℗ 2016 A&M Records
| Released | November 11, 2016 |
| Duration | 48m 36s |
| Record Label | A&M / Interscope |
| Genre | Rock |
57th & 9th (Deluxe Edition)
Sting
Available in 96 kHz / 24-bit AIFF, FLAC high resolution audio formats
|
1.1
|
I Can't Stop Thinking About You
Sting |
3:31 | |||
|
1.2
|
50,000
Sting |
4:17 | |||
|
1.3
|
Down, Down, Down
Sting |
3:48 | |||
|
1.4
|
One Fine Day
Sting |
3:14 | |||
|
1.5
|
Pretty Young Soldier
Sting |
3:06 | |||
|
1.6
|
Petrol Head
Sting |
3:32 | |||
|
1.7
|
Heading South On The Great North Road
Sting |
3:18 | |||
|
1.8
|
If You Can't Love Me
Sting |
4:34 | |||
|
1.9
|
Inshallah
Sting |
4:56 | |||
|
1.10
|
The Empty Chair
Sting |
2:50 | |||
|
1.11
|
I Can't Stop Thinking About You (LA Version)
Sting |
3:38 | |||
|
1.12
|
Inshallah (Berlin Sessions Version)
Sting |
4:58 | |||
|
1.13
|
Next To You (Live At Rockwood Music Hall)
Sting; The Last Bandoleros |
2:54 |
Billboard 200 - #9, 2016
"Sting strips back with his hard-hitting new single, I Can't Stop Thinking About You, a pummel of raw electric guitars, rapid-fire snare rolls and simple vocal hooks ..."
- Rolling Stone
"... a core of guitar, bass and drums that unmistakably recalls the Police. The playing is nimble and articulate, bursting with intricate virtuosity and informed by jazz, Celtic music and waltzes, as well as by rock. Sting sings about crumbling romance, climate change, refugees on the move and what it feels like to read rock stars’ obituaries."
- The New York Times
Sting's return to rock is named for an intersection in Manhattan on his route each day walking to the Hell’s Kitchen studio where this album was recorded. Representing a wide range of Sting’s musical and songwriting styles, 57th & 9th came together impulsively and very spontaneously, with sessions completed in just a few weeks. Sting is joined by his longtime guitarist Dominic Miller and drummer Vinnie Colaiuta, as well as drummer Josh Freese (Nine Inch Nails, Guns N' Roses) and guitarist Lyle Workman. The bassist notes that if there’s a theme in the lyrics, it’s the idea of travel and motion, most apparent on the autobiographical Heading South On The Great North Road and on Inshallah, an account of the global refugee crisis written from a humanitarian point of view. This deluxe edition includes three bonus tracks.
"It’s about searching and travelling, the road, that pull of the unknown. On this album, we ended up with something that’s energetic and noisy, but also thoughtful."
- Sting
"I don't think he's rocked like this since Synchronicity."
- Martin Kierszenbaum, producer
96 kHz / 24-bit PCM – A&M / Interscope Studio Masters
Track 13 – 44.1 kHz / 24-bit PCM Recording location (studio): Sear Sound, Avatar Studios, MSR Date(s) of recording: May 3, 2016 - June 8, 2016 Recording specs: 96 / 24 Sting - vocals, bass, guitar, piano, percussion Dominic Miller - guitars, shaker Lyle Workman - guitar Vinnie Colaiuta - drums Josh Freese - drums Martin Kierszenbaum - organ, piano, mellotron Rhani Krija - percussion Rob Mathes - piano The Last Bandoleros: Jerry Fuentes - guitar, backing vocals Derek James - backing vocals Diego Navaira - backing vocals Producer: Martin Kierszenbaum Producer notes from Martin Kierszenbaum: "We quickly established a daily working routine. Sting would walk several blocks to the studio every day and we'd start recording as soon as he came in. We wanted to register the immediacy of the songs and performances. We didn't belabour the number of takes nor did we need to choosing, instead, to harness Sting's and the players' consummate musicianship and initial musical instincts. In this extemporaneous way, we felt that we were able to retain the edge and excitement of Sting's newly-birthed songs as well as reflect the vibrancy of the New York City environment (which Sting acknowledged in the album's title "57th & 9th.") We deliberately kept arrangements to "rock combo" specs - vocals, bass, guitars and drums at the forefront with organ to support. We didn't use a click track or metronome on any of the tracks which enabled the expressive use of rubato. By combining this with the dynamics in the performances, we endeavoured to achieve a sense of intimacy and immediacy." Recording engineers: Tony Lake, Donal Hodgson, Cliff Norrell Recording engineer notes from Tony Lake: "The performances on this album were recorded as they materialized and in as few takes as possible in order to capture the energy and urgency of the music. We used mostly classic microphones and pre's focusing on the specific textures and timbres of mostly electric and acoustic sounds as well as the unique articulation of the accomplished musicians. Again, we leaned on Sting's and the player's exceptional musicianship by recording everything 'wild' and not tethered to a click. Assistant engineers: Grant Valentine (Sear Sound), Tyler Hartmann (Avatar) Mastering engineer: Bob