From the moment Sade Adu emerged on the scene with her eponymous band in 1984, she was panned as a detached poseuse, feigning a frosty aloofness with the aim of passing for a jazz vocalist. (Somehow, the fact that Sade the band was fronted by a striking fashion model and design student far outweighed any actual jazz influences in their music.) They were derided as a flimsy act, appealing to shallow, pretentious types who professed their love for piano-bar muzak with no real songcraft.

“Feel No Pain” peaked at #56 on the U.K. Singles chart and #59 on Billboard’s R&B chart, staying on the chart for 8 weeks in 1993. 'Feel No Pain' Track Info Written By Sade Adu, Andrew Hale. Sade - Topic Playlists; About; Home Trending History Get YouTube Premium Get YouTube TV Best of YouTube Music Sports Gaming Movies TV Shows News Live. Sade - Love Is Stronger Than Pride (Audio) 3:38 Sade - Paradise (Official Music Video). Video via Youtube Subscribe On Youtube. Producer: Sade Adu, Stuart Matthewman Album: Love Deluxe Label: Epic. Throughout the 1980s, Sade was such a singular R&B sensation, her voice is so.

Still, they were hugely successful, with their first three albums topping charts around the world and earning them major Brit and GRAMMY Award wins along with scads of nominations. Detractors be damned, it would seem their brand of loungey Adult Contemporary music was paying off mightily. That's why nobody expected what was to come next. After a four-year absence, Sade burst back onto the scene in October of 1992 with 'No Ordinary Love,' seven and a half minutes of bass-thumping sensuality. Sade had done bass-heavy before on cuts like 'The Sweetest Taboo' and 'Keep Looking,' but the work always had its roots planted in the band's jazzy, vaguely Latin-influenced foundation.

But this new single had a thick R&B core, and a rockish aggression previously unheard from band member (and guitar genius) Stuart 'Cottonbelly' Matthewman. And with the arrival of the video soon after, the world saw a very different Sade. Reteamed with director Sophie Muller, a friend from their days at London's St. Martins School of Art, Adu made this, her first video in her thirties, a moment of visual epiphany. Rather than the menswear-inspired vests and jackets she was known for, Sade showed lots of skin in a witty, hard-luck retelling of Hans Christian Andersen's The Little Mermaid (only instead of a prince, she's apparently in love with a Jean Paul Gaultier fragrance model). Muller pulled out all the stops in this clip, creating a gorgeous juxtaposition of fantasy and crushing reality that perfectly complemented the song's lovelorn lyrics. I remember watching this video on MTV Europe, wondering how Adu managed to sing while underwater.

And even today, my eyes and tastes having supposedly matured, Muller's simulated seabed scenes are still utterly convincing and hauntingly beautiful enough for me to consider it one of the most brilliantly shot music videos of all time. Weeks later, the Love Deluxe album was released, delivering on the promise of its lead single. If audiences were shocked to see her show a little midriff in 'No Ordinary Love,' they needed their smelling salts handy for the album's nude cover photo and the spectacular trio of subsequent music videos (all shot by fashion photographer Albert Watson), often featuring Adu in various stages of artsy undress. Being in her thirties clearly agreed with her, and she now exuded a deep (and most disarmingly, effortless and perhaps even unconscious) comfort in her sexuality. And sonically, Love Deluxe was every inch as committed to exploring new R&B territory as 'No Ordinary Love' -- with, as indicated on the single (and suggested by its name), its eye very much on the bedroom. Even today, it's a strikingly cohesive album, and with its miles-deep drums and its vibrating bass sections, a straight run through its nine tracks will leave you feeling like you've just spent 45 minutes in a darkly beautiful undersea world. Periodically, you'll emerge, foregoing the bassy, underwater hum and taiko-style drums on most tracks for alternately lilting and drawn-out strings thoroughly evocative of a tranquil stream ('Like a Tattoo' and 'Pearls'), and by the time you get to the album's instrumental closer (called 'Mermaid,' of course) you're bound to have lost any illusions that this Neptunian arc was in any way accidental.

