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Sade: Soldier of Love

 A l b u m   D e t a i l s


Label: Epic Records
Released: 2010.02.09
Time:
 41:58
Category: Pop/Rock
Producer(s): See Artists ...
Rating: ********.. (8/10)
Media type: CD
Web address: www.sade.com
Appears with:
Purchase date: 2010.03.03
Price in €: 2,00





 S o n g s ,   T r a c k s


[1] The Moon and the Sky (Adu/Matthewman) - 4:27
[2] Soldier of Love (Adu/Matthewman) - 5:58
[3] Morning Bird (Adu/Matthewman) - 3:55
[4] Babyfather (Adu/Matthewman) - 4:40
[5] Long Hard Road (Adu) - 3:02
[6] Be That Easy (Adu/Matthewman) - 3:40
[7] Bring Me Home (Adu/Matthewman) - 4:08
[8] In Another Time (Adu/Matthewman) - 5:05
[9] Skin (Adu/Matthewman) - 4:13
[10] The Safest Place (Adu) - 2:46

 A r t i s t s ,   P e r s o n n e l


Sade Adu - Programming, Vocals, Producer

Ian Burdge - Cello
Paul S. Denman - Bass
Martin Ditcham - Percussion, Drums
Andrew Hale - Keyboards, Programming
Noel Langley - Trumpet
Peter Lewinson - Drums
Gordon Matthewman - Trumpet
Stuart Matthewman - Guitar, Programming, Saxophone
Sophie Muller - Ukulele, Art Direction, Photography
Everton Nelson - Violin

Leroy Osbourne - Vocals
Tony Momrelle - Vocals

Mike Pela - Producer, Engineer, Mixing
John Davis - Mastering
Sophie Muller - Photography

 C o m m e n t s ,   N o t e s


2010 CD Epic 63933

Endlich ist sie da: Mit der Vorab-Single Soldier Of Love liegt die erste Hörprobe aus dem weltweit sehnsüchtig erwarteten neuen Sade-Album gleichen Names vor. Damit endet eine fast zehnjährige musikalische Pause der britischen Band, die mit der Veröffentlichung des Albums Soldier Of Love am 4. Februar 2010 endültig zu Ende geht. Langfristiges Arbeiten ist für Sade Adu (Gesang), Stuart Matthewman (Gitarre, Saxophon), Paul Spencer Denman (Bass) und Andrew Hale (Keyboards) derweil nichts Ungewöhnliches: Bereits für den Vorgänger Lovers Rock hatte sich das Quartett acht Jahre Zeit gelassen. Ihr sechstes Werk Soldier Of Love spielten die Grammy-Preisträger in gewohnter Konstellation mit dem langjährigen Sade-Produktionspartner Mike Pela in England ein. Seit 1984 veröffentlichten Sade fünf Studioalben, von denen sich vier in den Top 5 der deutschen Charts platzieren konnten. Alleine in Deutschland wurde die Band mit sechs Gold- und drei Platin-Awards ausgezeichnet. In den USA schafften alle fünf Studioalben den Sprung in die Top 10 der Billboard Charts. Insgesamt verkaufte die Band bis dato weltweit mehr als 50 Millionen Alben. In ihrer Karriere wurden die vier Musiker mit drei Grammys ausgezeichnet: als Best New Artist 1986, in der Rubrik Best R & B Performance By A Duo Or Group für die Hitsingle No Ordinary Love 1994 und in der Rubrik Best Pop Vocal Album; für Lovers Rock 2002.



Die englische Gruppe Sade blieb eine komplette Dekade ohne neues Album , eine sehr lange Zeit im Pop, die eine Gefahr des Vergessenwerdens ins sich birgt. Da sich das Quartett um die nigerianisch-englische Sängerin Helen Folasade Adu aber nie Trendzügen anhängte, allerhöchstens Feinjustierungen im abgesteckten Kosmos zwischen staubigem Bar Jazz und souligem Easy Listening vornahm, blieben Sade immer unantastbar. Unglaubliche 26 Jahre nach dem Welterfolg des Debüts Diamond Life klingt das erst sechste Studioalbum Soldier Of Love, als wäre diese Zeit im Fluge vergangen, so vertraut klingt wieder alles. Das schöne ist, es gibt keinen potentiellen Welthit wie „Smooth Operator“, das einem trotz aller Sympathie überall hin verfolgte, bis man das Lied am liebsten in die zeitweise Verbannung geschickt hätte. Soldier Of Love ist ein langer, majestätisch schöner und unaufgeregt dahinfließender Liederstrom, der sich aus den selben Quellen speist, wie alle vorherigen Werke. Die Unterschiede zu ihnen stecken im Detail, im ganz starken Titelsong gibt es schier unglaubliche Metallelemente und Marschrhythmen, zwar dezent...aber immerhin. Nach diesem emotionalen Ausbruch kehren Sade ins Zentrum ihres Schaffens zurück und verschleppen dabei immer mehr das Tempo. Wie immer legen die wieder am Songwriting beteiligten Paul Denman (Bass), Stuart Matthewman (Saxophon / Gitarre) und Andrew Hale, verantwortlich für Keyboards und Programming, einen kuschelweichen Klangteppich. Auf dem schwebt Sade Adu mit ihrer wieder unwiderstehlichen und erotischen Stimme. Basierten alten Alben wie zum Beispiel Promise auf den Einsatz unzähliger analoger Instrumente, arbeiten Sade nun neben den unverzichtbaren Streichern und Bläsern auch verstärkt mit programmierten Digital-Beats. Eine der ganz wenigen und genau richtig dosierten Zugeständnisse an die Moderne, ansonsten zeigen sich Sade resistent gegen Außeneinflüsse. So ist Soldier Of Love ein wunderschöner Soundtrack für die Nacht geworden.

