they seemed to everyone else, and then followed them, fully aware that falling flat on my face was a very real possibility. I ignored this as much as I could, believing that the momentum of the band had been such that people would at least be curious about what I was up to. I have to say the sense of freedom in not having to tailor songs to accommodate a three-piece, even one as versatile as the Police, was like opening a window in a closed room. Although I believed that the Police had thrived on the limitations of being a small band, I was more than ready after seven years to fly the coop."'Lyrics', 10/07"With the help of my friend, the writer and critic Vic Garbarini, I recruited a band of young jazz musicians, including alumni of Miles Davis's band, Art Blakey's band, and Weather Report. Branford Marsalis would play saxophone, with Kenny Kirkland on piano. This caused some friction with Branford's brother Wynton, who, apart from losing two of his band, thought they were selling out by playing with a pop musician like myself. Nevertheless, we all set out for Eddie Grant's studio in Barbados with a bag full of new songs and a mission to start a new adventure."'Lyrics', 10/07"The title of the album came from a dream that woke me up on my first night in Barbados. I dreamed I was sitting in the walled garden behind my house in Hampstead, under a lilac tree on a well manicured lawn, surrounded by beautiful rosebushes. Suddenly the bricks from the wall exploded into the garden and I turned to see the head of an enormous turtle emerging from the darkness, followed by four or five others. They were not only the size of a man, they were also blue and had an air of being immensely cool, like hepcats, insouciant and fearless. They didn't harm me but with an almost casual violence commenced to destroy my genteel English garden, digging up the lawn with their claws, chomping at the rosebushes, bulldozing the lilac tree. Total mayhem. I woke up to the sound of Branford in the room upstairs, riffing wildly on his tenor sax, followed by his unmistakeable laughter."'Lyrics', 10/07"There's as much excitement about the record in the record company as there would be for a Police record, which is quite thrilling. It's not Oh, Sting's got to have his little hobby, humour him and let him make his jazz record."NME, 6/85"This new band is more clearly defined. I hired them to play, and I'm the songwriter and singer. So there are no arguments about roles, which makes the process a lot easier. But there's still room for the dialectic to and fro. They're not sidemen, they're too good for that. It was my intention all along to have a band, not a super-session bunch of hirelings. They're too proud to be that, and I'm too clever to want that. I didn't want to be seen as a patrician white pop star with his minstrel band. That's not the idea..."NME, 6/85"It wasn't my intention to draw comparisons between the Police and this record, I'm just playing with different musicians. It's as simple as that. I'm not intimidated by great players. On this record I've recruited some of the best young players in America but I think I'm the best songwriter, so I'm not being immodest, the band has a good pedigree, and I'm part of the pedigree. I didn't do this out of any dissatisfaction with the Police. I needed to change. When you've been together eight years, there are no surprises."The Courier Mail, 7/85"First of all there's Branford Marsalis, who isn't good at anything. Then there's Omar, who thinks he's a good drummer but really he's nowhere as good as me. But I like him. Then there's Darryl, whom I'm trying to teach to play the bass. He's kind of cute. Finally there's this joker called Kenny Kirkland who sounds as if he's playing with boxing gloves on. It's a pretty good band."Musician, 7-8/85During the recording of Blue Turtles... "Is the album any good I don't know anymore. My voice, it's so weak. I was even tearful before. I just wanted to forget the band. I wanted to go home, crawl into bed, just forget the whole thing because I can't sing."Musician, 8/85"The four blue turtles are the four musicians in my band. They're a good symbol: The turtle is a creature who lives both under the sea and out of it. The sea is a good symbol of the subconscious. I feel black people are closer to that unconscious and blue is a good colour for jazz musicians anyway. What they're doing is destroying my safe formula, my safe back yard. They're wrecking that safety, that formularised easy option, which is making a Police record. Churning up the land is what a farmer does when he wants it to be fruitful a year hence. In many ways it's a confirming dream. Yes, it's frightening and dramatic, but ultimately you'll be rewarded."Los Angeles News, 6/85"The album certainly would have been different with Andy and Stewart. You'd know exactly what to expect and how it would sound. Once you're in a successful group you become part of people's gestalt, and you're not allowed to escape from it. Freedom is everything to me - freedom to change my mind, freedom to be seen differently. The more people pigeonhole me the more my freedom is impaired. I want to be able to change what I do. I get bored very easily. My threshold for boredom is very, very low."Record, '85"It's not a concept album. There's no consistent theme running throughout - but there's also no song on the record that doesn't have an issue. It's not just a riff of a guitar with nonsense lyrics. A lot of thought and energy went into it. The songs are more didactic than they've ever been before. I have to be inspired before I write, but then when you're writing about issues like the miners' strike, the proliferation of nuclear power, and the arms race, then you have to have a certain responsibility to those issues. You have to think about them. I think time is running out. You can't really make records that are about nothing anymore."Record, '85"I think it's my best work, the most refined piece of work I've done. And I'm proud that it's not going to be easily formularised. It's not going to fit terribly well on radio formats, for example. But I'll be intrigued as to how they treat it. The whole idea is to keep people confused, because that allows