Prior to this release, Sade's principal forte lay somewhere between the wine-bar lounginess of 'Smooth Operator' and the wine-and-pills melancholia of 'Haunt Me.' But Love Deluxe saw many of its most despondent moments, like the prayer-like lamentation 'Feel No Pain,' swathed in a sexy, thumping groove. The same goes for the steamy production on 'Bullet Proof Soul,' on which Matthewman gives a fireplace-ready (if thoroughly '90s) saxophone performance as Adu croons 'I know the end before the story's been told / It's not that complicated / But you're gonna need a bulletproof soul.' It's arguably the most heartbreaking line -- both in writing and delivery -- of her career thus far (though she would outdo that feat a decade later on the searing 'King of Sorrow'). The album is, for the most part, an exercise in melancholia -- even when supposedly in the throes of love (as on the lead single and 'I Couldn't Love You More'), her voice carries a subtle but unmistakable pain that, rather than clash with the sensuality of the songs, imbues them with depth and dimension. Only on the aforementioned 'Like A Tattoo' and 'Pearls' does the production (handled by Adu and Mike Pela) leave the bedroom altogether.

They are also the album's most anguished, lyrically devastating and musically sparse moments, wherein respectively, Adu tells the tales of a haunted combat veteran and a mother in war-torn Somalia. Next to the dexterous storytelling, what's most impressive about all this is her ability to go from wounded and lovelorn, to guilt-ravaged, to despairing, to euphoric (on the near-spiritual celebration 'Kiss of Life,' the album's lone blissful moment), all while maintaining her previously maligned measured delivery. It's a feat that would inspire a future generation of singers lacking the iron lungs of the Whitneys and Mariahs before them (including British songstresses Jessie Ware and Nayo, and most notably R&B coquette Aaliyah, who would work a Sade shoutout into most interviews she did in the last phase of her life).

Only on 'Pearls,' after a painfully detailed description of her subject's famine-induced hardships, does she suddenly break free of all restraint with repeated, unexpected yelps of 'Hallelujah' that will make your blood run cold. And then she closes song on a repeated line 'it hurts like brand new shoes' -- an analogy whose bitter irony is nothing if not intended. Love Deluxe remains her most mainstream-accessible, yet consistently brilliant album to date.

It initially failed to match the runaway success of the band's previous releases, but thanks to its strong singles (and a major feature for 'No Ordinary Love' in the promotion of the 1993 drama Indecent Proposal), it went on to sell 3.4 million copies in the U.S. It marked a rebirth of the group that many expected to yield tons of great music in the coming years (as indicated by the release of 'Please Send Me Someone to Love' for the 1993 film Philadelphia).

But Adu became pregnant in 1994, right around the release of the well-received The Best of Sade album, and retreated from the spotlight to raise her daughter Ila with Jamaican music producer Bob Morgan. The boys (Matthewman, keyboardist Andrew Hale and bassist Paul Denman) formed the side project Sweetback, and Matthewman went on to become a hugely respected producer in his own right, composing for a multitude of artists and motion pictures (most notably helping to craft the sound of soul crooner Maxwell's first three albums). And there began what's now come to be known as the 'Sade album cycle.' Fans have come to expect decade-long gaps between studio releases from the band, and every Sade album is an event just for its existence.

Sade is now in the enviable position of being able to make music on its own terms, as one of the few acts who get to tell their record labels when they want to record. They now manage a dual image as respected veterans and underexposed brokers of cool cachet -- in 2010, rappers Jay-Z and Drake led an amusing campaign of wooing, politicking and outright lies to earn bragging rights as the first act to ever duet with Sade.

(Jay-Z won.) With Sade's current standing, it's hard to imagine the now-fawning press trading in the kind of venom they once reserved for them. I guess the old saying is true: 'the way to a critic's heart is through his baby-making playlist.' And if you're 19 or younger, now you know the topless woman whose picture is on page one of your baby book. Consider this a soulful version of the birds and the bees.