Sven Niechziol - Amazon.de



Zehn Jahre Pause. Doch die Britin mit der Stimme eines handgewaschenen Kaschmirpullis gibt sich kämpferisch, das scheint der Albumtitel nahezulegen. Ein Stampfhrhythmus begleitet folgerichtig den Aufmarsch im Namen der Liebe - inhaltlich erneut zentrales Thema. Diesmal dargereicht mit eleganten Grooves und dezenten HipHop-Beats, gebrochen von akustischen Arrangements mit Klavier und Streichern als Basis für Sades typisch gedoppelten Vokalstil. Ihre Präsenz verzaubert noch immer, einen Hit sucht man jedoch vergebens. Der latente Sexappeal, das karibische Flair weichen diesmal Jazzballaden im Stile des Great American Songbook, bis hin zur völligen Reduktion auf Soloinstrument und Stimme. Darf man mit 51 von einem Alterswerk sprechen? Falls ja, ist dies eines voll klassischer Eleganz.

swo - kulturnews.de



Sade’s longest absence yet did not prevent their return from being an event. It at least seemed eventful whenever “Soldier of Love,” released to radio a couple months prior to the album of the same title, was heard over the airwaves. Even with its brilliantly placed lyrical allusions to hip-hop past and present and its mature sound, the single stuck out on stations aimed at teens and twentysomethings, as well as points on the dial that court an older audience. It was the most musical and organic, while also the most dramatic yet least bombastic, song in rotation. Crisp snare rolls, cold guitar stabs, and at least a dozen other elements were deployed with tremendous economy, suspensefully ricocheting off one another as Sade Adu rewrote “Love Is a Battlefield” with scarred, assured defiance. While the song was an indication of its parent album’s reliance upon organic instrumentation - the band’s use of synthesized textures and programming is greatly diminished - it merely hinted at the dark, even fatalist, depth of heartache conveyed throughout the set. On “Bring Me Home,” Adu is content in resignation (“Send me to slaughter/Lay me on the railway line”), while on “The Moon and the Sky,” she projects a bruised and angered bewilderment (“You lay me down and left me for the lions”). The focus at least switches temporarily to a loved one on “In Another Time,” in what resembles a love letter to (what is likely) a young daughter mistreated by members of both sexes (“Their whispers are hailstones in your face”; “Soon they’ll mean nothing to you”). Although the bleakness is tempered with themes of survival and recovery, and (just) one song that is truly sweet (“Babyfather”), a fair portion of the album’s lyrical content comes off as drained-sounding, only echoed with vanilla arrangements that are merely functional, restrained to a fault, greatly outstripped by “Soldier of Love.” Lacking rhythmic hypnotism and relatable most to those who are experiencing solitude created by romantic desertion, this is not your mother's Sade album.

Andy Kellman - All Music Guide



Sade has a lot in common with AC/DC. Both have spent long and glorious careers refining their signature sound, to the point where it's basically one song with different titles. They wait years between records, then deliver the same album they made last time — which means it's unimpeachably excellent. Neither gets caught doing anything stupid like trying a new hairstyle or making a Balearic dubstep record. They stick to their strengths. And they both sing about the tender emotions, from Sade's "Your Love Is King" to AC/DC's "Let Me Put My Love Into You."

Soldier of Love is the latest chapter in Sade Adu's incredible run as a mystery woman. Nobody knows where the hell she vanishes to between hits — maybe she has her own private island or something? But every time she returns, she brings another flawless collection of glossy Anglo-soul torch songs. She sings about the torments of love, yet never reveals a thing about her private life or personality. When she first appeared in 1985 with the "Smooth Operator" video, she sang with tears streaming down her regal cheekbones. But she never loses her cool. Compared to Sade, all other singers seem like hopeless little prissy drama queens.

Soldier is the first Sade album since Lovers Rock 10 years ago, which was her first since Love Deluxe eight years before that. Like those albums, Soldier is sumptuously melancholy, exquisitely beautiful R&B, perfect for crying on a very expensive sofa. She's been making hit records longer than anyone in the xx has been alive, yet she works in the same style: the hushed, voluptuous tones of heartbreak, reduced to a sexy-librarian whisper, with a very British sense of reserve.

The amazing title track is a ballad of utter emotional devastation, biting a hook from Kool Moe Dee's 1988 rap hit "Wild Wild West." The martial hip-hop beat stutters as Sade sings, "I'm at the borderline of my faith/I'm at the hinterland of my devotion." Her voice, as slinky and smoky as ever, has that instantly recognizable ache. The rhythms build the tension but never boil over, keeping you hanging on for a climax that never comes. It's classic Sade: a cool and collected song about falling apart.

Soldier sustains the mellow vibe for the whole album, with reggae-inflected melodies to suit the slow-motion lilt of "Morning Bird," "Bring Me Home" and "Skin." Part of her mystery is that she's kept the same lineup of musicians together for more than 25 years; nobody seems to know or care who they are, but Sade-the-band has the same light touch as Sade-the-singer, ensuring that each groove flows imperceptibly into the next. The only jarring moment is "Babyfather," which has an abrasive lyric about a broken family and an unusually cheery melody. Not to mention a hilariously English title.

It's hard to believe Sade is 51 — but then, she never seemed young. Even on her classic debut, Diamond Life, she played the role of the worldly, jaded dame who'd been burned too many times to care about sensitive hearts. Once her songs hit the radio, they never leave — you still can't wait in line at the drugstore without hearing "The Sweetest Taboo" or "Kiss of Life." Beloved by all, yet known to nobody, Sade just lets her mystique grow. Now that's a smooth operator.

ROB SHEFFIELD - Feb 8, 2010
RollingStone.com
 

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