you freedom. As soon as they're sure about who you are and what you're gonna come up with next, then you're dead, stagnant and useless - which is why rock & roll is dead; I know what MTV is going to look like today. I don't want to be in that kind of prison. I like people to go, "What the fuck is that boy gonna do next"International Musician, '85"I'm very pleased with the record. It's live, it's obviously played by musicians and not by machines - in fact, it's rough as hell - and yet it satisfies a lot of ingredients that needed to be satisfied in order for it to be a commercial record. And I wanted it to be as commercial as possible."International Musician, '85"Darryl is one of those bass players who started to play the bass. I was a guitarist first, then a double bassist, then, at about nineteen, an electric-bass player. Darryl has a very pure approach to bass playing. However, there are some things, I'm happy to say, I did on the album; I played the reggae/calypso song, 'Love Is the Seventh Wave'. I played on 'Fortress Around Your Heart', only because I was writing it in the studio, and basically I just put down the bass straightaway and it seemed fine, so I kept it on. And I also played double bass on 'Moon Over Bourbon Street'. So I did play some of the bass, but the motherlode of the work was done by Darryl, largely because he's just a wonderful player and can do things I can't. And I'm not precious about my ability as a musician. I think that my function in this group is as a concept organiser. I'm working with musicians who are technically much, much better than I am."International Musician, '85"These musicians, who were all ten years younger than me and middle-class blacks at that, did things so naturally and so easily. I found the way they played and learned to be incredibly stimulating. It opened me up a bit. Here I m not sure what my position is. Am I the patrician white rock star Or am I the novice I really had to assess what I was."Timeout, 10/87"Jazz musicians are forced to play standards. I wanted to give them a new springboard. I provided the lyrics, the harmony and melody for them to explore. The first album was a new position for me. Iíd left the Police, I felt like a duck out of water. Thereís a lot of nervous energy in it."Sky Magazine, 11/87On accusations that he used black musicians to enhance his credibility..."We're using Wynton's (Marsalis) argument that I've stained the purity of black music. These arguments are used by the South African government to defend apartheid: "We have to be separate !" If I believe that music is a force for good in this world, then what better way of demonstrating it than musicians of black and white working together. Aghh! It makes me want to give up, in a way. Talking about my band, all the people in my band are from middle-class backgrounds; I'm the only working-class kid in the band. I'm from my own kind of ghetto. I'm not a spoiled, middle-class rich kid. I'm rich now, and have all the trappings of wealth. The band made a decision to play with me, and it wasn't just because I was paying well. I think these guys are of such personal and musical stature, they wouldn't want to play with me if they didn't think it was worth doing. I don't see them as my back-up band. It wasn't as if I were in the spotlight and these guys were...they were given the stage. I felt it was a band. I wrote the songs, and I was more famous and I sang, so I had an advantage, but there was no way that they were my sidemen. I didn't want it to be perceived as that. I wanted it to be a band as far as possible. If you listen to the live album I think it sounds like a band. People took solos, took the spotlight. So I can't really take that kind of stuff seriously."Musician, 12/87Responding to questions about whether the Blue Turtles band could have used some of their material on the album..."They didn't have any material. I had conceived the album before it was recorded, so that wasn't part of it. I had been in a band before, where everyone didn't decide who was what until much later. In this band it was very clear what we did. I sang and wrote the songs, and played the guitar, and I hired a drummer who would drum."Musician, 12/87"It was a band in as much as what they were good at playing; and as jazz musicians, they were used to composing or arranging on the spot. It was a band in the sense that they were allowed to do that. I had arrangements and we worked from there. They were allowed input to play what they wanted, as long as I liked it. On the live album, I paid the band royalties, because I thought a lot of the stuff was theirs too. So we shared the royalties."Musician, 12/87"It wasn't my intention to draw comparisons between the Police and this record, I'm just playing with different musicians. It's as simple as that. I'm not intimidated by great players. On this record I've recruited some of the best young players in America but I think I'm the best songwriter, so I'm not being immodest, the band has a good pedigree, and I'm part of the pedigree. I didn't do this out of any dissatisfaction with the Police. I needed to change. When you've been together eight years, there are no surprises."The Courier Mail (Australia), 7/85On the dream that inspired the album's title..."The overriding feeling I had in that dream was joy, watching this spectacle of my garden getting wrecked. And the analogy is this band. By going through this process with this band, I shall destroy a lot of easy options. An easy option is to make a Police record. So it's a frivolous title. I'll give you that, but it offsets the heaviness of most of the album. I didn't want to call it 'Sting Addresses Doom and Destruction', I wanted something more oblique. I did Jungian analysis for a while, and one of the things you're encouraged to do is use your dreams creatively. In my case, I wrote this music. So it's not entirely stupid, there's a grotesque logic somewhere."NME, 6/85On the dream that inspired the album's title..."Suddenly a big hole appears in the wall, and out of it come four massive, prehistoric blue turtles with long, scaly necks. They're very macho and athletic and drunk on their own virility. They start doing back flips and