Personnel: Sting (vocals, guitar, bass); Branford Marsalis (saxophone, percussion); Frank Opolko (trombone); Kenny Kirkland (keyboards); Danny Quatrochi (Synclavier synthesizer, background vocals); Darryl Jones (bass); Omar Hakim (drums); Eddy Grant (congas); Dolette McDonald, Janice Pendarvis, Pete Smith, Elliot Jones, Jane Alexander, Vic Garbarini, The Nannies Chorus, Rosemary Purt, Stephanie Crewson, Joe Sumner, Kate Sumner, Michael Sumner (background vocals).

Personnel: Sting (vocals, guitar, bass); Branford Marsalis (saxophone, percussion); Frank Opolko (trombone); Kenny Kirkland (keyboards); Danny Quatrochi (Synclavier synthesizer, background vocals); Darryl Jones (bass); Omar Hakim (drums); Eddy Grant (congas); Dolette McDonald, Janice Pendarvis, Pete Smith, Elliot Jones, Jane Alexander, Vic Garbarini, The Nannies Chorus, Rosemary Purt, Stephanie Crewsdon, Joe, Kate, Michael Sumner (background vocals).

This is an Enhanced CD, which contains both regular audio tracks and multimedia computer files.

Personnel: Sting (vocals, guitar, double bass); Jane Alexander, Elliot Jones, Peter Smith , Michael Sumner, Stephanie Crewdson, Rosemary Purt, Vic Garbarini, Janice Pendarvis, Dollette McDonald (vocals, background vocals); Kate & Joan, Joe, Danny Q., Nannies Chorus (vocals); Danny Quatrochi (clarinet, synthesizer, Synclavier, background vocals); Branford Marsalis (saxophone, percussion); Frank Opolko (trombone); Kenny Kirkland (keyboards); Omar Hakim (drums); Eddy Grant (congas).

Sting had a lot to prove on his first post-Police effort, and he proved himself up to the task of establishing a distinctive identity as a solo artist. Instead of replicating his reggae-tinged Police style, he ventured into new realms, hiring top drawer American jazz musicians like Branford Marsalis, Kenny Kirkland and drum monster Omar Hakim to accompany him on the kind of harmonically sophisticated (though decidedly non-jazz) tunes he'd begun working on towards the end of the Police's lifetime (see SYNCHRONICITY). There's still a touch of reggae on the open-hearted "Love Is the Seventh Wave," and even a funked-up version of the formerly abstract Police tune "Shadows In The Rain," but most of the tunes here (except the pop smash "If You Love Somebody Set Them Free" are the kind of literate, adult-friendly sophisto-pop that would become a template for his subsequent solo recordings. BLUE TURTLES still stands as one of his most memorable albums.

Sting had a lot to prove on his first post-Police effort, and he proved himself up to the task of establishing a distinctive identity as a solo artist. Instead of replicating his reggae-tinged Police style, he ventured into new realms, hiring top drawer American jazz musicians like Branford Marsalis, Kenny Kirkland and drum monster Omar Hakim to accompany him on the kind of harmonically sophisticated (though decidedly non-jazz) tunes he'd begun working on towards the end of the Police's lifetime (see SYNCHRONICITY). There's still a touch of reggae on the open-hearted "Love Is the Seventh Wave," and even a funked-up version of the formerly abstract Police tune "Shadows In The Rain," but most of the tunes here (except the pop smash "If You Love Somebody Set Them Free" are the kind of literate, adult-friendly sophisto-pop that would become a template for his subsequent solo recordings. BLUE TURTLES still stands as one of his most memorable albums.

CMJ (1/5/04, p.16) - Ranked #11 in CMJ's "Top 20 Most-Played Albums of 1985"

CMJ (1/5/04, p.16) - Ranked #1 in CMJ's "Top 20 Most-Played Albums of 1985"