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The new version was commercially successful, reaching number 15 in the UK charts in mid-1990. [7] In 2010, Sting re-recorded the song in an orchestral version for his album Symphonicities. "Englishman/African in New York", a reworking of the song recorded with African artist Shirazee was released as a non-album digital-only single on 19 March ...
The album was influenced by two events in Sting's life: first, the death in late 1986 of his mother, which contributed to the sombre tone of several songs; and second, his participation in the Conspiracy of Hope Tour on behalf of Amnesty International, which brought Sting to parts of Latin America that had been ravaged by civil wars, and introduced him to victims of government oppression.
"An Englishman in New York" is a song by Godley & Creme, from their 1979 album Freeze Frame. It is memorable for an innovative self-produced music video which involved Godley singing in front of Creme, as Creme conducted mannequins dressed up as members of a 1930s big band orchestra.
In 1979, they directed their first music video for their single "An Englishman in New York". After this, they became involved in the production of videos for artists such as Ultravox , the Police , Yes , Duran Duran , Frankie Goes to Hollywood , Huey Lewis and the News and Wang Chung , as well as directing the groundbreaking video for their ...
Miller recalled that the guitar riff originated from a warm-up exercise centered around sixth chords akin to the music of Chopin. He opted to avoid the third degree of the chord and intended for the chord sequence to resemble the work of John McLaughlin. When approached by Sting to develop the riff into a full song, Miller insisted that it was ...
44/876 is a collaborative album by English musician Sting and Jamaican musician Shaggy, also the thirteenth solo studio album.It was released on 20 April 2018 by A&M Records, Interscope Records and Cherrytree Records.
Critics reviewing the album took note of "We Work the Black Seam". Most found the music praiseworthy. "The sounds of delicately malletted percussion, organ and light saxophone licks lend [it] a hymnlike ethereality", wrote Stephen Holden in The New York Times. "The arrangement also illuminates the song's deeper contemplation of power hidden in ...
Sting began composing the song as a rock song, but the lyrical content pushed the song in a country direction, and it evolved into a country-rock shuffle. [1] The song begins in the key of E-flat major, before modulating a semitone upward to E major in the final verse. [2]
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