somersaults, and in the process they destroy this garden, just wreck it. In the dream I'm watching this spectacle, and instead of being angry I'm laughing. I woke up laughing."Los Angeles News, 6/85On the dream that inspired the album's title..."These massive, macho, virile prehistoric blue turtles were rolling around, doing back flips, wrecking everything."Newsweek, 9/85"Let me explain. During the week of rehearsals for the Ritz shows, I had a dream that I was back home in Hampshire, looking out the window into this big walled-in garden I have out back with its very neat flower bed and foliage. Suddenly, out of a hole in the wall came these large, macho, aggressive and quite drunk blue turtles. They started doing back- flips and other acrobatics, in the process utterly destroying my garden. So anyway, I'm somehow enjoying this curious spectacle, and the dream is so strong I remembered it perfectly when I woke up, to the point where it became part of my juggernaut to complete this record. Having undergone Jungian analysis, I've gotten proficient at interpreting my own dreams, Carl Jung; having believed that there're doors into the innermost parts of your psyche. For me, the turtles are symbols of the sub-conscious, living under the sea, full of unrealised potential, very Jungian in their meaning. I have dreams where I create the most unbelievable music, music like Mozart, that I don't consciously have the knowledge to write. It's there, I'm writing it, and it's real. So with the album I wanted to destroy a lot of preconceptions and expectations, and do something unsettlingly different. These blue turtles, these musicians, were gonna help me. And they did."Spin, 7/85On how he chose the musicians for the album..."They're probably the best young jazz musicians in the country, and I'm very privileged and honoured that they agreed to come work with me. My intention was to use musicians who had the finesse of playing jazz, but to make music without that label. I think we got enough spontaneity on the record and yet enough discipline to have gone into areas that most pop records don't go. A lot of people will be surprised at how this album sounds, because it isn't jazz but nor is it a mainstream pop album. It will be interesting to see how radio adjusts to it. If they adjust at all."Record, '85"Pop music at it's best is a great mongrel, taking in sources from everywhere. I think pop music was at it's best in the '60s, when there were no barriers, no demarcation lines of jazz, classical, whatever. So, I wanted to inject some of that dialectic into this project, and I managed to get the best young jazz musicians in the country. They all wanted to do it, which I think is a great tribute to me, because they don't particularly like rock music. But also, I didn't want to make a jazz album. I wanted to stretch myself, I wanted to be challenged by what they could do, and I also wanted them to stretch too. I don't think they found it particularly easy, and I was very demanding about what I wanted. I didn't want them to just slip into their jazz mould and go off and do what they can do falling off a log."International Musician, '85"I'm not really interested in the spirit of rock & roll. I don't know what rock & roll is, or if it's valid anymore. I'm interested in the spirit of live music, and I don't think Branford, Omar, Kenny, Darryl or myself miss the spirit of rock & roll at all. I think we're right in there, and I would hereby challenge any band to blow us off stage!"International Musician, '85"I composed a lot of the songs on keyboard anyway, so those basic parts were already written. I didn't write any sax part as such; I trusted Branford to come up with my vision of it. Like, for 'The Children's Crusade', I said, "I want something that's kind of military," and he played something that was totally, utterly appropriate. He wouldn't be improvising just with the changes and the chords, he'd be improvising with the lyrics, and you can hear it in the sensitivity of his playing."International Musician, '85"Basically, the whole project was designed to create a new kind of hybrid that was neither rock'n'roll nor jazz, but was hopefully another country - another country that I'd have to make a journey to, just as the band did. So we don't play like Weather Report or Miles Davis - but neither are we going to sound like uh, Van Halen! Or the Police!"The Charlotte Observer, 10/85"There was never any intention of it being a jazz record. That was an easy label that journalists put on it. It wasn't marketed that way. It has some flavour of jazz, hopefully the sensibility of jazz. I'm not that interested in jazz to produce a jazz record. I'm interested in selling songs. We got a jazz Grammy nomination for the album. Thank God we didn't win. That would have been too much."Musician, 12/87"Blue Turtles had songs on it that I thought would never get on the radio, but because I was in such a position of power it was a challenge. A song like 'Bourbon Street' was a massive hit in Europe; 'Russians' was in the Top 20 here. I put this on the record and thought, "This is really going to put the cat among the pigeons - how are they going to play it in their format" And they did. I think it's my duty to use the power to, if not revolutionise it, then push the boundaries of what they're willing to play."Musician, 12/87"Dream was more about a band meeting a pop star. That's what the album's about, going through that filter. I didn't want to extend what the Police had done because that would have sounded like a Police album. It was something we really didn't think about. We knew about space, less is more, and simplicity. We didn't really think about "Let's play that chord here." It wasn't a philosophical thing."Musician, 12/87"It's a song selection, rather than an album that sounds like a unified piece of work. If I have to look for a blueprint for what I hope to do, it's probably 'The White Album' by the Beatles, which was about songs. It wasn't about a group of songs or a direction at all, it was about 'Rocky Raccoon' and 'Why Don't We Do It In The Road' and 'Birthday', so the individual songs drive it. I've never be


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