Sting - The Soul Cages ACOUSTIC VERSIONS Full Album - 1991 (cd Quality Audio)

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Sumner's Tales: Sting talks...\"My father died in 1989. We'd had a difficult relationship, and his death hit me harder than I'd imagined possible. I felt emotionally and creatively paralysed, isolated, and unable to mourn. I just felt numb and empty, as if the joy had been leached out of my life. Eventually I talked myself into going back to work, and this sombre collection of songs was the result. I became obsessed with my hometown and its history, images of boats and the sea, and my childhood in the shadow of the shipyards.\"'Lyrics', 10/07\"The theme of the album is essentially about dealing with death. For me, at my age, it's an important subject. I don't kid myself that my experience is unique but I have a way of expressing things through songs that may be useful to someone else some sort of therapy. They're still rather overwhelming for me.\"The Advertiser (Australia), 2/91\"I'd reached the age of thirty-eight, and I wanted to assess my life; figure out what had gone wrong, what had gone right. I started at the beginning; I started with my first memory. As soon as I remembered the first memory of my life, everything started to flow. The first memory was of a ship, because I lived next to a shipyard when I was young, It was a very powerful image of this huge ship towering above the house. Tapping into that was a godsend. I began with that, and the album just flowed. It was written in about three or four weeks. Having written all these words in a big burst, I then fitted them in with the musical fragments I had and put it together. I'm fairly pleased with the record. I think it achieved what I wanted it to achieve in that I feel somehow, I don't know, like I've done the right thing.\"Rolling Stone, 2/91\"That's what the 'Soul Cages' is about in a way; working through things yourself rather than trusting in mass ideologies. We come into the world alone and we leave alone. I mean, I'm not anti-religious, but if you believe anything wholesale, you open yourself up to a lot of perversions of the initial content. That's unhealthy. The core ideas behind ideologies are great, but invariably they get twisted. I'm not an expert, I'm just working on myself. That's the path to choose\".Creem, 2/91\"This latest album has got the best reviews I've ever had - and the worst. There's a polarity about them which is quite extraordinary and, I suppose, in a way, confirming. Some of the reviews you can classify as revenge of the nerds - hate mail. A lot of it, you're touching deep areas of resistance and prejudice and, actually, hatred, which I don't know how much is to do with the music or to do with my projected image, or what.\"The Independent, 2/91\"Most people who listened to the new album said they didn't like it the first time, but it grew on them. It's much more layered than my stuff used to be. I think my intention is to implicate the listener, rather than impress him immediately. You'd be surprised that the basis of 'All This Time' the most recent single is actually a piece of Bach - really pretentious, but it's true. The way the chorus comes in is lifted from the first cello suite. And the lyrics I wrote in Normandy. I went to Normandy one weekend when I'd just started the album and I stayed in the hotel that Proust used to stay in. So I got his room: OK, I'm in Proust's room, Remembrance of Things Past and all that, right, sat down and looked at the sea. Wrote a few images down, a bit of free association, and then after a while you get some idea of a structure. Songwriting has always been a miraculous process which is incredibly satisfying, and I don't necessarily understand how it's done. And, for me, it happens with less and less frequency, actually. Which is scary, I suppose.\"The Independent, 2/91\"It's still difficult for me to sit down and listen to the album properly, because I start to break down. When a song really works it can be very emotional when you sing it. You don't know whether to sing or to cry - it's an odd feeling. My music is the only way I have of really getting in touch with my deep feelings, because I suppress them. There was nothing else I could have written about on this record. So to me, it's not a brave record. I know there would be this record or there would be no record. But I do feel better about my father, and much looser in general than I've ever been.\"Bass Player, 4/92\"Actually I think of it as my best work. All my albums sell about five or six million copies, so 'The Soul Cages' wasn't exactly a flop. But it was attacked most in England for being pretentious. The buzzword was gloomy, I think, or depressing. Maybe I'm defensive about it, but it's very heartfelt, very earnest. I couldn't get away from these ideas about my background, my father, death. I had to get them out of the way, almost as part of the mourning process, so I could then get on with writing songs for fun. Which is what I did on 'Ten Summoner's Tales', which people seemed to like much better. But that's fine. A whole body of work should reflect lots of different moods, and that was a very dark period of my life. If I was to be honest, I would have to make a very dark record.