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I couldn’t review the “Best Of” compilation without reviewing my favourite Sade album: “Promise” is the 2nd album by Sade and was released in 1985. Essentially it is a continuation of where the 1st album “Diamond Life” left off and I would characterise the sound as smooth easy-listening with jazzy tones. In my opinion Sade have improved on their debut effort by consistently delivering more refined melodies and lyrics. Tracks on this album make frequent use of sax, guitar, bongos and piano to create a harmonious whole.
Here is a rundown of each song:
1. "Is It a Crime"– 6:20 The opening track, a straightforward jazz tune on unrequited love, is an album highlight for me due to its seductive sax solo and the soothing effect of Sade’s sultry voice. She may not have the strongest vocals and the instruments threaten to overwhelm her occasionally, but reverb is used to powerful effect and you can’t help being won over listening to her croon:
“it divides and it jumps and it ripples like the deepest ocean” to a pitch-bending melody.
2. "The Sweetest Taboo"– 4:36 A standard “rain falling” sample is used to open and close this track and some may find this really cliché but it makes sense when combined with the lyrics: “I’d do anything for you, I’d stand out in the rain”. A snappy beat (containing a distinctive ‘80s snare) and panned maracas keep the track moving along energetically.
3. "War of the Hearts"– 6:47 A tacky beat that is continous throughout mars this tune – it sounds like an electric beat you would find as a preset on a cheap electronic keyboard - luckily it gets drowned out as the tune progresses. The lyrics are not overly memorable and the melody veers between hauntingly beautiful (particularly the guitar) and “polite dinner music” territory (I think the piano is the guilty culprit).
4. "You're Not the Man"– 5:09 This is a very melancholic tune steeped in despairing piano chords and soft sax, let down by vocals that sound very strained.
5. "Jezebel"– 5:27 Another sad song, this time about a ruthlessly ambitious girl: “reach for the top and the sun is gonna shine, every winter was a war she said I want to get what’s mine”. No beat is present for most of the track; it is driven by an electric guitar melody instead which makes for an interesting change.
6. "Mr. Wrong" – 2:49 This is a second album highlight for me featuring infectious scat singing and an interesting tempo change despite the short duration of the track. Catchy bongos and a hypnotically repetitive bass guitar snap the album out of its melancholy. Lyrically this feels like a follow-up to “Smooth Operator” from the 1st album, focusing this time on the victims of the smooth operating lady-killer: “he don’t care where he’s been playing … she’s a fancy girl so why’s she staying, hanging on for mr. wrong”. Don’t be surprised if you start scatting “ba ba da da do do” for no reason.
7. "Punch Drunk" – 5:21 The only instrumental track on the entire album stands out immediately. Some might find it lazy that lyrics were not written for this track, others might find it inconsistent and not in keeping with rest of the album. I quite like this slice of mood music and “Punch Drunk” is an apt title for this laid back tune; it can be used to fall asleep to.
8. "Never as Good as the First Time"– 4:59 For me this is the weakest track on the album because it simply isn’t very memorable – the verses are sung in monotone and the beat plods along in an unremarkable fashion. It hasn’t aged well, everything about it reeks of the ‘80s and that is probably where the tune should remain.
9. "Fear"– 4:09 A dramatic Spanish-flavoured tune using acoustic guitar and strings to inject much needed variety and prevent the album from flagging. An unmelodic sax and military sounding drum beat are used effectively in an over-the-top, tension building section, complete with a sample of a roaring crowd presumably from a bull fight.
10. "Tar Baby" – 3:57 This track deals with racial divide using positive lyrics: “… tar baby came good out of grief” and the melody becomes increasingly cheerful from a rather sad opening, using soaring strings to create an uplifting atmosphere.
11. "Maureen" – 4:20 Jaunty is the best word I can use to describe this song and it is a very pleasant ending to the album. There is a very strong sense of nostalgia conjured up as Sade sings: “Maureen it’s hard to explain, you’ll never call round to see me again” and the track fades out to her hypnotically repeating “never meet my new friends”, leaving me wanting more.
Summary This is a consistent, more refined album than Sade’s debut with a continuation of the jazz style that made them so popular. If you want soothing music then buy it, press play and relax.
[Also reviewed on Epinions and Dooyoo]
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Promise [Remastered] - Sade
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