Category Archives: Music

Dolly Parton at 71: Her first kiddie album and so much work she looks like a kid (of sorts)

That bosom buddy Dolly Parton is doing another first. No, not another breast reduction. (The last time we spoke, she confided her 40DD bust were “hurting my back”.)

We’re not kidding around when we reveal the 71-year-old is releasing  I Believe In You, her first album written and recorded for kids (and those young-at-heart). A digital release of the new album on Dolly Records/RCA Nashville will be available September 29; the physical CD hits shelves October 13.  We ask that Dolly accepts aging and stop the plastic work.

Dolly Parton: I Believe In You
“My first album was released 50 years ago and it’s been an amazing 50 years since then,” Dolly coos. “I am very excited that now I’m coming out with my first children’s album in all of those 50 years. I’m proudest of all that all of the proceeds from this CD will go to the Imagination Library. It’s been 20 years since the Imagination Library was launched. We’ve seen 100 million books get into the hands of children and hopefully there will be many more.”
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Since its beginning in 1996 in Dolly’s hometown of Sevierville, Tennessee, the Imagination Library has expanded into four countries serving more than one-million children by providing a brand new, age-appropriate book each month. In North America, every child’s first book is the classic Little Engine that Could.

I Believe In You Track Listing

  1. I Believe in You
  2. Coat of Many Colors (new recording)
  3. Together Forever
  4. I Am a Rainbow
  5. I’m Here
  6. A Friend Like You
  7. Imagination
  8. You Can Do It
  9. Responsibility
  10. You Gotta Be
  11. Makin’ Fun Ain’t Funny
  12. Chemo Hero
  13. Brave Little Soldier
  14. Bonus track spoken audio: Coat of Many Colors (book read by Dolly Parton)

“The Very Best of Diana Krall” reminds us just how brilliant she is

Verve Records/UMe are celebrating the legacy of the incomparable multi-platinum Grammy-winning singer and pianist Diana Krall by releasing The Very Best of Diana Krall on vinyl for the first time in the U.S., as the greatest hits collection nears its 10th anniversary. The album is available as a two-LP set on audiophile-favorite 180-gram vinyl and follows last year’s release of eight essential Diana Krall albums on vinyl as part of Verve’s 60th anniversary celebration.

Covering the years 1996-2006, this 15-track collection compiled by Krall in collaboration with her longtime producer, the late Tommy LiPuma, features highlights from her first decade as a recording artist, during which time the Grammy winning singer/pianist’s expressive vocals and delicate, soulful piano work gained her international stardom.

Krall has sold more than 15 million albums worldwide, making the Berklee College of Music graduate one of the best-selling jazz artists of all time. The Very Best on vinyl arrives as Krall celebrates the May release of her acclaimed new album, Turn Up the Quiet, and current tour that will last more than two years, and take her around the world.

The selections on The Very Best range from intimate trio work to pieces recorded live with a full symphony orchestra. Krall delivers some deeply personal moments and reimagines timeless vintage standards by some of her favorite composers as George and Ira Gershwin; Cole Porter; Irving Berlin; Rodgers and Hart; Van Heusen and Cahn; and Bacharach and David.

Overflowing with career highlights, the album includes several tracks from Krall’s towering 1999 international breakthrough,When I Look in Your Eyes: her mesmerizing interpretations of Cole Porter’s “I’ve Got You Under My Skin,” “Let’s Fall in Love,” and “Pick Yourself Up.” That album, her Verve Records debut, was nominated for Album of the Year at the 42 Annual Grammy Awards, the first time in 25 years a jazz singer was nominated in that major category. It won for Best Jazz Vocal and Best Engineered Album (Non-Classical).

Throughout the album, Krall’s artistry is highlighted on the Gershwin standard “’S Wonderful” and the Bacharach and David-penned title track from her 2001 Grammy-winning album, The Look of Love.  This album put her atop her native Canada’s all-genre albums chart for the first time and gave her the Artist and Album of the Year trophies at the Juno Awards in her home country.