Ludwig, Gateway Mastering Mastering engineer notes: "Were any special Instruments or recording equipment used in this recorded to achieve a specific sound?" Equipment used: Microphones - Neumann U47, U67, U87 and KM 184; AKG C12, 414 and D112; Royer 121 and Coles 4038 ribbon; Telefunken and Blue ELAM 251; Shure SM57, SM58 and SM7Bs; Yamaha Sub Kick; Sennheiser 421; Electro-Voice RE20 Outboard gear - Pultec EQP, EQH, MEQ EQ; Teletronics LA2A and Universal Audio 1176 compressors; Fairchild 660/670 limiters; Empirical Lab EL8X Distressors; EMT 140 reverb plate; Lexicon 480L; Radial, Countrymen, Powerstation and Nat Priest direct boxes Boards/preamps - Neve 8038 console and preamps, SSL 4000G+ console and preamps, Neve 1073 and Brent Avrill 1073 preamps Recording medium - Avid Pro Tools and 192 I/O, Mytek analogue-to-digital converters
Track 13 – 44.1 kHz / 24-bit PCM Recording location (studio): Sear Sound, Avatar Studios, MSR Date(s) of recording: May 3, 2016 - June 8, 2016 Recording specs: 96 / 24 Sting - vocals, bass, guitar, piano, percussion Dominic Miller - guitars, shaker Lyle Workman - guitar Vinnie Colaiuta - drums Josh Freese - drums Martin Kierszenbaum - organ, piano, mellotron Rhani Krija - percussion Rob Mathes - piano The Last Bandoleros: Jerry Fuentes - guitar, backing vocals Derek James - backing vocals Diego Navaira - backing vocals Producer: Martin Kierszenbaum Producer notes from Martin Kierszenbaum: "We quickly established a daily working routine. Sting would walk several blocks to the studio every day and we'd start recording as soon as he came in. We wanted to register the immediacy of the songs and performances. We didn't belabour the number of takes nor did we need to choosing, instead, to harness Sting's and the players' consummate musicianship and initial musical instincts. In this extemporaneous way, we felt that we were able to retain the edge and excitement of Sting's newly-birthed songs as well as reflect the vibrancy of the New York City environment (which Sting acknowledged in the album's title "57th & 9th.") We deliberately kept arrangements to "rock combo" specs - vocals, bass, guitars and drums at the forefront with organ to support. We didn't use a click track or metronome on any of the tracks which enabled the expressive use of rubato. By combining this with the dynamics in the performances, we endeavoured to achieve a sense of intimacy and immediacy." Recording engineers: Tony Lake, Donal Hodgson, Cliff Norrell Recording engineer notes from Tony Lake: "The performances on this album were recorded as they materialized and in as few takes as possible in order to capture the energy and urgency of the music. We used mostly classic microphones and pre's focusing on the specific textures and timbres of mostly electric and acoustic sounds as well as the unique articulation of the accomplished musicians. Again, we leaned on Sting's and the player's exceptional musicianship by recording everything 'wild' and not tethered to a click. Assistant engineers: Grant Valentine (Sear Sound), Tyler Hartmann (Avatar) Mastering engineer: Bob Ludwig, Gateway Mastering Mastering engineer notes: "Were any special Instruments or recording equipment used in this recorded to achieve a specific sound?" Equipment used: Microphones - Neumann U47, U67, U87 and KM 184; AKG C12, 414 and D112; Royer 121 and Coles 4038 ribbon; Telefunken and Blue ELAM 251; Shure SM57, SM58 and SM7Bs; Yamaha Sub Kick; Sennheiser 421; Electro-Voice RE20 Outboard gear - Pultec EQP, EQH, MEQ EQ; Teletronics LA2A and Universal Audio 1176 compressors; Fairchild 660/670 limiters; Empirical Lab EL8X Distressors; EMT 140 reverb plate; Lexicon 480L; Radial, Countrymen, Powerstation and Nat Priest direct boxes Boards/preamps - Neve 8038 console and preamps, SSL 4000G+ console and preamps, Neve 1073 and Brent Avrill 1073 preamps Recording medium - Avid Pro Tools and 192 I/O, Mytek analogue-to-digital converters
| Track title | Peak (dB FS) | RMS (dB FS) | LUFS (integrated) | DR | |
Album average Range of values | 0.00 0.00 to 0.00 | -11.66 -17.18 to -9.40 | -9.12 -14.30 to -6.20 | 7 6 to 11 | |
| 1 | I Can't Stop Thinking About You | 0.00 | -9.65 | -6.9 | 6 |
| 2 | 50,000 | 0.00 | -11.81 | -9.0 | 6 |
| 3 | Down, Down, Down | 0.00 | -10.68 | -8.0 | 6 |
| 4 | One Fine Day | 0.00 | -10.43 | -8.0 | 7 |
| 5 | Pretty Young Soldier | 0.00 | -10.99 | -8.6 | 7 |
| 6 | Petrol Head | 0.00 | -9.85 | -7.0 | 6 |
| 7 | Heading South On The Great North Road | 0.00 | -17.18 | -14.3 | 11 |
| 8 | If You Can't Love Me | 0.00 | -13.41 | -10.7 | 7 |
| 9 | Inshallah | 0.00 | -11.99 | -10.5 | 7 |
| 10 | The Empty Chair | 0.00 | -14.66 | -11.6 | 9 |
| 11 | I Can't Stop Thinking About You (LA Version) | 0.00 | -9.92 | -7.3 | 6 |
| 12 | Inshallah (Berlin Sessions Version) | 0.00 | -11.60 | -10.4 | 7 |
| 13 | Next To You (Live At Rockwood Music Hall) | 0.00 | -9.40 | -6.2 | 6 |