Bring on the Night is one of my all-time favorite "behind the scenes" rock movies. I loved the chemistry of Sting working with a bunch of jazz musicians.
The moment when Omar Hakim became my favorite drummer. The interesting about him is the perfect chameleon. He can completely disappear OR he can sound like he did on this song. BTW, as a Sting fan who had VERY limited funds at the time, the only reason I didn't buy this album when it came out was because the end section of this song wasn't on it. It faded out right before Omar takes over.
I Burn For You was originally a Police track , hearing Stewart Copeland on the original is awesome too. This was Sting’s first solo tour, with a lot of controversy over his band being “jazz musicians “! People forgot that Sting was a jazz musician before The Police
Yes! Glad you reacted to this. I thought you'd absolutely love Omar Hakim's solo. It is one of my favorites. The movie is a documentary film about Sting doing his first solo album and concert. There are versions of it on youtube you can find free. There is an iconic moment where they films the birth of one of his children with "Russians" playing in the background. You get to see some of his arrangement processes in it too. Omar does the male background vocals as well for this album. There some other drum moments, not quite the focus on them as this song but still some good ones too.
Omar Hakim is a beast, and cool as f*ck to boot. I get chills when the camera shows the crowd jump to their feet and the roar goes up. It could be just clever editing but it works.
My second favorite song of all time!!! This song to me DEFINES passion love for your partner. And the lyrics are nothing short of brilliant!!! I LOVE IT!!!!!!!
"I Burn For You" is a track The Police recorded for the Brimstone & Treacle soundtrack in 1982 (along with two other tracks "How Stupid Mr. Bates" and "A Kind Of Loving"). I prefer the original version by The Police to this Jazzy version by Sting (which I saw in concert in 1986, but which I preferred with The Police three years before for the Synchronicity tour).
The song existed already during the days of "Message In A Bottle", but they felt it was too jazzy to be presented at the time, when the band was really kicking in. Sting composed it during his days as teacher / Last Exit in Newcastle. Personally, I feel that Sting's live album was a midfinger to Andy Summers and Stewart Copeland, Sting with his head grown out of any proportion.
@@onsesejoo2605 Personally, I don't think the live album Bring On the Night was a middle finger for Andy and Stewart, as Sting had already completely pulled away from The Police by this point and his head was elsewhere in 85/86 (his jazzy stuff). Either way, Sting has always been full of himself (with The Police or in solo).
@@jimhardiman3836 I love the fact that Sting was playing along pretending like he had no idea what they were talking about at first. However, as much as I love Sting’s music, I’d be very wary about making him look silly if I was with him. He’s an incredibly savvy media manipulator. He knows image counts for a huge amount. He was laughing along but I could never be certain whether a joke I made at his expense would get me blackballed, unless I was deep in his friendship circle.
Probably the most famous thing Omar did that he doesn’t get recognition for is being the drummer on Dire Straits’ Brothers In Arms album. Terry Williams did the drumming but it was all replaced by Omar save for the drum crescendo at the start of Money For Nothing. Terry gets the recognition because he did the concert tour for Brothers In Arms and the Alchemy tour for Love Over Gold., and he was in the videos for all the singles off Brothers In Arms. Terry seemed to be a good rock live drummer, but not a good studio drummer. He didn’t play on Love Over Gold (that was Pick Withers, before he exited the band), and given how reasonably straightforward the drums are on Brothers In Arms he must have really screwed the pooch if he had to have them replaced by Omar.
This is awesome! I love the Police and I liked Sting’s first solo album, but I’ve never seen/heard this performance before - incredible! Thanks for sharing, JP
as others have probs said, this was originally released on the soundtrack for the film BRIMSTONE AND TREACLE, which starred sting. it was a good but disturbing film, and sting played the disturbing well lol. yeah it's omar hakim on drums. he was on at least the 1st two sting solo records.
They had spent the summer in a French estate in the countryside rehearsing the songs from the album. Kenny Kirkland. keyboards Darryl Jomes bass Branford Marseilus reeds Omar Hakim. Drums
Another album that takes me back to living in Tokyo. I would ride the subway and stroll the city with my Walkman and this was the perfect reflection of the urban landscape. Check out John Scofield Still Warm from some more amazing playing by Omar Hakim and Daryl Jones.
The whole Bring on the night is a great album. Please try the initial combo Bring on the night/When the world is running down you make the best of what’s still around. Great drumming.
I haven't been that excited by Sting but then again I don't know that I really gave him much of a listen so it may well all be on me. I liked this a lot both for the jazziness and for the drumming.
The police version is beyond words. This is very subdued and open. Try the police version please. In this song Sting is simply pointing to something that is very great, deep and haunting which was the Police version.
Also Stings wife was about to give birth any minute now while all this was going on and he led this group of stellar musicians into totally new territories.
