Sade -Soldier of Love[WAV]

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资源信息： 专辑英文名: Soldier of Love 歌手: Sade 音乐风格: 节奏布鲁斯 版本: [WAV] 发行时间: 2010年02月08日 地区: 美国 语言: 英语 概述:

出品厂牌：Sony Music 唱片编号：88697638812 音乐风格：R&B, Soul 专辑时长：41:54 min 专辑介绍： 灵魂歌后Sade 2月8日发行新专辑《Soldier of Love》，距离上张专辑《Lovers Rock》已经过去了10年；同名单曲"Soldier of Love"随着前奏的号角声，Sade柔滑的声音融合强烈的节奏鼓点和偶尔的吉他撕裂声一如既往的让人震撼。Sade证明了音乐不需要豪华的包装，亦不需要人山人海的发布会。一份简单得可以的乐谱、一把扣人心弦的声音、一份对音乐的坚持，原来便可构成一张举世推崇的巨献。Sophisti-Pop是Sade一贯坚持的风格。柔滑，平和，充满爵士味的Pop，活跃于20世纪80年代。除了爵士，Sophisti-Pop艺人们还引进了轻快的Pop-Soul风格，使用音响合成器来让音乐更饱满平滑。虽然这一流派在90年代初 就已经渐渐销声匿迹，但Sade却依然故我，在她消失歌坛8年复出后的《Lovers Rock》中可以感觉出Sophisti-pop已经融进了Sade的所有旋律和血液中。 Sade淡出歌坛的八年，不仅乐坛人士纳闷外，全球歌迷也不断地殷殷询问和关心着Sade到底跑哪里去了？Sade笑说：“我只是努力的依着自己的步调过日子，并慢慢沉淀自己，等到自己可以以很平静的心情再踏进录音室专心录音。因为我的音乐和我的生活是息息相关的，我的创作来自我生活中所看到的和所听到的，所以才会花了这么久的时间，抱歉让大家久等了。”在令人渴望已久的Sade专辑《Lover’s Rock》（情人宝石）中，依然保有Sade一贯耐人寻味的气质与特色，曲风则包含了流行、节奏蓝调、雷鬼等风格，关注的议题也扩展到种族和母爱，“The Sweetest Gift”就是Sade写给她的宝贝女儿Ila的歌，谈到了她和孩子在一起的感觉，她们母女之间的亲情。Love是贯穿Sade所有音乐作品的不变主题。从第一张专辑里的"Your Love King"，"Hang on to Your Love"，到1988年的"Love is stronger than Pride"到1992年的"No ordinary love"到2000年的格莱美最佳流行大碟《Lovers Rock》，Sade的音乐从来都不缺乏漫溢的情感和温暖的爱意。与其说Sade是依靠着新潮的表现方式烘托她的音乐，还不如说 她是凭借着歌曲在表层柔情下的镌永内涵而让人深深吸引。她的音乐是温暖的，柔软的，可以让耳朵，灵魂抚慰的。听Sade的音乐， 就像和最忠贞的情人恋爱，你有完全的安全感，你知道你是不会被抛弃的，他（她）永远会By Your Side。

Sade 1959年1月16日出生于尼日利亚的易巴丹，父亲是尼日利亚人，母亲是英国人。4岁时她父母离异，之后她随母亲生活，在英国艾塞克斯郡的克尔切斯特长大。当一位叫Lee Barrett的唱片经纪人邀请Sade去伦敦的一个正在组建的乐队担任主唱时，Sade欣然接受了。这支乐队名叫Pride， 是80年代早期的一支拉丁Funk乐队。Sade音色饱满，技巧纯熟且词曲都能，很快成为乐队的灵魂人物。这期间Sade展现出 出众的歌曲创作能力--写下了她最早的成名单曲"Smooth Operator"（老练的行家）。随即她退出Pride，走上了单飞的道路，与她一同离队的还有Stuart Matthewman（萨克斯），Andrew Hale（键盘），Paul Spencer Denman(贝斯)，这几个人成了Sade的班底。

'Soldier Of Love' is the highly anticipated new body of work from the gorgeous 80's soul icon Sade, which is her first official studio album since the multi-platinum release of 'Lovers Rock' in 2000. Sade and her longtime bandmates including Stuart Matthewman, a.k.a. Cottonbelly, regrouped in a U.K. recording studio in June and were recording and mixing into October. The eponymous first single has put us at ease. It's a narcotic skank with intro horns that remind us of Hov's "Encore" and a guitar scratch smoothed by Sade's inimitable cool voice. Album Review: 引用 "You only grow as an artist as long as you allow yourself to grow as a person. We're all parents, our lives have all moved on. I couldn't have made Solider of Love any time before now…." ~Sade Adu Coming into the fourth decade of her career, Sade Adu has become an esoteric figure in the music industry. Since the early 90s she's shrouded her life from popular culture, leaving her one album per decade average as the main tool for press and fans to speculate on her private dealings and thoughts. Those sparse offerings have delivered some of the best musings on love ever recorded, ranging from unbridled ecstasy ("Couldn't Love You More") to wallowing anguish ("King of Sorrow"). With a new decade upon us, Sade returns with another offering from the depths of her soul in Soldier of Love. "The Moon and the Sky" opens the LP on the theme of unconditional love abused by selfishness. The string arrangements and trudging bass allow Sade's voice to dominate, and she stretches several notes to accentuate the forlorn disbelief at how her lover abuses her loyalty ("So why did he make me cry?/Why didn't you come get me one last time?