They're overshadowed by such bewilderingly showy moves as adapting Prokofievįor 'Russians' and calling upon Anne Rice for inspiration. Worldbeat, and studious lyrics seem less pretentious largely because Glossy fusion that coats the entire album, the occasional grabs at Serious-minded album, but it's undercut by its very approach - the Tune about heroin, ponder whether 'Russians love their children too,'Īnd wander the streets of New Orleans as the vampire Lestat. Somebody Set Them Free,' one of his greatest solo singles, and theĬhildish, faux-reggae singalong 'Love Is the Seventh Wave'), write aboutĬhildren in war and in coal mines, revive a Police Your Heart' - preferring to consider love in the abstract ('If You Love Measured 'Consider Me Gone' and the mournful closer, 'Fortress Around Only twice does he delve into straightforward love songs - the lovely This, however, is just the beginning of the pretensions layered throughout The Dream of the Blue Turtles.

Style, and then had them jam on mock-jazz grooves - or, in the case ofīranford Marsalis, layer soprano sax lines on top of pop songs. Musicians who, at that stage, were revivalists just developing their own That this is really risky music, when he did, after all, rely on The meandering instrumental title track), but that gives the impression Which is partially true (that's probably the best name for Anxious to shed the mantle of pop star, he camped out at Eddy Grant's studio, picked up the guitar, and raided Wynton Marsalis' band for his new combo - thereby instantly consigning his solo debut, The Dream of the Blue Turtles, to the critical shorthand of Sting's Was itching to establish himself as a serious musician/songwriter on Never really broke up, they just stopped working together - largelyīecause they just couldn't stand playing together anymore and partially AllMusic Review by Stephen Thomas Erlewine

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