‘Soldier of Love’

February 14, 2010 at 12:00a.m.

‘Soldier of Love’

Sade (Epic)

Grade: B+

The brilliant title track of Sade’s “Soldier of Love” was practically a seismic shift in the band’s 25-year history, with its hip-hop elements and almost timely production.

Could the notoriously unflinching Sade somehow have been swayed by more current musical concerns? Was it possible that Sade’s new album — her first since 2000’s “Lovers Rock” — somehow sounds like something other than a Sade album? Of course not.

At her worst, Sade makes first-rate cocktail party music, stylish aural wallpaper that conjures a certain mood, more than a specific time or place. At her best, though, Sade can be breathtaking, wrapping pain in a steely resolve and a nonchalant exterior, communicating complexities while stripping away extraneous musical layers and emotions.

“Soldier of Love” has a few more breathtaking moments to add to the collection, after the stunning title track, which finds the band at its most defiant. “Babyfather” takes practically the opposite tack, a breathy bit of island-kissed sweetness that also explains to a child how her parents met and split. “Skin” feels even simpler, with its laid-back vibe and a groove that would suit Maxwell.

Sade, the band — which includes Stuart Matthewman, Andrew Hale and Paul Denman as well as singer Helen Folasade Adu, aka Sade — does one thing exceedingly well and sticks to it. It’s no accident its sound helped launch the ’80s British R&B revival and the American neo-soul movement of the ’90s. No telling what “Soldier of Love” could spark for the new decade.

— Glenn Gamboa, Long Island Newsday

‘heligoland’

Massive Attack (Virgin)

Grade: B

When Damon Albarn’s voice cracks with emotion in “Saturday Come Slow,” soulfully asking, “Do you love me?” you almost wonder if Massive Attack’s well-constructed icy temple of electronic atmospherics will come crashing down. After all, “Heligoland” (Virgin), the collective’s first album in seven years and first since the return of Daddy G, seems built in the cold, dark, sorta paranoid world of 3-D’s mind.

Sometimes, guests get sucked in — Tuned Adebimpe sounds chilled on “Pray for Rain” — and sometimes, they warm things up, as Hope Sandoval does on “Paradise Circus.” “Heligoland” is a worthwhile journey but prepare to bundle up.

— Glenn Gamboa, Long Island Newsday

‘Haywire’

Josh Turner (MCA Nashville)

Grade: B

Josh Turner already has a top 10 country hit off of “Haywire” with “Why Don’t We Just Dance,” and deservedly so. The South Carolina native’s dipping and diving baritone brings out all the playfulness and sexuality of this easygoing honky-tonker.

Turner’s fourth album is filled with such strong, commercially savvy neotraditional fare, the kind that has already established him as one of country’s best young stars. There are ballads and rockers, a touch of bluegrass, and a soaring, gospelesque closer.

As well done as all these individual numbers are, you won’t find any darkness here — there’s no heartache or loss, despair or doubt. That has the cumulative effect of making the album seem on the slight side. It’s good as far as it goes, but it doesn’t plumb as deep as Turner’s talents can obviously take him.

— Nick Cristiano, Philadelphia Inquirer

‘Another Round’

Jaheim (Atlantic Records)

Grade: B

Jaheim is the ultimate R&B crooner on “Another Round,” serving up — as he has on his previous four discs — the usual selection of songs about romance.

The 31-year-old New Jersey native’s husky voice is still as impressive as it was when he came on the scene with his debut album “Ghetto Love” in 2001.

And just as in the past, Jaheim juxtaposes that old-school sound with distinctly contemporary lyrics, singing, “Let’s go get your Lexus changed, change your last name to my last name,” on the classic-sounding love song “Whoa.” He reaches back to the doo-wop era for “Impossible,” an entirely retro track (save for calling his lover “shawty”). And he introduces a little flute and snare on the unexpectedly funky “Her.”

An acoustic guitar makes “Closer” a memorable slow jam. It’s a far cry from the album’s uptempo title track, which comes off like an obvious attempt at creating a club favorite.

“We both on that liquid courage, we ’bout to be on the verge. We order another round,” Jaheim sings.

The disc’s shining jewel, “In My Hands,” both vocally and lyrically sounds like something from Luther Vandross’ catalog, and showcases Jaheim at his best.

“I woke up on top of the world today, holding her hand, she doesn’t mind me leading the way ... gypsy woman can you read my palm, is my loveline broken or is it long?”

— Melanie Sims, Associated Press