\"Mojo, 2/95\"There's a polarity of feeling about that record. It was roundly panned by the critics, but some people got it: The recently bereaved write to me about it. There's always a market. Small, but steady. People say, My brother died, or, My parents died, and the record helped me.\"Q, 5/96On Sting calling the album \"introspective\"...\"That was a big mistake. And we couldn't correct it. If he hadn't said it was 'introspective', it would have been better received because there were actually a lot of up songs on there. But the minute you read somewhere that an album is all about death from cancer, you go ... er ... I don't really know if I want to hear that.\"Miles Copeland: Sunday Times, 3/93\"I grew up in Newcastle, a shipbuilding center, and as a boy I read \"Treasure Island.\" The title song is based on a fable about souls trapped under the sea in Davy Jones' locker and how a sailor wagers the king of the sea to free them. 'The Soul Cages' was an album of mourning. When you lose both your parents, your realise you're an orphan. Sadness is a good thing, too, to feel a loss so deeply. You mustn't let people insist on cheering you up. I'm very proud of that album.\"Billboard, 9/99\"I was 38, halfway house if you like. What I turned to was my earliest memory. The shipyard. There was always a huge ship towering above the houses at the end of Gerald Street in Wallsend where I grew up. As soon as I got that down the thing was written in two or three weeks. It poured out. Although it was painful, it wrote itself almost, free-associating. I only realised what it was about as I went along. The journey back to where I came from. The idea of death. Lines about this father thing kept coming up. Something was saying I had to deal with it.\"Q, '91\"I'm not sure I want to go through singing this album night after night on tour. But I have to of course, and it serves a purpose. Even though death isn't much of a party subject it's valuable to me to think about it.\"Q, 2/91\"Having lived and spent a lot of time with these so-called primitive people (The Indians) I realised that death is something that is obviously important to them, because they mourn. I figured that I'd have to go through some sort of process where I would get this stuff out. Once I'd worked that out, I realised that I was going to have to write a record about death. I didn't really want to.\"Rolling Stone, 2/91\"I don't really think that people know what to expect from me now. I don't think the 'Soul Cages' is going to conform to any of their expectations - I think they're expecting a record about ecology or something. If they're surprised, then I'm pleased. And the next record will hopefully surprise them again.\"Rolling Stone, 2/91\"I was trying to suggest where I came from, so I took out any Afro-Caribbean or other world influences on the record. I enjoy that music, and I like making it, but it didn't seem to apply. So the bulk of the record is based on Celtic folk melodies.\"St Paul Pioneer Press, 8/91\"For almost three years, I hadn't written even one rhyming couplet. I'd written a lot of little fragments of music, but there were no real ideas coming out. I was genuinely frightened. At one point I thought, \"This is it, I've just dried up !\" Then I started to wonder why my creativity would suddenly dry up. Perhaps I was afraid of what might come out if I wrote something. I think there was an awful lot of denial and blockage going on in my subconscious - there were things I wasn't ready to face. This went on until after I'd gotten a band together and had two months before the whole process [of rehearsing and recording] was supposed to begin. I still didn't have a damn word. I spoke to Bruce Springsteen about it. He was just starting his own album, and I said, \"Bruce, I don't know what to do. Have you got any bad songs you don't want\" He offered me a couple. Then one day I just sat at the piano and started to free associate, mumbling to myself there was nobody in the house - and the mumbling got louder and gradually I started to sing lines. Words started to flow out 'Island of Souls' was one of the first. So I wrote down what I thought were just disconnected images and lines. Quite a few were about the sea, and all were linked somehow to my father and his death. Suddenly, I realised I was mourning my father, and then the whole thing poured out of me like a river - which became the central image on 'All This Time'.\"Bass Player, 4/92\"An album for the recently bereaved, a small market, but always there.\"Various\"I think a lot of ghosts were exorcised 'The Soul Cages', which was dedicated to the memory of his late father. That album was very personal, confessional, and therapeutic in terms of facing death and loss. But I guess you could say the therapy worked, because now I have a new sense of freedom, a desire to move on and make songs solely intended as entertainments, designed to amuse.\"Billboard, 2/93\"Still my best work.\"Arena, 1/94Talking in 2000, ahead of the free Central Park concert...\"I must say I have sung in Central Park before - in fact, I've walked around the reservoir many times, singing to myself - especially with some of the songs for what became 'The Soul Cages' album, going over them in my head, working out the parts.\"Billboard, 8/00 59ce067264

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