Omar Hakim only played on Sting’s debut album. He was replaced with Manu Katche for the next two albums. EDIT - Sting was a jazz musician before he made it with The Police. As a solo artist, he disguised elements of jazz in his music. I think it’s a hard sound for people who are used to standard diatonic music to like. I was starting to study classical and jazz harmony in college when the album nothing like the sun came out. I ate it up! I think Sting found a great recipe that blends the simplicity of pop music with the complexities of jazz harmony and musicianship. It’s a flavor that I happen to like.
Sting is next level. And to be sure, no rock group could touch The Police. But Sting knew he had to leave the Police to get with world class Jazz fusion cats so that he could expand even more. Again, no rock cat can even compare to Sting.
I highly recommend listening to the studio version of I Burn for You. It’s on The Police Box Set and is not found on any of the studio albums. The vocal harmonies are dense and must have been a challenge to get right. I like the unique modulation in the music as well and it can be heard more easily in the studio version. The coda drags on a bit too long, though. It was nice to see Omar filling that space in the live version. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-X78rTtNDVWI.html
@@adammckee3496 When I say rental, it is in the sense that he is a session musician and that he has offered his services to multiple artists so in a sense, Sting and others have rented his participation in their projects.
Another of those big time rather famous artists - in this case two artists - Sting/The Police that do absolutely nothing for me. All of you who do - enjoy - and have a wonderful holiday season!
Ah, the haters are on the prowl. Don’t care, it’s a interpretation of the original, probably one that changed night to night. It’s fine, it’s a performance, relax. Jeez. I did buy the Brimstone and Treacle soundtrack and do of course prefer the original, duh. Do I love everything Sir Gordon has done, no, but I do have his first 3-4 albums after The Police. I like this period of his career, trying something different. Rental, really? My sister wisely asked me to see Sting and Paul Simon a few back, and it was great. Too bad our plans for James Taylor didn’t pan out. Great choice today, hope you are hanging in there with work, it’s been something, for me, but, onward and sideways. Peace and concert Music
Just finished listening to the "original" (inverted commas because someone there said it's a pre-Police song of Sting's, from when he was still a young teacher being stalked by schoolgirls and hadn't yet managed to run away), and I like it, too. It's different enough to almost be another song, so is the question then, "Which one is the right one?" Or if not that, "Which one is better?" Or is it perhaps the case that neither of those is a question even worth asking, let alone answering (which probably suggests this is where my own prejudices lie). If a song is good enough to morph into all sorts of unexpected new forms, I'm inclined to think well of it. And at least the classical music folk, and jazz standards folk would probably agree, if only for their restricted versions of where "good music" begins and ends. I don't feel compelled to choose between different versions of My Favourite Things, for instance. It's a richer world if there are more of them. More, more, more. Remember what Saint Yngwie said: More is More. What's wrong with there being More? (And it's not just a case of us cutting "the gold standard version" into the vinyl, and fossilizing the song at its recording-birth, since they fixed songs into a single form back in 1929, and yet felt free to change these any way they liked. Having a recorded "official version" of a song might tend to peg it down to having just that one correct version/ best version, but you'd think this would've meant there would never be jazz standards in such a case). Anyway, it's fine to insist on one, the other or neither, but I'll throw my vote in with those who like both. If I didn't, I'd have to give up on mr Brown's cover of *Blind in Safety, Leafy in Love* which deviates delightfully from the original: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-xk2ZvAwvVW0.html
It definitely requires a bias in favour of there being multiple valid versions of a song for one to enjoy his cover of *Big Ship* (or to enjoy the original if the cover comes first). A great argument for not being over-hasty to tune a piano that has gained more character than is normally permitted a piano. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-MjV0J0C-gsQ.html
If you want some original mr Brown that's more progressive (not like Gentle Giant, but with a good chance of being enjoyable for anyone who likes Gentle Giant), try *So We Go From Time to Time* ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-faLHxTJzbPI.html What's this got to do with Sting? ... ... well I tried ... ... really. while all those ellipsis were spinning, I was thinking furiously, but nothing happened. there was not even a echo in my brain cavity. a bit of nirvana, but that's about all. sorry.
I like Sting. This's ok, but not a fave of mine. A bit samey. Too much drums, not enough bass. Now for a live recommendation, try Steve Hillage. Salmon Song, or Light in the Sky, from the album Live Herald. More musical fireworks in those.
I have loved this song since seeing "Brimstone & Treacle" in the cinema. It is a film well worth seeking out, JP. Just make sure to get the Sting / Denholm Elliot version, rather than the shorter, made-for-TV version.
Try something different Night Ranger put out Don’t tell me you love me in 1982 they just released a new album in 2021 Breakout is a song from that album compare from 82 to current
