Sting’s Nothing Like The Sun: 30 Years Old Today

stingA&M Records, released 13th October 1987

Bought: Our Price Richmond, 1987

8/10

Although he was surely the most effortlessly brilliant British pop musician and songwriter of the 1980s, people always found reasons to dislike Sting: his ‘dabbling’ in ecological affairs, jazz, and acting, plus the fact that he seemed to care about stuff besides pop music. But perhaps the thing that most riled the critics in the anti-muso mid-’80s was Sting’s insistence on improving himself, as a singer, songwriter and musician. British pop artists were supposed to exude a cool detachment from the ‘craft’ of pop, or at least not draw attention to it.

He probably didn’t give a monkey’s. And the fact is that in the late-’80s, some of the greatest rock, pop and jazz musicians were queueing up to collaborate with him (Frank Zappa, Mark Knopfler, Gil Evans, Herbie Hancock etc).

If his debut album now sounds largely like an indulgent misfire, with the jazz and classical elements crudely ladled in with the pop, the follow-up Nothing Like The Sun – co-produced by Brothers In Arms helmer Neil Dorfsman –  fused all of Sting’s musical and political concerns in a far more cogent way. And it demonstrated that his voice had become a remarkable instrument. Along with Ten Summoner’s Tales, this is the one I come back to most all these years later.

But it’s a decidedly weird mainstream pop album, where political protest songs and love songs meet elements of fusion, cod-funk, cod-reggae, hi-life and even bossa nova. You might hear some of Sting’s chords on Herbie Hancock or Weather Report’s albums from the same period. His songwriting speciality is a great one-chord groove, a pretty melody and unexpectedly out-there lyric which makes you think ‘Did I hear that right?’ ‘They Dance Alone’ and ‘History Will Teach Us Nothing’ are cases in point. Talk about a sting in the tale.

The emotional and musical range is pretty impressive. When he closes the album with a very pretty, sparse neo-classical art-song (‘The Secret Marriage’), it doesn’t seem forced or trite the way ‘Russians’ did on the first album. Sting also excels in writing genuinely happy music – no mean feat. The very Paul Simonesque ‘Rock Steady’ (featuring a remarkable performance from drummer Manu Katche – listen on good speakers), ‘Straight To The Heart’, ‘We’ll Be Together’ (apparently very influenced by Peter Gabriel’s ‘Sledgehammer’), ‘History Will Teach Us Nothing’ and ‘Englishman In New York’ are deceptively simple with vibrant melodies which lodge in the memory and don’t grate.

And there are always interesting musical grace-notes throughout. Percussionist Mino Cinelu, headhunted from Weather Report, gets an amazing amount of freedom – ‘History Will Teach Us Nothing’ is almost a feature for him. Andy Summers supplies excellent textural guitar on a few tracks. Sting nicks Gil Evans’ superb rhythm section (Mark Egan and Kenwood Dennard) for Hendrix’s ‘Little Wing’ and coaxes one of the great guitar solos from the late Hiram Bullock.

So, all in all, a cracking album which remains Sting’s most successful solo release, selling around 18 million and hitting #1 in the UK and #9 in the US. He couldn’t get arrested singles-wise though – the first four from the album missed out on the UK top 40 (though ‘We’ll Be Together’ made the top 10 in the US) before fifth single ‘Englishman In New York’ made the top 20 (fact fans: astonishingly, he only has three UK top 10 singles to his name, all ’90s duets…).

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