/You let me down….You left me there dying" ). That damage transitions well to the lead single "Soldier of Love." The stabbing, aggressive guitar chords and marching drums are a clear break from Sade's previous work, and give a modern feel sure to catch younger fans not familiar with her work. In the context of the album, it builds on the numbing pain of the opening song, but displays the songstress still determined to persevere ("I've lost the use of my heart/But I'm still alive…"). The only other uptempo track, "Bring Me Home," ironically contains the strongest lyrics of hopelessness. The despair is punctuated by backing vocals which titter on low mourning wails, and Sade invokes spiritual loss and regret ("I've cried for the lives I've lost/Like a child in need of love/I've been so close but far away from God….I've cried the tears so let the tide take me/I won't fight/I've cried the tears.") The Sade band, composed of Stuart Colin Matthewman (guitar,sax), Paul Spencer Denman (bass), and Andrew Hale (keyboards), have retained their innate ability to not only seamlessly glide through different music genres, but merge them as needed to support their lead singer's ethereal voice. "Babyfather" brings street reggae rhythms to support Sade's celebration of parenthood and first ever collaboration with 13 year old daughter Ila. On "Be That Easy," the band embraces the blues while Adu ruminates on her life being in freefall, her love remaining as the only tangible, pure facet ("Falling down, flying as slow as I can/I'm not trying to reach the land/Just falling somewhere/It couldn't be that easy/It had to be much harder/Meanwhile boy, I love you"). Sade Adu's lasting appeal has been tied to the uniqueness of her soothing, rich alto vocals. Like previous legends Billie Holiday and Sarah Vaughan, her voice has gotten deeper with age. In her early years, Sade had underrated range (see "Pearls," Frankie's First Affair"). The voice is now slightly weaker, but not alarmingly so. The change is only noticeable when the band's arrangements call for her to hit higher notes, as heard on "Morning Bird." Perhaps by design, Adu for the majority of Soldier of Love isn't required to extend or test her vocal limits. As with all Sade LPs, the ballads are empathetic and overflow with introspection. "In Another Time" features engaging sax and string instrumentation (violin, cello) that will remind longtime fans of the jazz fusion pieces heard on Diamond Life and Promise. The track is another testament to Sade's exceptional skill as a songwriter, as the lyrics can be interpreted as an ode to her daughter, or words of inspiration to downtrodden women. "Skin" invokes the album's strongest imagery as a meditative piece on when self-identity and preservation supersedes love for another. The song is classic Sade, with the singer describing the process of "peeling" and "washing" away the elements of an ex-lover on her psyche. Her phrasing is flawless, working in perfect harmony with her band's subdued melodies. The album has an unmistakable feeling of sadness, but ends with optimism on "The Safest Place." Although the guitar and violin chords maintain a pensive color, Sade's words show she remains unbroken, alluding to the spiritual warfare detailed in the album's journey ("My heart''s been a lonely warrior/Who's been to war so you can be sure/Your love's in a sacred place/The safest hiding place.") For Sade, Soldier of Love is a work that continues the excellence she's displayed since her debut 26 years ago. While the greatness that is Love Deluxe is likely untouchable ever again, Sade builds on and exceeds her fine work from 2000's Lover's Rock. When it comes to Sade, her extended albums breaks are an example of her dedication to her craft, and the importance she sees in letting life and spirit dictate when it's time to drop over industry protocols. Welcome back, Sade. Sade Biography 引用

