Chicapah The fabled sophomore jinx is no myth. The road to fame and fortune is littered on both sides with the rusting remnants of one-and-out artists and groups that were in the right place at the right time with the right vibe when their first album was released but found out all too swiftly how difficult it is to hit pay dirt twice in a row. More often than not it’s a natural result of their producer presenting the very best songs amassed over the act’s gestation period up front and then, for the follow-up, having to either delve into the leftover (and inferior) material or write new tunes from scratch in a hurry. In most cases their artistic weaknesses are blatantly exposed and word spreads like wildfire that the magic that labeled them as “special” is gone for good. Therefore, the pressure to avoid said hex alone is often more than a human being can handle. There are exceptions, of course. The truly talented souls pay the curse no mind at all. In fact, they’re so busy taking advantage of the golden opportunity afforded them by their initial success they consider record #2 but a fortuitous chance to get their aural art into even more ears, not a trap for failure. Sade Adu and her namesake band are one of those gifted entities who snubbed their noses at the sophomore jinx in passing. Their impressive debut was a virtual oasis of hope that, thank the heavens, appeared in the middle of the desolate desert that was the MTV virus-infected 80s so hopes ran high that the group was for real. Released in late December 1985, we fans weren’t disappointed with “Promise.” In many ways “Promise” is even better than “Diamond Life.”

For the unconvinced that viewed Sade as just a slick, overly-contemporary, easy-listening outfit the album’s stunning opener was a revelation. “Is It a Crime” is a dynamic tour-de-force that’s anything but mild-mannered. The song’s a brilliant show-stopper that highlights Adu’s ability to alternately employ both subtlety and power as needed to make an impact on the listener. Bright horns are used sparingly but effectively throughout and Andrew Hale’s piano solo is perfection. This number is one of their all-time greatest and it made a bold statement to the skeptics who didn’t believe they had more ammo in their arsenal to deliver. “The Sweetest Taboo” is next and the reason it shot up to #5 on the singles charts is because it embodies what this combo does so well, enveloping Sade’s silky voice in an enticing, jazzy atmosphere and allowing it to cast an intoxicating spell over your mood. Simplicity is deceiving. Thing is, if it was easy everyone could (and would) be doing it but few can do it like this group. “War of the Hearts” follows. Usually a drum machine-generated rhythm courts disaster but, wisely, they don’t let it dominate the proceedings. Rather they use it to enhance the track as they erect a haunting demeanor for the tune that’s somewhat hypnotic. Sidestepping the predictable pattern, they then present “You’re Not the Man,” a jazzy ballad that builds slowly but surely from its humble beginnings into a moving, passionate expression of honest emotion. I personally wouldn’t have placed the delicate “Jezebel” right after that one but there’s no denying that it stands on its own regardless of the timing involved. It’s a beautiful ballad put forth sans drums, permitting the saxophone, jazz guitar, electric piano and upright bass to support Adu’s seamless vocal. It owns a gorgeous melody made even more memorable by her skillful improvisations and sultry runs.

“Mr. Wrong” is a great change of pace moment. Its spooky jazz groove in 6/8 time is a departure from the other cuts. Paul Denman’s rolling bass line rocks and the punchy percussion is well worth paying attention to. “Punch Drunk” is a slower, sexy instrumental with bluesy overtones that proves they weren’t content to be conservative in their approach. It’s obvious that the musicianship within this tight band grants them the freedom to step out from the background with confidence. “Never as Good as the First Time” is another one of their incredibly catchy songs that explains better than words their universal appeal. This tune crept into the Top 20 for a reason. It’s very hard to resist the funky, flowing current that glides through this number while Sade’s sensuous voice floats like a butterfly atop the waves. “Fear” is a genuine detour from their normal routine. A deep, mysterious aura swirls behind Adu’s inimitable singing in the beginning and then the song briefly takes an unexpected turn into a semi-military march feel before returning to the track’s original lush motif. It’s not wholly successful but nevertheless it’s an ultra cool move on their part to experiment like that. “Tar Baby” has a light Latin lilt that pushes it along steadily. The tune’s excellent arrangement brings out the more admirable aspects of what is ultimately an average composition. The closer, “Maureen,” also belongs in that category. It’s a crisp, MOR piece that’s pleasant enough to ease you out of the record without protest but fairly unremarkable overall. They were smart to put the finest stuff front and center (a common sense tactic that many artists never figure out).

One look at the stats will tell you how popular this album was. It topped both the UK and the US charts, achieving double platinum sales in the former and an astounding quadruple platinum level in the latter. Hordes of jaded people in that confused era were hungry for top-flight, mature music presented to them without gimmicks or silly videos that emphasized grace over gloss and “Promise” was a Godsend in that regard. This is still how jazzy, R&B-flavored pop is done properly and it holds up amazingly well over two and a half decades down the line. This kind of music just doesn’t become dated or stale.

Sean Trane While never groundbreaking, Sade’s debut Diamond Life album in the mid-80’s was quite a pleasant and refreshing surprise, especially for those seeking a jazz-lite pop. The follow-up, released the next year was called Promise, and in some was it was in the musical continuity of DL, but failed to match its title’s name. Same line-up, same soft-silky voice, almost the same kind of music proposed, but let’s be honest, the surprise was gone. Yes some of these tracks were hits, partly due to their delightful frontwoman’s presence in some MTV clips getting frequent rotation exposure. However, if the band was never a major instrumental powerhouse, preferring the conventional song format, the debut did feature some space for the three compadres to fit some interesting and impeccable musical interplay, there is not much of it on the present album, despite the (somewhat) soppy instrumental Punch Drunk’s presence, which only feels like another average track where they would’ve forgotten to push the vocal cursors up on the mixing board. And I dare say that some tracks could fill the description of filler-material, especially around the end of the flipside.

Sweetest Taboo or Never As Good were indeed hammered into unsuspecting victim’s brains into submission, and to be sure, there were worse musical torture than that in that dreaded decade. Promise did feature the same kind of soundscapes than previously, albeit a tad more synthetic, despite still using some analogue keyboards and but also resorting to what seems like synthetic rhythms. With a few brassy guests and some drums and percussion help as well (Sade didn’t have a permanent drummer back then apparently), the British quartet seems to be in gentler and softer mood, because some tracks are indeed quite slow. Obviously playing the romantic (but occasionally cheesy and over-sweetish) card, something quite easy, given the stunning singer’s physical presence and her silky-smooth voice. Difficult to imagine Helen’s voice fronting a heavy metal band, right?! Other faliliar traéck are Is It A Crime or JezebelAlthough still a fine jazzy-pop album, as would all of the group’s future releases, one can’t help but experienced a déjà-entendu feel with a slight-ier 80’s sound, moving somewhat away from their Steely Dan-type of influence. Definitely still a worthy listen, but if you own DL and are a tad more demanding than the average Joe, one can’t help but feeling that all of their others albums are repeat performances.