Sting, one of the biggest hackers in premium pop, has collaborated with almost everyone who was on the Billboard list that year or won a Grammy. As if the winners were given a gift, a joint dinner with Sting, a performance of a joint song in case of mutual sympathy, and its outcome on the record.
Sting has won a Grammy sixteen times, has a soul of song, does it all out of passion, even though he wanted to thoughtfully publish his collection of Duets for Christmas.
The Covid-19 epidemic had its say, and the Duets hit stores in March. Sting has sung numerous duets with pop pop performers in recent decades. The question arises as to whether special sounds are more of a kind of flavor enhancer, a kind of stand-alone instrument, or is there some dramaturgical reason why the former bassist of The Police thought in a duet. The album is pleasant and loving despite the fact that everything is here, as only the usual knitting is omitted in farewell.
The first thing that comes to my mind is that the project is a kind of quality confectionery. Each song is a flawlessly orchestrated work, full of invited category A guests, great artists like Eric Clapton, Melody Gardot, Mylene Farmer, Cheb Mami, Mary J. Blige, Annie Lennox, Herbie Hancock, Charles Aznavour …
This emotional luxury pop can be very much loved, even if it is somewhat similar to Sting and Mary J Blidge standing next to Sting and Mary J Blidge as a side project of the Veszprém festival.
You may like it, even if the songs made in different perceptions differ slightly, but of course we recognize Sting in all of them, there is charm in each, even if the vocoder eurodance Mama performed by Mama with Gashi can be a lot of all-inclusive Sting fans.
The opening of the Duets, Little Something in collaboration with Melody Gardot is a luxurious exhibition, an inspired composition, from here the project has already bought us. The second clip, Leather Weapon III, promises a similar experience. (Deadly Weapon III.) It’s also the title track, Probably Me, in which Sting is accompanied by Eric Clapton. The disc has a better place here than at the beginning of the film. And the exotic hovering continues, we arrive in Paris with the song Stolen Car, inspired not only by the city but also by the erogenous zone of Mylene Farmer, a separate administrative unit in the French capital.
Lush after a dreamy song reminiscent of the world of French discos, comes a song that even explores the realm of dreams, Desert Rose, performed by Sting with Algerian singer raï Cheb Mami. It’s an iconic song from Brand New Day’s album, inspired by Frank Herbert’s novel The Dune, and yes, Sting also starred in the 1984 David Lynch film. The show is really correct, a clip of David Rise and Fall’s Craise and a parade of Everywhere I Say Your Name, in which Mary J. Blige exposes the great.
Less successful with Vibration Don’t Make Me Wait Rege, working with Shaggy, Shaggy does a lot of good, but the world music disco with Gims, Reste, is outstanding. Sure, there’s something worth listening to in every song, but the infamous Fragile version with Julio Iglesias, another aging heart performer Charles Aznavour, already represents unforgettable acting power in the song L’amour C’est Comme Un Jour. Many take Sting’s writings as gifts, as well as books by Miklós Vámos or András Kepes. Duets are not just a pop record, but a kind of cheerful joker’s gift, but it’s good that we can be surprised with it.
Sting:Duels Universal,Number 17, 71 minutes