Soldier of Love is only the sixth studio album the band Sade have released during their 25 year career, and the first since Lover's Rock in 2000. For Sade herself, as the lynchpin of the group's songwriting effort, it's a simple matter of integrity and authenticity. “I only make records when I feel I have something to say. I'm not interested in releasing music just for the sake of selling something. Sade is not a brand.” The call went out in 2008 for the group to re-convene at Peter Gabriel's Real World studio, near Sade's home in the countryside of south west England. It was the first time the four principals had met up since the Lover's Rock tour wrapped in 2001. Bassist Paul Denman de-camped from Los Angeles, where he had been managing his teenage son's punk band, Orange. Guitarist and sax player Stuart Matthewman interrupted his film soundtrack work in New York, and keyboardist Andrew Hale gave up his A&R consultancy. In a series of fortnightly sessions at Real World, Sade sketched out the material for a new album which, they all felt, was probably their most ambitious to date. In particular, the sonic layering and martial beats of the title track, Soldier Of Love, sounded quite different from anything they had previously recorded. According to Andrew Hale: “The big question for all of us at the beginning was, did we still want to do this and could we still get along as friends?” The answer soon came back as a passionate affirmative. The album was completed in the summer of 2009, mainly at Real World. The feel of the music this time had moved away from the old country soul styling of Lover's Rock and assumed a more eclectic identity. At times the band sounded like the original Sade, with Matthewman back blowing soft sax on In Another Time and the vocal on Long Hard Road hymning. But with songs such as the joyously quirky reggae chant Babyfather, and the dramatically arranged album opener The Moon and the Sky, Sade were exploring new territory. “I never want to repeat myself,” Sade herself says. “And that becomes a more interesting challenge for us the longer we carry on together.” Helen Folasade Adu was born in Ibadan, Nigeria. Her father was Nigerian, a university teacher of economics; her mother Anne was an English nurse. The couple met in London while he was studying at the LSE and moved to Nigeria shortly after getting married. When their daughter was born, nobody locally was prepared to call her by her English name, and a shortened version of Folasade stuck. Then, when she was four, her parents separated, and her mother brought Sade and her elder brother Banji back to England, where they initially lived with their grandparents just outside Colchester, Essex. She listened to American soul music, particularly the wave led in the 1970's by artists such as Curtis Mayfield, Donny Hathaway, and Bill Withers. As a teenager, she saw the Jackson 5 at the Rainbow theatre in Finsbury Park, where she worked behind the bar at weekends. "I was more fascinated by the audience than by anything that was going on on the stage. They'd attracted kids, mothers with children, old people, white, black. I was really moved. That's the audience I've always aimed for." Music was not her first choice as a career. She studied fashion at St Martin's School Of Art and only began singing after two old school friends with a fledgling group approached her to help them out with the vocals. Somewhat to her surprise, she found that while the singing made her nervous, she enjoyed writing songs. Two years later she had overcome her stage fright and was regularly singing back up with a North London Latin funk band called Pride. "I used to get on stage with Pride, like, shaking. I was terrified. But I was determined to try my best, and I decided that if I was going to sing, I would sing the way I speak, because it's important to be yourself." Sade served a long apprenticeship on the road with Pride. For three years, from 1981, she and the other seven members of the band toured the UK, often with her driving. Pride's shows featured a segment in which Sade fronted a quartet that played quieter, jazzier numbers. One of these, a song called Smooth Operator, which Sade had co-written herself, attracted the attention of record company talent scouts. Soon, everybody wanted to sign her, but not the rest of Pride. Obstinately loyal to her friends in the group, Sade refused to depart. 