Most couples I know have that one unrealistic celebrity exclusion when it comes to their faithfulness to each other, a sort of ‘Get Out of Jail Free’ card of infidelity shared between the two. For my wife, it usually see-saws between John Legend and Mos Def, depending on her mood, although recently she’s been entertaining the wild notion of naming our first-born Talib. As for me, for as long as I can remember, my makebelive affections have always centered around Sade, without question. Try to sit through her Live Concert Home Video (1994) in its entirety and tell me Helen Folasade Adu is anything shy of a goddess. Yet I’ll sheepishly admit that over the years there have been a handful of instances where I’ve actually questioned my devotion to her, where I’ve found myself wondering: was I in love with Sade or just completely enamoured with her band?

One of the most rewarding aspects of listening to Sade’s music is the impression one gets of the interplay between the members of the group, those telepathic channels that strengthen over time between the musicians as they write and perform their material. It would be all too easy to categorize Sade as a pretty face backed by a few guys looking for a paycheck, but such was never the case in their music, despite her alluring presence and unequivocal command of the stage. While there was never a ’secret weapon’ in the band, if I had to choose the most crucial element to their sound (excepting Sade herself, of course), that designation would go to bassist and proprietor of exotic fashion Paul S. Denman. His wonderfully imaginative lines, admirable restraint, and warm, embracing tone was the element that the rest of the group orbited around, and the man could command a groove in a way that would make James Jamerson proud. The following are five of my favorite Denman basslines, with the requisite notation for the fellow music geeks.

Note: While compiling this list, I didn’t deliberately intend to exclude any selections from Diamond Life (1984) or Promise (1985); my top five just happened to be from my two favorite records of the group, Stronger than Pride (1988) and the near-flawless Love Deluxe (1992).

5. “Nothing Can Come Between Us”
From Stronger Than Pride (Epic 1988)

Although I have little recollection of hearing it on the radio when I was younger, “Nothing Can Come Between Us” was a fairly successful single, reaching #3 on the R&B charts in 1988. It’s also one of the few Sade tracks where Denman overdubs his bass, starting with a brief lick that can be heard at 0:04 and continuing into the verse. Following the first chorus at 1:15, he then overdubs yet another bass track, a quick slap-pop pattern that adds a nice sharp color to the mix. As if all of this wasn’t impressive enough, at 2:47 he begins thumbing the line above to ride out the coda, a sexy, slinky pattern that works magically with the simple drum groove. My interaction with this song consists solely of waiting for this bassline to appear, and the wait is always worth it.

“Nothing Can Come Between Us” – Sade 4:18 (Stronger Than Pride, Epic 1988)

4. “Cherish the Day”
From Love Deluxe (Epic 1992)

In an ideal world, “Cherish the Day” would be the main substitute for those prevalent Levitra and Viagra commercials that are inescapable on television, such is its aprodisiacal potency. A generous portion of its effect has to be attributed to Denman’s dubby bassline, which, in an impressive display of restraint, doesn’t even make its appearance until 1:35. He injects a moaning four-note lick periodically throughout the track, but it’s the muted, roller-coaster pattern that dominates the track and propels it forward. Denman’s tone here is felt more than heard, a vague presence that benefits the mysterious and sensual atmosphere tremendously.

“Cherish the Day” – Sade 5:34 (Love Deluxe, Epic 1988)

3. “Keep Looking”
From Stronger Than Pride (Epic 1988)

I’ll never figure out why “Keep Looking” wasn’t chosen as a single; its brisk tempo (for the group, anyway) and percolating Latin groove are impossible to resist. Again, Denman dominates with a brilliantly thought-out four-bar pattern that supports both Andrew Hale’s organ and Stuart Matthewman’s interjections from his acoustic guitar. The only variation occurs at 1:22 following the first chorus, underscoring a curious eight-bar section that is never explored for the rest of the track. Denman’s line establishes the tonal center of E minor, a sort of pedal that is altered depending on the chord; note how the third bar consists of a fixed repetition of D, which helps build a tension that is released in the fourth bar. It’s ingenious in its simplicity, and could theoretically carry the song for another twenty minutes.

“Keep Looking” – Sade 5:22 (Stronger Than Pride, Epic 1988)

2. “Paradise”
From Stronger Than Pride (Epic 1988)

“Paradise” was one of the group’s most successful singles, reaching #1 on the R&B charts. Is there any question as to why it was such a popular hit? Two chords, a verse and a chorus, a simple drum pattern, and that circular, one-bar bassline that carries the weight for the entire duration of the song. Part of its effectiveness can be attributed to the three bass drum hits that fall into the groove, adding a thick punch whenever Denman plucks the root note (in this case, an F natural). His tone here is wonderful, with a syrupy color that almost sounds like a fretless bass, inviting and slightly menacing at once. Despite its apparent simplicity, this line is actually tough to play due to the left hand’s position and the tension of the strings at the lower neck of the bass, and requires a healthy amount of stamina to pull off for more than a few minutes. “Paradise” is one of those songs that I could listen to once a day for the rest of my life and never tire of it.

“Paradise” – Sade 4:02 (Stronger Than Pride, Epic 1988)

1. “Kiss of Life”
From Love Deluxe (Epic 1992)

Arguably the group’s finest moment, “Kiss of Life” is the centerpiece of Love Deluxe and has become a staple of every concert they have performed since. Here Denman is given some flexibility with his role, adhering to the groove yet deviating off course on occasion for moments of ridiculously tasteful fills; I’m reminded of a child on a trail who can’t resist the sudden urge to dance through the trees before returning to the path. His line works so well chiefly because Denman relies on the root and the fifth to structure his line around; folks, you simply cannot go wrong with this technique, regardless of what kind of music you’re playing. He more or less sticks to the same eight-bar figure as shown above during the verse and coda, with slight variations: the beautiful arching lick in the second bar, the long open descent in bar five, and the quick jumps to the fifth in bar six before returning to his basic pattern. Any other bassist would go nuts over a groove like this, but Denman characteristically restrains from overplaying, choosing the most natural moments to insert a quick dash of flavor in the mix. Oh, and his tone? Absolutely delicious. When Sade exhales, “Look at the sky, it’s the color of love,” she’s got to be referring to Denman’s bassline.

“Kiss of Life” – Sade 5:48 (Love Deluxe, Epic 1988)