Sade’s brand of elegant pop/R&B owned the charts in the ’80s, making the Nigerian/British chanteuse one of those artists whose very name becomes the adjective to describe their sound. After an eight-year layoff, Sade and her core band (and longtime producer Mike Pela) are back with a CD that is both a stunning reaffirmation of her artistry and a solid soulful collection. Perhaps the best thing that can be said about Lovers Rock is that it picks up where Sade left off, which mean [Read More...]
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Aside from one of the most erratic recording schedules in pop history, Sade has spent her career being known and revered for her indisputably original sound. Imitators have come and gone, and countless artists site her as an influence (as controversial as it sounds, she is as important and unique to R&B as the Beatles were to rock), but in the end there is only one Sade, with a voice as warm as an island breeze and grooves as fluid as an ocean’s tide. And thankfully, a seven-year hiatus after 1993’s “Love Deluxe” hasn’t dulled those sensibilities, either: the comeback record “Lovers Rock” proves itself exceedingly worthy of a place in her musical legacy.
Make no mistake; Sade is no more conscious of musical trends than she ever was. She still favors sparse but insistent rhythms, still sings with a deceptively simple seduction, and is still backed up by the same musicians (keyboardist Andrew Hale, guitarist Stuart Matthewman, and bassist Paul Denman). These elements make the first track (and single), “By Your Side,” instantly familiar, for all its melodic understatement and flowing beats. A sort of cross between 60’s rock and soul, the song is classic Sade all the way. But be prepared to raise an eyebrow elsewhere on the record; “Flow” offers a surprising taste of hip-hop folk, while “King of Sorrow” pairs up traditional Spanish influences with a warm wah-wah guitar. The smooth, destined-for-radio “Somebody Already Broke My Heart” adds a dose of modern soul, while “Every Word” even finds Ms. Adu dabbling in a dose of rock.
Another important aspect of trying new ideas is knowing when to let them end, and impressively, the reggae pop of “All About Our Love” and the swinging lullaby of “The Sweetest Gift” both clock in under three minutes and still sound like perfectly complete ideas. The production on “Slave Song” is another triumph, as the surreal percussion and keyboard effects are the perfect compliment to a lyric that tells a narrative most of us can barely even imagine; the end result is appropriately haunting. Another effective moment comes on the socially-conscious “Immigrant,” which once again proves that less is more: giving examples of the humiliation a man of color endures in the face of prejudice, a simple line like “to even the toughest among us/that would be too much” sums things up so clearly and eloquently, the lyric gets its point with all the force of an expletive-laden rap song.
But the album’s most irresistible moment, however, is more familiar but no less impressive: the sensual samba of the title track supports a sparse, lushly-chorded keyboard line and intricate guitar highlights, all topped off with Sade’s unique poetry (”I am in the wilderness/you are in the music in the man’s car next to me”) and a distorted spoken section thrown in for good measure. The track represents everything a Sade fan looks for in one of her songs. Then again, for all its musical uniqueness, gentle experimentation and stylistic maturity, “Lovers Rock” represents everything a Sade fan looks for in one of her albums. She’s still a smooth operator indeed.