18 months later she relented and signed to Epic records - on condition that she took with her the three band mates who still comprise the entity known as Sade: saxophonist Stuart Matthewman, keyboard player Andrew Hale, and bassist Paul Denman. Sade's first single, Your Love Is King, became a top 10 British hit in February 1984, and with that her life, and that of the band, changed forever. The unstressed, understated elegance of the music in conjunction with her look - unspecifically exotic and effortlessly sophisticated – launched Sade as the female face of the style decade. Magazines queued to put her on the cover. "It wasn't marketing," she says, wearily. "It was just me. And I wasn't trying to promote an image." At the time of her first album, Diamond Life, her actual life was anything but diamond-like. Sade was living in a converted fire station in Finsbury Park with her then boyfriend, the style journalist Robert Elms. There was no heating, which meant that she had to get dressed in bed. The loo, which used to ice over in winter, was on the fire escape. The bath was in the kitchen. "We were freezing, basically." For the remainder of the 1980's, as the first three albums sold by the million around the world, Sade toured more or less constantly. For her this remains a point of principle. “If you just do TV or video then you become a tool of the record industry. All you're doing is selling a product. It’s when I get on stage with the band and we play that I know that people love the music. I can feel it. Sometimes I yearn to be on the road. The feeling overwhelms me." Intrusive media interest in her private life has inspired a continuing reluctance on her part to participate in the promotional game. Having been travestied in print on many occasions, Sade rarely gives interviews. “It's terrible this Fleet Street mentality that if something seems simple and easy, there must be something funny going on." For most of the past 20 years, Sade has prioritised her personal life over her professional career, releasing only three studio albums of new material during that period. Her marriage to the Spanish film director Carlos Scola Pliego in 1989; the birth of her daughter in 1996 and her early 21st century move from North London to rural Gloucestershire, where she now lives with a new partner, have consumed much of her time and attention. And quite rightly so. “You can only grow as an artist as long as you allow yourself the time to grow as a person,” Sade says. “We're all parents, our lives have all moved on. I couldn't have made Soldier of Love any time before now, and though it's been a long wait for the fans – and I am sorry about that - I'm incredibly proud of it.” Personnel Musicians Sade Adu – vocals Stuart Matthewman – guitar, saxophone Andrew Hale – keyboards Paul S. Denman – bass Tony Momrelle – vocals Leroy Osbourne – vocals Martin Ditcham – percussion, drums Pete Lewinson - drums Joseph Robinson – percussion & strings on "In Another Time" Everton Nelson – violin Ian Burdge – cello Gordon Matthewman – trumpet Noel Langley – trumpet Ila Adu, Clay Matthewman – vocals on "Babyfather" Juan Janes – guitar on "Long Hard Road" Sophie Muller – ukulele Production Sade Adu – programming Stuart Matthewman – programming Andrew Hale – programming Mike Pela – co-producer, engineer, mixing Mark "Spike" Stent – mixing Michael Brauer – mixing Andrew Nicholls – pre-production John Davis – mastering Sophie Muller – photography, art direction Tom Hingston Studio – design

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