The collection is also notable for Krall’s imaginative take on Tom Waits’ “The Heart of Saturday Night” and the dark and seductive “You Go to My Head” taken from The Look of Love sessions, both previously unreleased. It also features beautiful live renditions of “East of the Sun (West of the Moon)” and “Fly Me To The Moon,” recorded with a symphony orchestra at Krall’s sold-out concerts at Paris’ Olympia Theatre for her remarkable live album, Live In Paris.

Included on Billboard’s Top Jazz Albums of the Decade list, The Very Best of Diana Krall is both the perfect sampler for the new listener and a reminder for her most passionate fans all the reasons Diana Krall is regarded as one of the greatest Jazz artists of her time.

 

Remember the Bay City Rollers? Read about their world of sexual depravity and drug use!

If you still like the Bay City Rollers, you can keep on dancing. Yet did you know their story is one of the greatest scandals of the music industry? Turn to When the Screaming Stops: The Dark Story of the Bay City Rollers (Overlook Press, $30) in which biographer Simon Spence offers up a rigorously investigated and unflinching exposé of the sinister undercurrents and dark truths behind “Rollermania”—the hysterical adulation for the Bay City Rollers that spread throughout the U.K., U.S., and around the world during the ’70s.  (They came up with their names by throwing a dart at a map of the United States, which landed near Bay City, Michigan.)

With the release of their debut album Rollin’ and the No. 1 Billboard 100 smash hit “Saturday Night,” the Bay City Rollers quickly went from average Scottish teenagers to international heartthrobs. Everywhere the band went mountains of screaming girls, calling themselves the Tartan Horde, followed. The band’s skyrocket to fame led by Tam Paton, one of pop music’s most notorious managers, was one for which they were wholly unprepared.

Paton, their Svengali bandleader, controlled his charges and promoted them as clean-living, wholesome teens. What the world did not know was that behind this happy facade the band was continuously subjected to various forms of mental and sexual abuse. In Paton, the industry cliché of the manipulative and venal pop manager found its most grotesque expression. Dazzled by sudden global fame and corrupted by Paton’s unquenchable sexual appetites, the Bay City Rollers soon fell into his world of depravity, victimhood, crime and psychosis. Band members became hooked on drugs, and their fall was almost as rapid as their rise, leaving them penniless and emotionally destroyed. Three years after they fired Paton in 1979 he was finally imprisoned, convicted of gross indecency with the teenage band members. The band then spent a decade in litigation with Sony Records over the millions of dollars never paid to them under Paton’s management.  

That such gross exploitation could have happened to one of the world’s most famous boy bands is a brutal reminder that conspiracies of silence about sexual exploitation were once the norm in the music and entertainment business. When the Screaming Stops: The Dark Story of the Bay City Rollers is a no-holds-barred exposé of sex, drugs, and financial mismanagement. Based on more than 500 hours of interviews with many of the Bay City Rollers’s closest associates, including former band members, Spence’s look into this chilling scandal is an essential read for those interested in the inner-workings of the pop music industry.

25 years after its release, “Juice” still is a powerful flick, now on its Blu-ray debut

Paramount is pushing the power of Juice. A powerful morality tale steeped in ’90s urban culture, Juice marked the feature directorial debut of Spike Lee’s acclaimed cinematographer Ernest R. Dickerson and the first starring roles for Omar Epps and an electrifying Tupac Shakur.

Now, 25 years later, the gritty and influential film continues to be celebrated for its realistic portrayal of Harlem life, the early New York hip hop scene and the fate of four friends in pursuit of the power and respect they call the Juice.

