SEAL
7
(Warners)
When this singing deity strode on to the stage at the 2015 Cornbury Festival here in England, to join Trevor Horn’s crew the crowd erupted. When he’d finished a spellbinding rendition of the Grace Jones gem ‘Slave To The Rhythm’ the audience reaction was even louder. Let’s face it, this bloke was born to prowl the stage AND can handle any kind of song, summoning up dignity, power, tenderness or whatever the number needs. Horn’s instrumentation is usually rhythmic and often colourful but can be glacial, however when Seal is singing over it, the juxtaposition thrills.
So here our man is reunited with Horn and they co-produce. Opener ‘Daylight Saving’ has a soft conspiratorial vocal underpinned by solemn piano chording and Hammond slightly back in the mix, an automated rhythm seeping in like an ink blot. As the track warms up into a steady pace, you wonder at the subtle and regal vocal delivery. Seal’s voice has a richness that is tempered with a dry edge. The strings soar in the backdrop and the cut aches to a conclusion. ‘Every Time I’m With You’ sounds very personal, either Seal is baring his soul or is a fine acting. Here. The arrangement has a tinge of Brian Wilson, certainly sounds as though it was written on a piano.
‘Life On The Dancefloor’ has a very robotic pulse and edge-of-atonal bass. So not my thing at all. But who can resist singing of this quality? and note the fact that Seal picks exactly the right key for every song, unlike certain Police men. This means he hits each chorus comfortably and bang in tune. This cut could have used a much earlier entry by the brass section. Maybe some amp tremelo’d guitar to take some of the chill away. ‘Padded Cell’ visits a Kafkaesque soundscape and has an intriguing lyric. Maybe the catchiest melody here; ‘Do You Ever’ is a sad lament, gently handled. It’s winsome, bittersweet.
‘The Big Love Has Died’ treads an unusual path of chords, the sombre strings swelling into rich clusters. Another fine piece of singing. The album is rolling into sadness at this point. ‘Redzone Killer’ is a welcome tad more upbeat and a great story. Lol Crème adds guitar on this take and the next. If I had to pick a single, his would be the one. ‘Monascow’ has a hint of train tempo and sounds like a film theme. About time this man did a Bond theme, isn’t it? The quality needs to be rescued!
‘Half A Heart’ takes a slow path and is a pleasant ballad, the melody evoking Leo Sayer; ‘Let Yourself’ is a heavier item yet the rhythm holds something back and could have been gritter, there is sometimes the case for a fuzz guitar..
The piano-led closer ‘Love’ has its lyric printed in the tiny-print album notes. It seems to be about the rescue rope of love and emotional connection. Maybe it’s Seal’s Marvin Gaye moment. Much of this record sails close to Gaye for accomplishment, lyrical content and tuneful delivery.
Pete Sargeant
SEAL’s new studio album ‘7’ is out now on Warners. In addition, Seal will support the album with a UK tour in June and July at the following venues:
Thursday 30th June 2016 – Symphony Hall, Birmingham, United Kingdom http://bit.ly/245kXKQ
Friday 1st July 2016 – Bridgewater Hall, Manchester, United Kingdom http://bit.ly/1TlA5Qw
Monday 4th July 2016 – Colston Hall, Bristol, United Kingdom http://bit.ly/214QKZU
Wednesday 6th July 2016 – Greenwich Music Time Festival 2016, Old Royal Naval College, Greenwich, London, United Kingdom http://bit.ly/1RILYzB (Onsale Friday 19th February 2016 at 9am)
Sunday 10th July 2016 – Cornbury Music Festival 2016 (Main Stage Headliner), The Great Tew Park, Oxfordshire, United Kingdom http://bit.ly/1SslWkz
For more information visit: http://bit.ly/1oE4oFE
