'ORIGINATE, DON'T IMITATE'
Designer. Model. Singer. Icon. Role Model.
The mother of singers such as Adele, future stars Jessie Ware - who has cited her as an influence ( note the similarity between 'Sweet Talk' and 'Your Love Is King'), Eglo's Fatima, Twigs and Toronto's very own Rochelle Jordan, Sade's influence musically, stylistically and behaviourally, to me, is undoubtable.
Anonymity in underground music is nothing new but when you're a multi platinum artist it is unheard of. Like many originators her private life has remained a mystery to the public. I'm sure there's more information out there if you can be bothered to look but I don't want to break the spell. With enigmas like Prince, Timbaland, Aphex Twin and Burial apart from a few interviews and pictures (which maybe not even be them) it is their music that has done the talking for them, well maybe not in the case of Timbaland. Their mystique, along with untouchable back catalogues of archetypal music has guaranteed them their immortality. They created their own genres (hold tight Wiley).
Admittedly, these artists operated in an era where Twitter, Instagram and Facebook did not exist and vorarephilia was not epidemic. There's something reassuring in the fact that you could walk past someone so culturally and personally influential in the street and not even know it was them. Granted, a lot of people could point out Prince and (pre steroids) Timbaland but what I'm trying to say is that the others do not actively court the media. Or maybe they do? Everyone wants what they can't have - a photo, a girl, a dub it's all the same. That said, Sade has been on the cover of I-D, The Face, Time, Rolling Stones, and Interview magazine so it is clear that she is select about who she speaks to when she decides to play ball.
For those who are unfamiliar, Sade is 4 piece band from Hull. They have released 6 albums (excluding best of and live concert albums) - all of which are multi platinum, they have won grammys and toured the world several times. The eponymous member Helen Folasade Adu, of Nigerian and British heritage was the biggest selling musician in the USA in 2012. Even with all these accolades there's still a possibility you're not familiar with their music apart from 'Smooth Operator' and 'Sweetest Taboo' but it's more than likely that you've seen her face. Their last album in 'Soldier of Love' in 2010 was their first in 10 years - she is #veryrvre. To top it all off she has had the likes of Jay-Z, Kanye West & Drake queueing up to work together and declined *jammer voice* all of them. (Jay-Z did get on a remix though)
In a career that has spanned nearly 30 years she has never compromised herself, she stayed in her lane and has reaped the rewards of not attempting to pander to new audiences unlike many of her contemporaries. This meant she successfully dodged that awkward phase where it feels like a parent is trying so hard to stay 'down with the kids.' The band members have stayed the same and essentially their sound has remained unchanged but If it ain't broke... You like what she has to offer or don't listen.
“The difference between Madonna and me is that she really seems to want to be incredibly famous and rich and I don't.”
Whilst it does help that her particular style of music is more accessible that should not diminish her achievements because she is an outsider in many ways. Her detractors label it 'elevator' or 'lobby' music and each to their own. So it's not Sun Ra but then again its not generic 'smooth jazz'. With elements of trip hop it's stripped back yet funky, glacial yet emotional. Put it this way a Sade/Gucci Mane collab could easily cause a new ice age. She embodies the essence of 'tutu' which literally translates as "cool" from the Yoruba language. .
"An Itutu aesthetic includes the appearance of a calm, collected face that is found in much Yoruba sculpture. It has been suggested by Robert Farris Thompson of Yale University that Itutu is the origin of the American idea of the "cool". His 1973 article 'An Aesthetic of the Cool' traces the idea of Itutu from the Yoruba to several other African civilisations and finally to the Americas, where the descendants of Africans perpetuated the importance of being "cool." (Thank you Wikipedia /JSTOR) It's a 'coolness' the stems from a knowledge of self which is manifested in composure . The concepts of 'cool' are often linked to the sacred usage of water and in 'Love Deluxe' there is a clear aquatic theme in both subject matter and instrumentation.Time magazine called her the 'Queen of cool' which if you know her music, check interviews and browse her pictures it is clear why.
Sade, even whilst she was young and impressionable, did not feel the need to take off her clothes in order to seduce the public. As beautiful as she is her simple fashion sense did more than any skimpy outfit could. The embodiment of simplicity, her understated less is more style is timeless.
'I don't like things that are glittery or flashy. Simplicity is the key, looking subtle without looking dull.' She hits the nail on the head when she says :
'when it comes down to it I'm a singer not a stripper.'