To mark the film’s silver anniversary, Paramount Home Media Distribution has released the film on Blu-ray for the first time ever, and it’s packed with brand new interviews with Dickerson, producer David Heyman, Epps and fellow actors Khalil Kain and Jermaine Hopkins.  The cast and crew look back on making the film, share heartfelt stories of working with Shakur and reveal the influence that Juice had on them both personally and professionally. The in-depth featurettes are also loaded with never-before-released footage of the cast on set and vintage interviews with Shakur, Queen Latifah, Cindy Herron of En Vogue, the Shocklee brothers, Eric B, EPMD, Cypress Hill and more.  Along with a brand new commentary by the director, fans also will get to see the original ending and hear Dickerson detail the reasons that it was changed prior to the film’s theatrical debut.

Juice has also been released on DVD and on Digital HD.

First Run Features releases two great new DVDs . . . and all that jazz

Streisand wondered how do you keep the music playing? We wonder what does it take to keep Jazz Age music going strong in the 21st century? Two words: Vince Giordano. He’s a bandleader, musician, historian, scholar and Madhattan institution. For nearly 40 years, Giordano and The Nighthawks have brought the joyful syncopation of the ’20s and ’30s to life with their virtuosity, vintage musical instruments and more than 60,000 period band arrangements.

They take to the stage of Iguana (240 West 54 Street) every Monday and Tuesday evening. Three sets are performed from 8 p.m.-11 p.m. (doors open at 7 p.m.). There’s a $20 cash cover charge at the door + a $20 food/drink minimum. For reservations, call (212) 765-5454.

Can’t take the A train to NYC? We strongly encourages viewing Dave Davidson and Amber Edwards’’s There’s a Future in the Past (First Run Features), a beautifully-crafted documentary that offers an intimate and energetic portrait of a truly devoted musician and preservationist, taking us behind the scenes of the recording of HBO’s Grammy-winning Boardwalk Empire soundtrack, and alongside Giordano as he shares his passion for hot jazz with a new generation of music and swing-dance fans.

The DVD starts swinging on July 11.

Also swinging that day from FRF: The Penguin Counters. Armed with low-tech gear and high-minded notions that penguin populations hold the key to human survival, Ron Naveen lays bare his 30-year love affair with the world’s most pristine scientific laboratory: Antarctica. The film follows Ron and his ragtag team of field biologists to one of the harshest corners of the planet, where they track the impact of climate change and ocean health by counting penguin populations.

What’s unique about this film is the verité style of filmmaking (by Peter Getzels, Harriet Gordon and Erik Osterholm) on a scientific quest in the Antarctic, skillfully embedding an important environmental message with a good yarn. Special permits allowed unprecedented access to remote penguin colonies–in all their chaos and splendor.

Haunted by the ghosts of fallen explorers and charmed by the eccentricities of feathered bipeds, the penguin counters’ treacherous, heart-warming journey poses the ultimate question in the world’s fastest warming region: What can humans learn from penguins on the frontlines of climate change?

Robert Mugge offers a revealing, musical look at the life of Al Green in “Gospel According to Al Green”

Listen up, folks. Let’s stay together.

After filmmaker Robert Mugge produced Black Wax with Gil Scott-Heron for Britain’s Channel 4 Television in 1982, he and Channel 4’s Commissioning Editor for Music Andy Park wanted to collaborate again. Park suggested Mugge create a portrait of African American gospel star Andraé Crouch. But Mugge, a longtime fan of soul and pop singer Al Green, countered that suggestion. Mugge figured that Green’s rejection of soul music to become a Memphis-based preacher and gospel singer perhaps made him a richer potential subject. (Interestingly, Green was kicked out of the family home while in his teens, after his religiously devout father caught him listening to Jackie Wilson).

Indeed.

Park agreed. Mugge needed 13 months to secure Green’s approval, getting his approval only days before the planned Seventh Anniversary Celebration of Green’s Full Gospel Tabernacle. That Sunday afternoon church service featured not only Green’s usual church choir and musicians, but also a second choir from Ellington, South Carolina and most of Green’s touring musicians and backup singers. Mugge arranged to document that December 18, 1983 service with three 16mm cameras and a 24-track audio recording truck, making it the first (and reportedly still the only) Al Green church service to be committed to film, Gospel According to Al Green.

