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Music Scene: Sting sound much more like his good old self on 57th and 9th

Sting recorded his new material quickly as an exercise in reactive creativity after being moved by the deaths of Bowie and Prince
Sting recorded his new material quickly as an exercise in reactive creativity after being moved by the deaths of Bowie and Prince Sting recorded his new material quickly as an exercise in reactive creativity after being moved by the deaths of Bowie and Prince

STING returns with a brand new album and thankfully he has decided to revert to the type of songwriting that made The Police such an influential, successful and exciting band.

Following a series of 'peculiar' releases (and that's being kind) which saw one of the world's biggest rock stars indulge in shifts in direction such as Songs From The Labyrinth, a collection of 16th century songs recorded using a lute and a Christmas/winter themed album, he decided to write a rock record that not only echoes but matches up to some of his finest work.

57th and 9th finds Sting sounding like he is actually enjoying being the bass player and singer in a tight rock band. He has surrounded himself this time with suitable musicians and the album is the result of speedy recording sessions where the songs flowed organically and effectively.

There is very little excess froth and virtually no tendency to meander off down any inappropriate paths.

Sting wanted to record the material quickly as an exercise in reactive creativity – having publicly stated that after the deaths of artists like David Bowie and Prince, he was starting to realise his own mortality. That might have been a cue for an intensely morose and introspective record but no, songs like the brilliant I Can't Stop Thinking About You which has a killer chorus and reminds me of Can't Stand Losing You from The Police's debut Outlandos D'Amour and 50,000 which again boasts a relentless hook signify more than a return to form for this artist.

The songs are not exactly stripped back but the production is sparse and simply allows the songs to breathe. Strangely the record was produced by Sting's manager Martin Kierszenbaum which might actually have turned out be a very clever move in the sense that he might well have known what was commercially needed for his artist in 2016's musical landscape.

The album bears an almost 'debut' feel, capturing the hunger of a band striking out and attempting to make their way forward with a strident collection of songs that have swagger and passion rather than the latest chapter in the story of a highly seasoned musician.

57th and 9th which is titled after the junction in New York where the record was made is available to download from November 11.