Sting is really something. O.K., I'm harsh on him, I agree. After all, …Nothing Like The Sun proved there is a way for him to be himself and be listenable at the same time. The review at Allmusic did hit a point – he's even more pretentious here, but the group that surrounds him makes up for that. Additionally, he's also more relaxed on the record, showing us why he became the superstar we know. One of his most famous singles from the record presents that fact, since he deals with quite a serious subject matter for a pop song in the 80's, though the piece has one of the most buoyant choruses Sting did. Yes, the LP shows another paradox of Sting, i.e. he wishes to be taken seriously, yet he's an incredible pop craftsman at his heart.
Imitation were a Japanese leftfield new wave group that shared much of Sandii And The Sunsetz line up for their underrated 1982 album Immigrants, which Epic Records unsuccessfully tried to break into the UK market
Where The Fire Still Burns is written by David Sylvian (A-T-2 127) and features his vocal
Sandii And The Sunsetz - Where The Fire Still Burns
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American session singer Dolette McDonald (A-T-2 303) also contributes backing vocals, Haruomi Hosono of YMO plays bass (A-T-2 254, A-T-2 106, A-T-2 058), and Talking Heads/The Winners percussionist Steve Scales provides, well... percussion
Sandii, Makoto Kubota, Dolette McDonald, Steve Scales are all also in Imitation, along with Shigeru Inoue, Masanobu Hoshino, Osamu Sakasai, and band leader (?) Yu Imai who had been in Sadistic Mika Band spinoff The Sadistics
For fans of Talking Heads, King Crimson's Discipline album, Was (Not Was), Kate Bush... oddball pop in general
Imitation - Muscle & Heat
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Sandii And The Sunsetz - Jinjirogeh - The Chunk O' Funk
One particular and climactic highlight of 'Stop making Sense' came when the band took Al Green’s TAKE ME TO THE RIVER farther and deeper than ever imaginable – first an enormous boom-boom from Chris Frantz, then the doubled bass (Busta Jones and Tina) making the earth move, next the Baptist choir chanting of the title by Nona Hendryx and Dolette McDonald (the crowd was roaring), and finally "I don't know why I love you like I do."TALKING HEADS - TAKE ME TO RIVER (1978)
46 years ago today,
One particular and climactic highlight of 'Stop making Sense' came when the band took Al Green’s TAKE ME TO THE RIVER farther and deeper than ever imaginable – first an enormous boom-boom from Chris Frantz, then the doubled bass (Busta Jones and Tina) making the earth move, next the Baptist choir chanting of the title by Nona Hendryx and Dolette McDonald (the crowd was roaring), and finally "I don't know why I love you like I do."
Rolling Stones songs: Sleep Tonight*Click for MORE ROLLING STONES SONGS 1962-PRESENTYou always watch the sun go down/ The same old shadows crawl over town…
Written by: Jagger/RichardsRecorded: RPM Studios, NYC, USA, July 16-Aug. 17 & Sept. 10-Oct. 15 1985; Right Track Studios, NYC, USA, Nov. 15-Dec. 5 1985Guest musicians: Tom Waits, Janis Pendarvis and Dolette McDonald (backing vocals)*Data…
When the players want to strike on their own outside their collectives, they do have a wish to be understood much more than they were within the confines of their original bands. Sting, to give you an example, felt a need to prove himself. Therefore, The Dream Of The Blue Turtles, his debut, reflects the troubled production that occured thanks to such a mindset at the time. The LP seems to present a struggle of someone avoiding what he did before without disregarding the latter completely. He appears to be tense, since he demands to be taken as a real deal despite him achieving that with The Police. I mean, listen to his singles from the album, even they sound like him chasing the persona of a serious musician, worthy of a serious consideration.
BC Records and its sub label One Way Records owned by Began Cekic, they put out mostly covers and medleys often with the help of Fred Zarr and Tee Scott. Their best known release is probably Sixty-Nine/Change Position 88 by Brooklyn Express which was originally released in 1981
Began Cekic's DJ friendly party tracks were nothing if not formulaic, all studio assemblages, all re-records of hits by other artists, all beefed up thanks to Tee Scott's mixing, editing, and overdubbing skills
I've posted a Brooklyn Express record already, their killer cover of Girl You Need A Change Of Mind (A-T-2 112) This is a standalone track on the the b side but also begins Back In Time the almost 14 minute medley on the a side of the 12" single. You can hear the Eddie Kendricks cove at the beginning of the edit below before the band expertly move onto a cover of the Fatback Band's Bus Stop and finish with the break from Cymande's Bra. From Bus Stop onward this medley is sometimes called Back In Time Pt.2 and it's edited into a 7 minute stand alone track on their 1982 debut album. A little confusing, I know
Brooklyn Express - Back In Time
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Tee Scott is prolific in 1982 and at some point stops working on the Brooklyn Express project and you can tell. Before that though the same team release Let's Get Horny under the name Hi-Voltage, which breaks into Dan Hartman's Relight My Fire. Then there are the straighter cover versions like Peter Brown's Easy Life covered by Leo Carrier's disco project New Paradise
New Paradise - Easy Life
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Dõlette McDonald covers Atmosphere's Xtra Special and it becomes a hit in the US. Tee Scott isn't mentioned as mixing this one
Dõlette McDonald - (Xtra) Special
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Brooklyn Express percussionist (and much more) Bashiri Johnson co-writes a rare original track with Began Cekic. It's remixed by Jellybean and is fine bit of early hip hop/electro. Began Cekic always the magpie The Champ organ line is played throughout. Cekic's music is transitioning to synths in 1982, you can hear this beginning with Brooklyn Express's Witness The Change etc medley Burning Hot
Began Began - Stay In Touch (Instrumental)
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Began Cekic released a lot more in 1982, including Shine Your Light by The Graingers the instrumental of which is pretty nice, the above are my favourites though