While in Memphis, Mugge and his crew went on to film an interview with legendary Hi Records producer Willie Mitchell (who had produced and co-written Green’s commercial hits of the ‘70s), a studio rehearsal featuring Green and his musicians and an extended interview with Green himself. In Green’s interview, he explored his early days in the music business, his creation of such popular hits as “Tired of Being Alone” and “I Can’t Get Next to You”, the traumatic events that led to his abandoning of his successful soul and pop career, the purchase of the Memphis church building which he transformed into a church of his own, and the ways in which his soul and gospel backgrounds had each informed the other.

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Mary and Al

Perhaps the most emotional part of Green’s interview was his discussion of the so-called “hot grits incident,” wherein spurned girlfriend Mary Woodson White assaulted him in the shower of his Memphis home with a pot of boiling hot grits, then ran to another room of his house where she shot and killed herself. (Although she was already married, White reportedly became upset when Green refused to marry her). This interview, conducted two days after his church service, was the first occasion on which he discussed this experience publicly, and he included facts that even his own band members had never heard.

In February of 1984, Mugge also filmed Green and his band in concert at the Officers Club of Bolling Air Force Base in Washington, D.C., this time utilizing four 16mm cameras and the same Nashville-based 24-track recording truck he had hired to record the Memphis church service. It should be noted that, at that point in Rev. Green’s career, he had embraced the Southern fundamentalist notion that blues, rhythm ‘n’ blues, and rock n’ roll were “music of the Devil,” and that, therefore, he should now perform only gospel music.

However, among the numbers Green performed at the D.C. concert was Curtis Mayfield’s “People Get Ready,” which exists somewhere between soul and gospel. In addition, during the staged rehearsal in Memphis, Green agreed to perform “Let’s Stay Together,” which had been one of his biggest commercial successes and now represented a recurring theme in the film. Along with fragments of a few more hits he performed during his interview, these songs helped to depict “Al Green the pop star” who had preceded “Al Green the pastor.”

Among the top Memphis musicians who appear in this film are, number one, Lawrence H. “Larry” Lee, Jr., who was best known for touring with Green and for performing at Woodstock and elsewhere with Jimi Hendrix’s Gypsy Sun and Rainbows; and number two, Mabon Lewis “Teenie” Hodges, who co-wrote Green’s hits “Take Me to the River” and “Love and Happiness” and toured and recorded widely as a guitarist with the Hi Records Rhythm Section. Lee can be seen performing in the church service and rehearsal sequences of the film, and Hodges can be heard, and briefly seen, playing incidental guitar behind Green during much of his interview. Sadly, both men are now deceased.

The resulting 96-minute film, Gospel According to Al Green, had its world premiere presentation in the summer of 1984 at Filmfest Munchen (a film festival in Munich, Germany), its television premiere over Britain’s Channel 4 later that fall, and its U.S. theatrical premiere at Coolidge Corner outside Boston a year later. After each of the two opening night screenings on October 25, 1985, Green sat on the Coolidge Corner stage and, accompanying himself on acoustic guitar, freely offered the commercial hits that he had mostly refused to perform during the making of Mugge’s film, thereby demonstrating his storied unpredictability. Naturally, audience members at both shows were enchanted by his presentation, and since these and other premiere screenings, the film has been in constant release around the world.Image result for al green 2014

As to Rev. Green—now Bishop Green—this past December, he and his congregation celebrated the fortieth anniversary of his Full Gospel Tabernacle church. For MVD Visual’s new worldwide Blu-ray and DVD releases, director Mugge has overseen 4K remastering of the film and created a new 17-minute video titled Soul and Spirit: Robert Mugge on the Making of Gospel According to Al Green. Other bonus features include audio of Green’s entire 1983 interview, audio of the climactic final hour of Green’s seventh anniversary church service, an extended film version of a key song from the church service, and the personal telephone answering machine message Green recorded for Mugge in the mid-’80s.

Lionel Richie and his Commodores gets two vinyl releases with extended tune time

Heaven knows this would happen sooner than later. Commodores, the 1977 self-titled fifth studio album by the pop-funk-soul band known as the “Black Beatles,” will get a vinyl LP release from UMe, along with a special edition in blue vinyl for fans and collectors, on June 16. Both releases were cut from the original, unfaded masters, delivering on vinyl for the first time longer versions of seven of the nine tracks.Image result for commodores fifth lp

The original album spent eight weeks at No. 1 on the Billboard R&B/Soul albums chart and was the group’s first crossover record, peaking at No. 3 on the Billboard 200, thanks to a pair of very different hit singles: the up-tempo “Brick House” and the sensuous Lionel Richie ballad, “Easy”.

“Easy,” the first single released from the album, reached No. 1 on the Billboard R&B (known then as the Hot Soul Singles) chart and No. 4 on the Hot 100, and paved the way for Richie’s pop emergence. The song was an international hit, reaching the Top 10 in the U.K. and New Zealand and the Top 20 in Ireland and Canada.

“Brick House”, featuring the distinctive funky vocals of drummer Walter “Clyde” Orange and Ronald LaPread’s heavy-bottom bass line, which formed the foundation of the song, went to No. 5 on the Billboard Hot 100. A group composition, its lyrics–celebrating a woman’s looks and her confidence in them–were written by Shirley Hanna-King, wife of the band’s trumpet player William “WAK” King, who initially claimed authorship before he admitted the truth.

Also featured on the LP is “Zoom”, a collaboration between Richie and Ronald LaPread. Although never officially released as a single, “Zoom” became one of the Commodores’, and Richie’s, best-known tunes. In the U.K., in fact, the LP was titled Zoom.

The Commodores were originally formed from two groups, the Mystics and the Jays, in 1968 at Tuskegee Institute, where the band members were students, signing with Motown in November, 1972 after opening for The Jackson 5 on tour. The group made a brief appearance in the 1978 film, Thank God It’s Friday, performing “Too Hot Ta Trot”.

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Songs from Commodores have enjoyed a long life in the guise of covers and samples. Fergie sampled “Zoom” on her song “All That I Got (The Make-Up Song)”, from her album The Dutchess. It has also been sampled by Snoop Dogg on “Pimpin’ Aint EZ”, a 2009 collaboration with R. Kelly from his album Malice N’ Wonderland); E-40 (from its 1998 album The Element of Surprise), Tricky (“Tricky Kid” from his 1996 album, Pre-Millennium Tension) and Bone Thugs-N-Harmony (“Everytime” from their 2010 album, Uni5: The World’s Enemy).

Faith No More recorded a cover of “Easy” during the studio sessions for its 1992 album Angel Dust, following its repeated performances during their live shows, and it became an international hit in several countries, including Australia, where it went to #1, Norway, the U.K., Finland, Belgium, Ireland, New Zealand, Switzerland and Netherlands. The song was sampled by rap group Geto Boys for “Six Feet Deep” from their 1993 album, Til Death Do Us Part and by Cam’ron for his song, “Hey Ma.”

“Brick House” was the sampled foundation for the title cut of Foxy Brown’s hit LP, Ill Na Na, while the original was featured in the 1995 film Houseguest, the 1999 film Muppets From Space and the 2002 feature Undercover Brother. Prince’s ex-wife Mayte released a rap version of the song, “House of Brick,” on NPG Records in 1995, with Prince himself singing the chorus and verses. That same year, Dread Zeppelin covered the song as “Brick House (of the Holy)” on its Led Zeppelin-esque album No Quarter Pounder, while Rob Zombie, collaborating with Lionel Richie and Trina, did a version on his House of 1000 Corpses soundtrack in 2003.

