Happy 35th Anniversary to Seal’s eponymous debut album Seal, originally released May 24, 1991.
New Year’s Eve 1989, a struggling singer named Sealhenry Samuel found himself on the dancefloor at an illegal rave in Northamptonshire. On that particular evening, he met the well-known British acid-house producer, Adamski. The two struck up a friendship which led to the producer playing some of his instrumental tracks, in particular, a song called “Killer.”
In a 2013 interview with The Guardian’s Dave Simpson, Seal recalled hearing that track. “When he played me the instrumental for ‘Killer,’ I instinctively sang some verses I’d written over the funky introduction—but something was missing. I remember going home and hearing this squiggly keyboard line buried in the track, so I sang the ‘solitary brother’ hook line over that. I remember calling Adam and saying: ‘You’ve got to let me sing this new bit.’”
The song’s stark, electronic synths contrasted with Seal’s emotive vocals, captivating British listeners and securing the #1 position in the UK for a month starting in May 1990. This set off a chain of events that would change Seal’s life for the foreseeable future.
Seal signed to ZTT Records and was paired with Trevor Horn—a former bass player with Buggles who had evolved into one of British pop’s most revered producers. He was known for groundbreaking records by Frankie Goes to Hollywood, ABC, and Art of Noise. Horn assembled a team of trusted musicians and spent the summer and fall of 1990 in various studios recording the album.
The lead single “Crazy,” co-written with collaborator Guy Sigsworth, was reportedly inspired by the Tiananmen Square protests. In an interview with the Los Angeles Times’ Robert Hilburn, Seal explained his inspiration: “For me, it was a sign that people can make a difference if they take a stand . . . and that people should be encouraged to express themselves freely . . . as those students did in Tiananmen Square. They shouldn’t be intimidated by the fact that other people might accuse them of being crazy or abnormal. I was saying it’s OK to be crazy . . . or to be different . . . to stand up for what you believe.”
Two versions of the album ended up in circulation—the original “premix” version and a second, more common version with an updated mix. This is attributed to the demand for a produced single rushing the final album edit. The final mix came about, as Seal himself put it, producer Horn’s “inability to let go.”
Listen to the Album:
“The Beginning,” the album’s opener, might suggest Seal is exclusively a dance record, but that’s not the case. It’s a bubbling, anthemic dance track about the redemptive power of music.
“Deep Water” has always been a favorite of mine. One might describe it as an almost magical moment where two individual songs begin to blend together. Initially, the musical piece presents itself as a folk-like reflection, gradually transforming into a grand and resonant pop-soul arrangement. The country influence is strong upon re-listening; the song is a poignant, beautiful, and deeply sorrowful piece, resonating with genuine anguish at its heart.
The crown jewel of the album is “Crazy,” an international hit, reaching number two on the UK Singles Chart and number seven on the Billboard Hot 100 in the US. It’s one of the great singles of the early ‘90s. The song’s enchanting, mysterious melodies give it a spacey, almost electronic pop vibe. Even critics who were cool on the album as a whole singled it out—Robert Christgau named it the sole highlight in The Village Voice, designating it a “choice cut.”
Seal’s own version of Adamski’s “Killer”—made more grandiose than the original thanks to Horn’s sweeping production—took him back into the UK Top 10, settling at #8. This is another classic that deserves recognition, although it’s a bit slow in parts compared to the rhythmic energy of “Crazy.” Still, as a re-recording that elevated an already beloved track into something more cinematic, it earns its place.
The song “Whirlpool,” with its bluesy feel and moderate tempo, showcases acoustic guitar, supported by piano and synth, all within a superb arrangement. Although they are no longer listed in the credits on some Wiki pages, Wendy and Lisa are featured on the backing vocals.
“Future Love Paradise” is an idealistic prayer for a better world, delivered over a churning, bass-heavy groove. With its call and response chorus, the song is more funk-oriented than the tracks around it.
Watch the Official Videos:
The uptempo “Wild” more than lives up to its title. It’s also the track with the most notable difference between the two versions of the album—the shorter premix version is more rock-based and heavy than the final release.
“Show Me” and “Violet” round out the album with the latter closing things out with the LP’s most atmospheric track. The initial premix lacks any dialogue during the sung portions, but the finished version allows it to hover as a faint undercurrent, lending the track a near-dreamlike quality and a tender, drawn-out fade-out.
Seal’s debut album is still considered one of the most impressive of its era and has successfully maintained its quality and appeal for three-and-a-half decades.
Listen: