Posts Tagged Skin

Sade As Wounded Warrior

It hurts to write a single sour word about Sade. Being a lover of music in many disparate genres it’s difficult to play favourites, but over time I’ve come to realize that Sade does hold the Best Artist spot for me. Against much more obvious competition, ‘The Sweetest Taboo’ has unexpectedly landed as my favourite song, and 1985’s ‘Promise’ would be the album I’d take to a desert island.

She, the woman, and they, the band, have come to represent high taste and integrity in music. They’ve built a trust in their fans that the product will be filtered and distilled before it reaches us: there is no chance for cheapness to get through. Much of their music has been slow-burn: it takes time for such subtle grooves and sparse melodies to get under the skin. The last few albums of new material, each released in a different decade, have been increasingly moody and subtle–increasingly less immediate, but with a satisfying payoff after repeated listens. Although Sade has never professed to be a vocal athlete, the band is always on point and the ambiance she brings with her cool presence makes them one of the few live acts that I cannot miss. With a 10-year gap since their last studio album, curiosity and expectations were high. I put off writing about the band’s new album, ‘Soldier Of Love’ for several weeks in order to digest it and give it a fair shot.

Sade has allowed unprecedented media access this time around, and in the course of it much has been made about her previous insistence on privacy. She shook hands around the room at the NYC album listening party, performed the single on every major talk show, and satirized herself in a guest appearance on the Wanda Sykes show. Articles like this one in the London Times have combined historical context with personally revealing interviews. Soundbites from a recorded interview were made available here. A short film surfaced discussing the making of the album, and then another appeared about the making of the first video.

Sales have been excellent, indicating that the band’s following is still a faithful army in this day where the pirate download has become standard. The album went straight to number one on the Billboard chart and held strong, proving strong radio action is not required to sell such a trusted band these days.

So is the new disc good? It is. I’m afraid to say however that it’s not phenomenal, and certainly not groundbreaking or revelatory.

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The Making Of ‘Soldier Of Love’

Let’s do a little bit of history. The band began as a live jazz outfit. 1984’s ‘Diamond Life’ was made up largely of songs they’d already been playing around London, including most notably their throwback anthem ‘Smooth Operator’. Robin Millar produced, beautifully packaging their organic jazz café sound, a sound which spun out into a movement in 80s England with bands like The Style Council and Simply Red filling out the genre. In the first few videos a narrative was built around Sade as a jazz-club diva mixed up in a gangster plot. Album tracks like ‘Frankie’s First Affair’ and ‘Sally’ brought seedy, urban characters to life. ‘Hang On To Your Love’ and ‘Your Love Is King’ were classic, universal love songs.

The band’s follow-up, ‘Promise,’ arrived just a year later with the melodically sweeping first single ‘Is It A Crime’ continuing the torch song tradition. ‘The Sweetest Taboo’ was a light singsong with darker lyrical undertones, built around a highly original syncopated kick-and-rimshot pattern not heard in music before or since. ‘You’re Not The Man,’ another stunning jazz ballad, only appeared on vinyl as the b-side of ‘Taboo’; it was thankfully included on the non-vinyl versions of the album. ‘Maureen’ and ‘Tar Baby’ were again character pieces, but this time Sade took a page from her personal life, singing about her best friend and her grandmother. The first hint of sequenced electronics appeared on ‘Never As Good As The First Time’ and a quick scan of the album credits reveals that this was one of the band’s first forays into sharing production duties with Robin Millar. It was the first sign of a departure they were about to take.

While it’s easy to see that most of their early material was built around elaborate, classic melody, ‘Never As Good’ is a groove-based song.  Sitting somewhat conspicuously next to fully organic songs on the album, the drum machine loop and percolating synths settle us into a hypnotic groove, and the verse vocal weaves itself rhythmically into that groove, the melody flipping between two neighbouring notes. It is a different way to write music: it comes from the opposite angle, building on a rhythmic foundation rather than a melodic one.

There was a 3-year break. When the band returned with ‘Stronger Than Pride’ in 1988, they had taken over production duties from Millar, who, tragically, had gone blind from an inherited retinal disease during the recording of ‘Promise’. The jazz influence had faded, echoed only on the horn arrangement in ‘Clean Heart’. It was replaced by the band’s own unique R&B sensibility. Most importantly, they were favouring this new approach of writing over programmed loops, and here I believe is where Sade’s melodic and lyrical approach began to change from the lighter character-based storytelling of ‘Sally’ and ‘Maureen’ to a longer, drawn-out process of feeling around for the singer’s own subconscious undercurrents. There seemed to be a belief that the lyrics needed more sombre depth to them, more of a message.

1992’s ‘Love Deluxe,’ and 2000’s ‘Lover’s Rock’ furthered this direction, forging original works over many different feels and grooves. Unlike the big jumps on the first two albums, melodies generally fluttered between a few neighbouring notes, except on the more commercially viable songs ultimately chosen as lead-off singles (‘No Ordinary Love’ and ‘By Your Side’ respectively).

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At The Microphone

And now ‘Soldier Of Love’.

Despite the band’s insistence that they work hard not to repeat themselves, for the first time I feel there is a degree of repetition going on here. The title track bites chord progressions from ‘No Ordinary Love’ and melodic bits from ‘Somebody Already Broke My Heart’. The bouncing tambourine in the drum groove on ‘The Moon And The Sky’ also recalls ‘No Ordinary Love’; the rhythm track on ‘Skin’ recycles that of ‘Cherish The Day’. After ‘The Sweetest Taboo’ and ‘The Sweetest Gift,’ the title ‘The Safest Place’ looked oddly familiar in the track listings. It is also the obligatory beat-free moment on the album–a tradition that began with ‘Fear’ on ‘Promise’ and carried through, one track per album, with ‘I Never Thought I’d See The Day,’ ‘Pearls,’ and ‘It’s Only Love That Gets You Through’. If they were putting out records every two years, these similarities wouldn’t matter so much. But considering we’ve just had the longest gap between releases, I would have loved to see the band forge new paths rather than rely on old habits.

Once stating that timelessness was one of the mandates of her writing, Sade’s first lapses in taste have now happened: the cheap reference to Kool Moe Dee’s ‘Wild Wild West’ on the ‘Soldier Of Love’ single, perhaps meant to show light irony; the reference to ‘Michael, back in the day’ layered with a simulated MJ holler behind it on ‘Skin,’ likely included to acknowledge the loss of a personal hero;  and a few somewhat embarrassing moments in ‘Babyfather,’ beginning with ‘she liked his smile, she wanted more, the baby’s gonna have your eyes for sure.’ The idea of including Sade’s daughter Ila and bandmate Stuart Matthewman’s son Clay as a childrens’ chorus on ‘Babyfather’ points toward a lapse in judgment due to unchecked parental pride. It is unfortunately likely to be the second single because it is the only light storytelling moment on the record, and there’s not much else with an obvious radio hook.

Production- and writing-wise there are some developments on the disc. A blues influence–something we first heard in the band’s cover of ‘Please Send Me Someone To Love’ on 1994’s ‘Best Of Sade’ collection–has emerged more strongly here on ‘Long Hard Road’ and ‘Bring Me Home’ among others. The reggae influence of ‘Lover’s Rock’ has deepened in the form of dub basslines peppered through the album and some lush three-part harmonies reminiscent of The Wailers on the bridge of the ‘Soldier Of Love’ single, which also boasts the new sonic colours of army battery drumming, futuristic synth effects and one ferocious hip hop snare. I welcome back Stuart Matthewman’s saxophone lines after their absence on ‘Lover’s Rock’. Upon sitting with the record, ‘The Moon And The Sky’ seems as though it will be one of the songs that will deepen with time. ‘Morning Bird,’ while cryptic and mournful, is exquisite and feels like the gentler moments of the 1996 Sweetback album (the band’s side project without Sade). ‘In Another Time’ feels like lazy writing, full of melodic gaps, but lyrically it is special in the way it captures a mother-daughter advice session.

There is a sentiment of sombre fortitude or bitter resolve present throughout the album; a running theme of being a soldier (the title track) or warrior (the closing track). The rest of the songs tend to lament loss or to wearily offer encouragement. I’m not sure whether this darkness reflects where Sade is at personally, or whether she feels it is only worthwhile to document the heavier things inside her, because the writing itself also feels quite laboured to me. One of her gifts as a writer has been her ability to reach in and describe a feeling directly or metaphorically, yet without a trace of cliché…case in point: the phrase on ‘Be That Easy’ where she states both simply and profoundly ‘for I am a broken house, I’m holding on a broken bow’. However I believe she has become fixated on this one particular gift rather than using her complete palette: for a very long time the songs have not been melody driven and they have not included those narrative stories less related to her personal demons and philosophies.

In the ‘Making Of Soldier Of Love’ footage–the first time information has been let out about the band’s creative process–there is a lot of talk about the ‘struggle’ involved in the writing process. The band and Sade herself express, wearily, an exhaustive search that goes on in the writing of each song. She explains that she stays away from the studio for long stretches of years because it’s such a commitment to go in and make an album. She sighs with the heavy weight of her own expectations that the music be built on truths and constructed with love. She flips through a stack of papers several inches thick saying ‘look how many words, look, all of this, it’s one song,’ revealing that there are endless rounds of adding and chipping away at words in the search for the right ones.

Writing & Rewriting

Writing & Rewriting

She analogizes her process: ‘once I start working on a song I sort of feel I’m on a boat, and the boat knows which way it’s going…sometimes the boat will go off course and I have to fight to steer it back.’ Also, ‘the three minutes where the song really comes together in that moment where it sort of arrives from the ether or wherever, then the rest, a lot of the rest is working on maintaining the spirit that came to you from no will of your own, and that’s the difficult part…being loyal to the original vibration and spirit of feeling that came with that song.’  This struggle, I feel, is a process Sade has put on herself, and in my experience it’s what would produce the heaviness, the laboured feeling of the music. While this gradual syphoning of the subconscious–of connecting to the ether without staring it down directly–is not an uncommon approach and it is valuable for some songs, we also know from her earlier work that she’s capable of balancing out this heaviness by writing sweeping melodic stories off the cuff.

And this is really what I want to say about the new album: it may be that Sade now goes into the studio simply trying to initiate the purge she believes is expected of her. In that way I believe she’s gradually misconstrued, by small degrees, what her job as a musician is. At the other extreme we have artists that push the boundaries as far as possible with each new album to break out of the shell of what’s expected. I feel the best work happens somewhere in the middle, in a space when original ideas are allowed to flow naturally with little reaction to what’s worked before. And the best songs seem to come when the conscious mind vaguely teases the subconscious out, but it is not always helpful to approach the studio expecting drawn-out martyrdom. I want Sade to have fun writing the music she presents to us.

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A Perspective On Madonna

Celebration...and Scrutinization.

Celebration…and Scrutinization.

I’m not a music snob.

As boring as I think Britney Spears is, I own a copy of the 12″ single of ‘Baby One More Time’ because I think that song was a piece of pop writing on par with some of Abba’s achievements: every line of the melody is a hook. When I find myself in conversations with people who pride themselves on being perceived as connoisseurs of far-flung artists just for the exclusivity of being in on the obscure, I tend to bring up top 40 songs like ‘Love At First Sight’ and ‘In Your Eyes’ by Kylie Minogue…not because I’m a fan in particular, but because those are well-crafted songs whose writers chose the right moment to cleverly bite the style of some 80s Olivia Newton-John singles. Whether an artist’s material works or not, to me, is a separate issue from how commercial or anti-commercial they choose to be.

However I don’t think it’s coincidence that many of the biggest female icons in music have been regarded as nothing more than pop fluff.  They are not thought of as making musical contributions on the level of, say, Bruce Springsteen, Billy Joel, Prince, or even John Legend or Robbie Williams…in part because, when it comes to music, western society still shows its dyed-in-the-wool patriarchal values: the straight white male audience still ultimately dictates what is perceived as serious music in the mainstream.

But it can be argued that gay men, in fact, stand at the epicenter of pop music. Because, as early adopters and fiercely loyal supporters of the artists that appeal to them, they cause everybody else to look up and wonder what the hell all of the commotion is about.

The undying support of an army of gay men stands behind virtually every major female star from Liza Minnelli, Barbra Streisand, Cher and Bette Midler to Diana Ross, Tina Turner and Donna Summer, through to Cyndi Lauper and Whitney Houston, past Tori Amos and Sarah McLachlan, up to Britney Spears, Beyoncé and Lady Gaga.  It seems clear that the messages strong female figures are apt to convey help give voice to a part of the gay male psyche. Surnames are dropped as gay men begin to regard these women–from Janet to Kylie to Celine–as close personal friends. Few male artists get that kind of rousing support from the gays, besides passing fixations with boy bands and a handful of gay-like-us mascots such as Elton John, George Michael and the Pet Shop Boys, awarded the solidarity of the queer masses even when the relevance of their output has dimmed.

Labels know they’ve got a hit act when straight men begin to find themselves dragged to homocentric concerts by their hip girlfriends.  And you won’t find many solo male artists with the staying power of these women, doing huge stadium shows years or decades after first appearing on the scene.

Of all of the female icons, Madonna has carved out the deepest, widest swath. My fellow gays have tried to engage me in ‘Kylie vs. Madonna’ or ‘Britney vs. Madonna’ arguments.  You may be drawn to Kylie because she’s more refined, or you may be drawn to Britney because she’s more Of-The-Now, but personal taste aside those arguments seem somewhat ludicrous to me: it’s a fact that Madonna has had the most impact musically and culturally for the longest period of time. An important distinction: unlike many on the Diva List, she’s been at the helm of her career this whole time…from manipulating her own image to co-writing much of the material she sings (right back at the beginning she wrote ‘Lucky Star’ on her own).  The release of her fourth hits compilation, ‘Celebration’, seems as fitting a time as any to discuss what exactly her contribution has been.

I followed her output with increasing anticipation from the beginning up until the late 90s, around the time of ‘Music’. For me, the golden period was from the release of the ‘Like A Prayer’ video to the release of the ‘Erotica’ single, inclusive, because during that run she seemed to tap into the subjects and aesthetics I was ready to absorb at the time. Through the various phases of her career, that type of synchronistic experience has not been uncommon for whoever her 20-something gay male fans happen to be at the time. After the release of ‘American Life’ I rolled my eyes when a 20-ish gay grabbed my shoulders and shook me saying ‘no you don’t understand how brilliant she is’.  ‘How brilliant she is’ was old news, and this was just a new incarnation of Madonna doing her thing…pushing the hot buttons of the collective psyche of a new generation.

She’s stated that button-pushing is her agenda.  Having been given the name ‘Madonna’ at birth, she then had the wits to parlay those built-in religious connotations into a Mother Mary vs. Mary Magdalene (ie. a Madonna-Whore dichotomy) by introducing a heavy dose of overt sexuality into the balanced equation that became her persona. Other female icons who opt to sexualize their image don’t have that built-in balance, because they aren’t inherently pressing that other universal button…the Religion button…all the while.

In the late 80s and early 90s the trendy way to dismiss Madonna was to say ‘well, she’s a great business person, I respect her for that,’ – implying that there wasn’t much else to respect her for. But I think it bears repeating that she’s often had her finger on the pulse, not just in a surface way, co-opting fashion and dance from subcultures at the right moment, but also in that synchronistic way, tapping into the questions people in their late teens and early 20s are grappling with at any given time.  Her precocious curiosity has caused her to ask the right questions at the right moment…coaxing the public consciousness forward to confront specific sexual, religious and political issues…coaxing a little bit of liberalization here and there.

Nobody ever considered Madonna a great singer, herself included: she admits it in the ‘Truth Or Dare’ documentary, and a few years later, before filming ‘Evita’, she began taking singing lessons in an attempt at self-improvement. In her earliest recordings she was squeaky and uncontrolled. But there’s something else there that I feel is rarely, if ever, acknowledged: there’s a spirit in those performances, an unbridled, uncontrolled passion that made it clear to all of us that she was really throwing herself into it. And because she believed so strongly in what she was singing, many of us bought it too.

Witness the moments of full throttle rasp on this series of clips from her pre-singing-lesson days: ‘Holiday’ (from her self-titled debut album), ‘Into The Groove’ (from the ‘Desperately Seeking Susan’ soundtrack), ‘Papa Don’t Preach’, ‘Open Your Heart’ and ‘Where’s The Party’ (from ‘True Blue’), ‘Express Yourself’ (from ‘Like A Prayer’) , ‘Vogue’ and ‘Rescue Me’ (both from ‘The Immaculate Collection’).  On the last three, support from her new mainstay background singers Donna DeLory and Niki Haris drove her to push even harder.

In those days, she also did something vocally that gave the impression she was on the verge of tears as she sang. On certain lines in ‘Stay’ (from ‘Like A Virgin’), ‘Open Your Heart’ (from ‘True Blue’), ‘The Look Of Love’ (from the ‘Who’s That Girl’ soundtrack), ‘Dear Jessie’ and ‘Til Death Do Us Part’ (both from ‘Like A Prayer’) she articulates a depth of emotion by lowering her tone to a throaty yawn.  (The most obvious example is the line ‘your love parade’ toward the end of the clip of ‘Dear Jessie’.)

According to vocal teachers this yawny tone is the result of a singer lowering or ‘depressing’ their larynx, and it’s not considered good vocal technique. However it’s emotionally effective: we hear her veering toward tears and we veer emotionally with her. I doubt this was pre-meditated on her part; she was probably just using what she had available to her, naturally, to make us feel something. To me, this is what music is about…when something works emotionally, technique is quickly made irrelevant.

After training for ‘Evita’ she immediately became self-conscious of her delivery. On ‘You’ll See’ (from ‘Something To Remember’) she’s lost all of her spontaneous passion…and we’ve lost the Madonna that threw herself into things so fully.  On ‘Frozen’ and ‘The Power Of Goodbye’ (from ‘Ray Of Light’) she’s found a more suitable direction, material-wise, for her opera-esque vocal approach…but it was not until many years later on ‘Hung Up’ that she reconnected that improved vocal technique with her passion and urgency.

