STING & SHAGGY
"44/876"
BOTTOM LINE: The unlikely rock-reggae odd couple find a surprisingly sweet middle ground.
The musical partnership between Sting and Shaggy seems weird, not because of their musical styles, but because of their personal ones.
Sting has cultivated an oh-so-serious rock persona for decades, both in The Police and out of it, while Shaggy, who splits his time between Jamaica and Valley Stream, has painted himself _ in America, at least _ as a reggae prankster. How would these two big personalities work together?
Well, judging from their "44/876" album (A&M/Interscope), Sting and Shaggy could probably have benefited from a bit more disagreement. On "44/876," named for the country codes for Sting's native United Kingdom and Shaggy's native Jamaica, they often sound deferential when a stronger blend of their styles would have worked better.
Their collaboration is strongest when Sting buys into Shaggy's reggae-pop vibe, like on the playful "To Love and Be Loved" of the Bob Marley-influenced "Morning Is Coming." The first single "Don't Make Me Wait" kickstarted the partnership when Shaggy's former A&R rep Martin Kierszenbaum played the song for Sting, whom he now manages. It works well because it's essentially a Shaggy song, with its catchy, lilting chorus and gentle reggae groove. On the other end, "Waiting for the Break of Day" sounds like it could have come from Sting's "Ten Summoner's Tales," enhanced by Shaggy's toasting. They create something new on "Dreaming in the USA," a love letter to America that combines Motown with Police-like guitar riffs that shows how crafty Sting and Shaggy really can be.
Where they run into problems is when Sting gets a little too wrapped up in clever imagery. On "Sad Trombone," he goes from one metaphor to the next, while Shaggy's straightforward contribution only draws more attention to lines about being "the butter to my toast."
Sting and Shaggy have found a special connection on "44/876," one that could blossom into something bigger in time.
BROTHERS OSBORNE
"Port Saint Joe"
BOTTOM LINE: Cultivating a unique style and a country-soul groove.
"Port Saint Joe" (EMI Nashville) may only be The Brothers Osborne's second album, but T.J. and John Osborne have already established a country sound all their own.
T.J.'s warm baritone has only grown more inviting since the duo's Grammy-nominated debut "Pawn Shop," showcased on the spare, but swaggering, opener "Slow Your Roll" and the wistful country waltz "Tequila Again." John Osborne's virtuoso guitar work has developed as well, whether it's on a big solo like the Allman Brothers-influenced one he reels off in "Shoot Me Straight" or on a pretty acoustic number like "While You Still Can."
And when the Brothers Osborne put those two stunning talents together, as they do on the epic "Shoot Me Straight" or the poignant ballad "I Don't Remember Me (Before You)," as John's lilting guitar plays off T.J.'s gruffness, it shows why they are among country's fastest-rising stars. They balance the intense moments with some good-time anthems like "Weed, Whiskey and Willie" and "Drank Like Hank," but even those have a lyrical depth that sets them apart from the country mainstream. "Port Saint Joe" is sure to rack more hits and more awards for the Brothers Osborne.
