SADE (HELEN FOLASADE ADU) — The Best Of Sade (review)

SADE (HELEN FOLASADE ADU) — The Best Of Sade album cover

Boxset / Compilation · 1994 · RnB

4/5 · 2011-08-06
Chicapah

If you don’t have any Sade in your collection of jazz music then this is an excellent place to start. I realize that mellow R&B isn’t everyone’s cup of tea and if you’re of that persuasion then I doubt you’ll find anything attractive about this band other than their lithe yet voluptuous lead singer. Put together in 1982, this group has managed to rack up sales of over 50 million album units worldwide so you must admit that they’ve got something special that a whole lotta folks find irresistible. Like many of their fans, I was first introduced to them via their classy videos on MTV during the weird 80s and thought that their music was interesting. Somewhere along the way towards the end of the millennium I sprang for this collection of songs and never regretted it. When I caught them in concert in 2001 I was blown away by their professionalism, the high fidelity of their presentation and the overwhelming adoration the packed house had for them. There are just times when the music of Sade is perfect for the occasion whether it be a romantic night with my wife, de-stressing after a trying work day or even employing it as an enjoyable backdrop while cleaning the house. It’s some of the most honest music you’ll find anywhere.

“Your Love is King” serves as a perfect example of the Sade sound. The song’s smooth groove and Stuart Colin Matthewman’s rich saxophone are typical of their enticing aural art and Sade Adu’s vocal style is so unique as to put her in a category all her own. “Hang On to Your Love” sports a harder driving beat that shows they can be more aggressive when the tune calls for it. Adu’s layered harmonies are almost dream-like. “Smooth Operator” is the cut off their debut that brought them out of obscurity and into the spotlight and it’s no wonder. The track’s strong Latin feel underscores the song’s unbelievably catchy melody and hook. “Jezebel” is a striking ballad that starts with a subtle combination of guitar and sax behind Sade’s emotional singing. Dave Early’s drums and Andrew Hale’s electric piano enter later on, expanding the parameters of the tune. “The Sweetest Taboo” owns a pulsating rhythm that gives Adu a perfect platform to exude pure sensuality. And I love Paul Spencer Denman’s funky bass guitar pops that give the track character. “Is It a Crime” starts out like a sleazy striptease theme but turns into a breathtaking show-stopper that not only works in the studio, it slays the audience when they perform it on stage. The song’s fantastic dynamics are to die for and Sade knows exactly when to emote and when to pull back. “Never As Good As the First Time” is another middle-of-the-road AOR number that’s unusually predictable for them.

Martin Ditchham’s rolling toms distinguish “Love is Stronger Than Pride” and give it an air of weightlessness. The energy-filled rhythm section of Ditchham and Denman propels “Paradise” relentlessly from beginning to end. “Nothing Can Come Between Us” has a funky atmosphere surrounding it but it still flows seamlessly like a river in spring. My all-time favorite Sade song is next, the incredibly moving “No Ordinary Love.” Its hypnotic mood envelops me every time I hear it due in no small part to Hale’s dense synthesizer backdrop and Matthewman’s imaginative use of the electric guitar. “Like a Tattoo” is a sparsely populated ballad that slowly builds up from nothing but avoids becoming saccharine or overdone. A comfy rock beat from Martin graces “Kiss of Life” with a satisfying lilt and it’s commendable how the band so consistently plays with attention to being tasteful above all else. The low point of the proceedings comes with “Please Send Me Someone to Love.” It’s rare in that it’s a blues tune and, having been penned by Percy Mayfield, is the only cut not written by members of the ensemble. Blues is obviously not Adu’s forte and I can only surmise that it’s included only in order to offer a “bonus” track. “Cherish the Day” is a welcome return to their splendid form and its mysterious aura is beguiling. The album closes with “Pearls,” a sumptuous ballad wherein Sade’s delicious vocal is backed not by the band but by an orchestra led by Gavin Wright.

“The Best of Sade” is one of the better greatest hit packages I own in that, with few exceptions, every song is a delight. This immensely popular group is one of those refreshing ones that you never hear gossip about or see stories concerning the members in the tabloids. Their public persona is their music and nothing more. They’ve wisely kept a low profile over the years and have managed to sidestep overexposure so that when they surface once a decade they’re like a cool breeze blowing in after a long heat wave. I hope every jazzer will give them a chance to entrance and enthrall. I’m confident that you won’t be disappointed.