Self-consciousness has also been her enemy when it comes to lyric-writing. At a certain point, perhaps after the personal, confessional writing on the ‘Like A Prayer’ album received critical praise, Madonna decided she could go deeper lyrically…sometimes to good effect, but more often not. ‘Erotica’ contains a mess of a ballad called ‘In This Life,’ a song dedicated to AIDS victims. While her intentions may have been good, this is the definition of poor writing: going nowhere melodically, and lyrically hitting us over the head with overwrought emotion and clichés.

On ‘Bedtime Stories,’ her foray into R&B, she succeeds in growing, lyrically, on ‘Secret’ and ‘Survival,’ discovering clever ways to deliver heavy-handed philosophical messages indirectly. On the former she delivers the universal truth of ‘learning to love yourself’ in an egoless fashion by presenting it as a secret someone else possessed (and she didn’t); and on the latter she confesses, with humility, that just like everybody else her life is about survival.  After gaining our trust by speaking to us as equals, we can receive her ‘no risk, no glory’ philosophy without feeling that we’re being preached to.

Madonna had also contacted Bjork, asking her to write a song for this album. Bjork culled ideas from a track rejected from her own ‘Post’ album (‘Sweet Intuition’ a/k/a ‘Sweet Sweet Intuition’), remodeling it as ‘Bedtime Story’ for Madonna. Knowing this, one can only postulate that Madonna admired Bjork’s esoteric lyrical sensibility, and, feeling co-opted, Bjork’s response was to work the system by giving her a recycled b-side that then became a lucrative writing venture…after all it became a Madonna single.

Madonna’s writing style on ‘Ray Of Light’ seemed to be an attempt at that off-center Bjork-esque weirdness she admired. Many of the sincerely introspective songs succeeded, but songs like ‘Skin’ rang with an obvious attempt at obliqueness: it’s not believable when Madonna pushes herself to be anywhere near as eccentric as Bjork is. On songs like ‘Sky Fits Heaven’ she takes it upon herself to dispense lofty advice to us from a prophet. Later in the track she tempers her preachiness, bringing herself back down to our level by listing what her life choices have been, for better or for worse.

Much of ‘American Life’, and parts of the albums on either side of it, presented a Madonna that had come to believe she had important philosophies to teach the world. This was likely an intersection of Kabbalah evangelism and her self-awarded position of ‘experienced elder who had been through the fame machine and come out the other side’.  She is equally obnoxious critiquing her country of birth from her adopted home in the UK (on the title track) as she is chastising herself aimlessly on ‘I’m So Stupid,’ a song that seems as though it was written off the top of her head. On ‘Let It Will Be’ (from ‘Confessions On A Dance Floor’), she can’t resist interrupting a great return-to-form album with more advice from the other side of fame. This Madonna wasn’t received as readily, partly because her promotion to teacher was not entirely believable, and partly because it’s not easy to stomach famous people lecturing on the woes of fame.

‘Nothing Fails,’ (from ‘American Life) works when she confesses personal feelings of love. It falls apart in the next verse when she speaks to us from her high horse again, proclaiming her own wisdom with ‘you could take all this, take it away, and I’d still have it all cause I’ve climbed the tree of life and that is why I’m no longer scared if I fall’.

What Madonna fails to realize is that she makes music that connects and transcends…but only when she zens out: only when she doesn’t overthink her singing or pressure herself to be deep, oblique or wise. I’m glad this new compilation is themed as it is, because her celebratory songs like ‘Holiday’ have served a more profound purpose than some of her spiritual musings.  Her delivery of the melody in ‘Holiday’ has a tinge of melancholic depth to it and the groove has lifted many a spirit over the quarter century since it first appeared.  ‘Express Yourself’ was a passionately belted call to action that was equally feminist, fun and sexy. The ‘Ray Of Light’ album caught her at a moment of reflective experimentation before she fully decided to crown herself armchair philosopher with a really loud microphone. The meandering path she’s been on since then, only broken briefly by the core of ‘Confessions On A Dancefloor,’ has proven that even after plying us for years with sugar and honey in the form of fun dance anthems, the world doesn’t need every artist to enter a ‘deep experimental’ phase the way the Beatles, Radiohead, Bjork or Joni Mitchell have: Madonna’s rousing anthems and unselfconscious, sincere moments have been profoundly useful enough to earn her a place in many of our lives.

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