This, to me, is why she is a perfect role model for young girls who look up to singers. Bandz will NOT make her dance! I'm not saying that I don't appreciate some flesh...but when my 3 year old sister was performing Rihanna's 'What's My Name' on her fake microphone and guitar in front of my family one Christmas - I knew there was trouble. Sex sells, but when the age of your audience starts as young as 3 you have to be careful who you're selling to. Nudity is always controversial as proven by Robin Thicke along with Justin Timberlake's feeble imitation. 'Artistic' nudity. (Let's save that debate for another time.) 'Blurred Lines' is currently at number one so I guess it worked.
That said, the 'Love Deluxe' album cover shot by renowned fashion photographer Albert Watson features her 'nude' but tastefully covered up - a trend which was started by none other than Prince with his 'Lovesexy' cover. The only time she ever revealed herself was alongside Helen Bonham Carter and Amy Winehouse for the Lavender Trust in order to raise awareness for breast cancer. As Fatima Robinson, a choreographer for the likes of Michael Jackson and Aaliyah, duly stated Sade was 'sensual and sexy, without trying. It wasn’t contrived in any way.' So by her stating 'She was probably the only artist I’ve ever worked with where I go ‘wow, I wish I could move like her' instead of making them move like me.' It shows there is more to sex appeal than nudity. It's what she doesn't reveal that makes her sexy. Although Sade doesn't dance if you watch the 'Cherish The Day' video you'll see what Fatima means.
The early to mid 1980s was all about being BIG. Big personas, big hair, heavy make-up and equally outlandish costumes. Whilst others were taking cues from David Bowie's Ziggy Stardust persona, the Blitz club's own Spandau Ballet or Madonna's 'Like a virgin', Sade was staying true to her own style. Men's blazers, loafers, denim shirts as well as elegant, figure hugging dresses. Her understated style has been noted by the likes of Gianfranco Ferré, Gaultier, and Balmain's Rousteing. As one of the Blitz Kids she was at the forefront of fashion before she was a singer. So when she did eventually become a star she was immediately set apart from her contemporaries. Her exoticised image and sophisticated jazz influenced music launched Sade as the female face of the fashion-conscious 1980s. She instantly became a style icon with the red lipstick and leather gloves becoming her signatures.
“There were no girls of my age around, so I played with the boys on the fringe of my brother’s circle. I didn’t have a girl friend till I was nine. This probably explains why reportedly Princess Diana’s question to her after a Prince’s Trust concert was: “Do you always dress like a man?” Maybe someone should ask Janelle Monae the same thing...
(Photograph by Letac / Shapersofthe80s archive)
Now, Love Deluxe. It was released in 1992 The album begins with the grammy winning 'No Ordinary Love'. No long intro it's straight into the deep end. This can be disorientating for some but this is an album you want to get 'lost' in. The icy pads matched with icy her voice and that guitar - it's game over. The emotion in the track steadily crescendo's to the point where you could shed a tear and then it smoothes out allowing you to recompose yourself. The video, directed by her fellow CSM student Sophie Muller, sees Sade as a mermaid singing about her own Prince Namor.
The dubbed out second track, 'Feel No Pain', which could be used as today's Job Seekers Anthem is highly motivational. Not on a level with MJ's 'They Don't Care About Us' but if you have ever 'seen a man break down' and you need something to help you in your mission to get them back in the game then this is it.
'Couldn't love you more' - underwater love song.
'Like A Tattoo' - Spanish guitar...
'Kiss of life' - sampled by MF Doom for Doomsday (Metal Fingers - Saffron) and you can see why. As great as her voice is when the instrumental breaks down it's pure bliss.
'Cherish The Day' - 1m 37s everytime...and that snare!
'Pearls' - Just Watch below (sampled by D'Cruze on Heaven - which I just uploaded)
'Bullet Proof Soul' - I need to hire Stuart Matthewman to play the sax as I walk through the rain in my trench doing my best Inspector Morse / Columbo impressions.
'Mermaids' - An instrumental outro ending the album on the underwater theme that it began with.
No rating system but if you like your R&B slightly dark and emotional then this is for you. If your getting sampled by Havoc, Dilla, Dillinja, Doom and....Drake then you have to be doing something right. In my eyes this album along their previous two as well as Soul II Soul's is are of the foundations of the 'neo soul' movement that came to prominence in the late 90s with the like of D'Angelo, Lauryn Hill and Erykah Badu.
My youtube playlist of Sade sampling songs : Shar-Day
Further listening : The band (excluding Sade herself) went on to form Sweetback in 1994 releasing their debut self-titled album in 1996 featuring Maxwell (Stuart Matthewman of Sade went on to produce much of 'Urban Hang Suite' , Amel Larrieux of Groove Theory and Aya.
(Sade age 51)
CREDITS
Shapers of the 80s
Albert Watson
The Guardian
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