Track listings

Title /Vinyl Reissue Track Time / Original LP track time

Side One
1. Squeeze the Fruit 3:03/same

2. Funny Feelings 5:57/4:53

3. Heaven Knows 6:16/4:46

4. Zoom 7:06/6:46

Side Two
1. Won’t You Come Dance With Me 4:08/3:50

2. Brick House  3:46/3:30

3. Funky Situation 4:12/3:46

4. Patch It Up 4:02/same

5. Easy 4:50/4:15

 

Danny Garcia’s next gritty, punk-infused film: “Stiv: The Life and Times of Dead Boy”

He’s a dead boy, this Stiv Bators. He was one of the early American punk pioneers, and is primarily known for his work with The Dead Boys and The Lords of the New Church. Classic songs like “Sonic Reducer” and “Ain’t It Fun” continue to inspire fans and musicians from all walks of life.

While Bators made a few films (the camp classic John Waters film, Polyester; a  cameo appearance as “Dick Slammer”, the lead singer of “The Blender Children” in the offbeat comedy, Tapeheads), he is now the subject of the upcoming Stiv: The Life and Times of Dead Boy. It will be the first film ever made about the rowdy and controversial performer, and his life will be documented through archive footage, photography, music and all-new interviews with the people who knew him.

Acclaimed director Danny Garcia will helm the project, and already has numerous punk documentaries under his belt, such as The Rise and Fall Of The ClashLooking For Johnny and Sad Vacation: The Last Days Of Sid and Nancy.

Following in the same gritty underground style that has become Garcia’s hallmark, STIV: The Life and Times of a Dead Boy has a tentative release date of May 2018.

Bators died on June 4, 1990 in Paris, France. He was 40. Drugs? Nope. He 0was struck by a taxi in Paris. Though he was taken to a hospital, he left before seeing a doctor, after waiting several hours and assuming he was not injured. Reports indicate that he died in his sleep as the result of a traumatic brain injury. Bators, a fan of rock legend Jim Morrison, had earlier requested that his ashes be spread over Morrison’s Paris grave. He girlfriend Caroline complied.

In the director’s commentary of the film Polyester, John Waters stated that Bators’ girlfriend confessed to him that she snorted a portion of Stiv’s ashes to be closer to him.

Much less addictive than coke.

 

 

ACCLAIMED JOSS STONE’s “THE SOUL SESSIONS VOLUME 1” GETs VINYL REISSUE

Her real name is Joscelyn Eve Stoker, but she’s better-known as Joss Stone. She was born in Dover, Kent, England, and grew up listening to Dusty Springfield and Aretha Franklin, emulating their gritty, soulful style on her groundbreaking 2003 debut album, The Soul Sessions, Volume 1, which proved a worldwide sensation and has just been released on vinyl by UMe.

Image resultStone appeared on several U.K. TV talent shows, but was discovered by British producers Andy Dean and Ben Wolfe, who in turn convinced S-Curve Records founder U.S. label executive Steve Greenberg to audition Stone. Greenberg enlisted veteran Miami soul singer Betty Wright to work on what became The Soul Sessions album, with local musicians such as Benny Latimore, Timmy Thomas and Little Beaver as well as contemporaries Angie Stone and The Roots.

The idea behind the album was for Stone to record more obscure soul tracks by the likes of Aretha Franklin (“All the King’s Horses”), Carla Thomas (“I’ve Fallen in Love with You”), the Isley Brothers (“For the Love of You, Pts. 1 & 2”). Willy “Sugar Billy” Garner (“Super Duper Love [Are You Diggin’ On Me] Pt 1”), Laura Lee (“Dirty Man”), Bettye Swann (“Victim of a Foolish Heart”) and the Soul Brothers Six (“Some Kind of Wonderful”) as well as offbeat choices such as Waylon Jennings (Harlan Howard’s “The Chokin’ Kind”) and even Woodstock hero John Sebastian (“I Had a Dream”). The first single was Stone’s cover of the White Stripes’ “Fell in Love with a Girl,” transposed to “Fell in Love with a Boy,” and produced by the Roots’ Questlove. That single reached the Top 20 of the U.K. Singles chart, as did the follow-up her version of Sugar Billy’s “Super Duper Love.”