Sade Love Deluxe [][][].

While I strive to be objective in my reviews and avoid over-personalizing the interpretation of the poetry in the lyrics, there are times when that is simply impossible. As people living in a world where personal identity is a fragile thing, many of us turn to music to validate who we think we are, the person we would like to become or who “the real person” is inside. Some people use music to confirm their status as intellectuals (jazz, classical and Radiohead fans are notorious for this); some use music to confirm their status as rebels against dull conformity (early rockers, punks, glam rockers); still others look for one group or artist to support to enable them to raise their status by being “different.” We also use music and other art forms to increase our understanding of ourselves and the world around us.

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We can all name songs that expressed the thing we were feeling inside that we could never quite express, and when that happens, we deeply appreciate the artist who gave us that gift. Sometimes what we hear in the music or read in the poetry has a different meaning than what the artist had intended. That does not affect our appreciation of the artist, nor should it. For reasons we may not find in the text, the artist has touched something inside us and triggered a chain reaction of thought and emotion that is entirely personal and exquisitely liberating. Once that happens, the meaning is permanently connected in our minds to the artist who was the catalyst behind the discovery of that meaning, and we attach a certain loyalty to that artist. In short, we identify with our artists with a passion that sometimes defies reason or explanation. This isn’t a bad thing as long as “fan” doesn’t become “fanatic” and the artist does not become the object of worship.

I feel very thankful that I have some kind of gene that refuses to see artists as superior human beings, but I can certainly relate to the intensity a great artist can arouse in the soul. There are certain songs that have expressed the person I wanted to be; in essence, the artist has provided me with a role model.

Prince gave me Darling Nikki and Leonard Cohen gave me Suzanne to help me clarify my ideal of womanhood. However, they were not the role models themselves: they created characters I admired. The artist closest to a role model for me is Sade Adu, because she encapsulates many of the qualities that describe the person I would like to become. She’s sensual. She’s not afraid to express love with passionate intensity and emotional honesty. She has presence, beauty and class. She has deep social consciousness and awareness of the world around her.

She’s fucking hot! My identification with Love Deluxe is predominantly personal and the meaning I attach to several of the songs is clearly independent of either Sade’s intent or the intent of her songwriting collaborators. In Love Deluxe, what I hear expressed is the deep sense of devotion that is at the heart of the kind of sexual philosophy that I practice, which, as my readers know, is what is referred to as sadomasochism.

BDSM is greatly misunderstood by the general public and even by many who claim to be practitioners, due to several distortions of its practice. The first comes from “cheap thrill” kink popularized in movies like 9 ½ Weeks and in books like Fifty Shades of Grey. The second source of misinformation arises from the fact that like other institutions in our society, males tend to dominate, and male domination literature is full of the misogyny that places the male at the center of the universe and leads to the exploitation of women with low self-esteem. The third source of misunderstanding comes from the women who figured out they could make a comfortable living playing to male fantasies of humiliation and take on the role of dominatrix to exploit people with deep psychological problems. In my experience, BDSM is something very different.

It is a form of unconditional love. It works at the deepest level of trust. It is a shared experience that requires total openness and honesty on every level so that there is no separation between the parties involved. This elimination of boundaries is critical because many of the practices of BDSM involve physical, psychological and emotional risk. Lovers who choose this path—and it must be deliberately and consciously chosen—recognize that dominance and submission are two forms of power, like yin and yang, equal in every way: each equally cherishes the body and soul of the other. The most common form of BDSM relationship (Mistress/slave, top/bottom, dominant/submissive, whatever you prefer) demands that both parties be completely devoted to one another and to helping each other realize their fullest potential as well as their deepest fantasies. When Sade sings “No Ordinary Love” to open the album, she expresses that kind of devotion: a devotion that requires no return but has no doubt it will be returned: I gave you all the love I got.

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