The Soul Sessions, Pt. 1 entered the U.K. Albums chart at No. 89, and eventually peaked at #4 in its fifth week, with the British Phonographic Society certifying it triple platinum.  It has since sold more than a million copies in the U.K.  In the U.S., The Soul Sessions peaked in the Top 40 on the Billboard 200, and within six months, was certified gold.  The album is now nearing platinum in this country. The album was also an international hit throughout Europe, where it hit the Top 5 in Austria, Germany, the Netherlands, Norway and Portugal, Top 10 in Belgium and Italy, Top 12 in Sweden and Top 15 in Switzerland as well as No. 4 on the European Top 100 albums. It was awarded a Platinum Europe Award by IFPI for sales in excess of one million across the Continent. The Soul Sessions earned platinum in both Australia and New Zealand, and as of July 2012, had sold five million worldwide.

The critics were mostly effusive, with Rolling Stone’s Jon Caramanica enthusing, “Stone shines on this impressive covers set… she chooses songs wisely.  AllMusic’s Thom Jurek said Stone “has unique phrasing and a huge voice that accents, dips and slips never overworking a song or trying to bring attention to itself via hollow acrobatics.” The A.V. Club’s Keith Phipps said, “Sessions established Stone as a formidable interpreter.” The album was shortlisted for the Mercury Prize and was nominated for a MOBO Award for Best Album.  Stone released the sequel to the album, The Soul Sessions, Volume 2 in 2012.

Gordon Matthew Thomas Sumner is celebrated with the stinging “The Complete Studio Collection”

This is a Sting we welcome this summer. A&M/Interscope Records/Deutsche Grammophon are releasing The Complete Studio Collection on June 9, a massive set that compasses the entirety of Sting’s illustrious solo studio album catalog on 180 gram heavyweight vinyl. It’s all here, from his 1985 debut album The Dream Of The Blue Turtles through to the latest 57th & 9th. Indeed, The Complete Studio Collection is the first ever complete anthology of Sting’s unparalleled solo career.cid:image001.jpg@01D2CD64.A04250D0

Following the release of the now sold-out The Studio Collection box set via A&M/Interscope Records, The Complete Studio Collection includes all of the A&M/Interscope Records catalog plus his Deutsche Grammophon discography–Songs From The Labyrinth (2006), If On A Winter’s Night… (2009) and Symphonicities (2010)–in addition to his new album 57th & 9th; bringing together all 12 solo studio albums for the first time.

For fans who purchased the original The Studio Collection box set, a separate bundle has been specially created entitled The Studio Collection: Volume II that contains the 4 newly added albums–Songs From The Labyrinth, If On A Winter’s Night…, Symphonicities and 57th & 9th–with space within the set for all of the remaining albums to create The Complete Studio Collection.

All of the included catalog LPs are presented in meticulous reproductions of their original artwork with new vinyl masters cut at the world-renowned Abbey Road Studios to ensure the highest possible audio quality throughout.

The Complete Studio Collection highlights the incredible full range of Sting’s seminal songwriting, inimitable storytelling, and awe-inspiring arrangements through a myriad of musical styles. From the jazz-infused politically-charged The Dream Of The Blue Turtles to the deft pop song-craft of …Nothing Like The Sun, the globetrotting Brand New Day to the evocative electronica of Sacred Love, through to the exploration of complex classical forms in Songs From The Labyrinth, expanding in magnitude and concept on  If On A Winter’s Night…, and further developing into the genre-melding orchestral expanse Symphonicities, before finally culminating in the triumphant return to pop/rock on 57th & 9th; The Complete Studio Collection showcases all facets of the ever-evolving and truly inspirational artistry of Sting.

Sting will also be awarded the 2017 Polar Music Prize, which celebrates the power and importance of music and is given to individuals, groups or institutions for international recognition of excellence in the world of music. The Polar Music Prize ceremony is on June 15 in Stockholm, Sweden in the presence of the Swedish Royal Family.