Seal - Seal IV
Seal IV is proof that after a lengthy layaway, this once dread-locked crooner still has the knack for writing transcending music that is as equally appealing, as its capacity to move.
Where does one go after winning a Grammy? It is, after all, the supposed pinnacle of a musician’s career; the plateau in which conventional types are ultimately judged by in the end. Winning one means endless praise from super neat music magazines, critical acclaim, giant posters in the most remote corners of the world and the tag “Grammy Winning Artist” that will forever be a prefix to their name. Seal is no stranger to this experience, in 1995 his track “Kiss From a Rose” featured in the movie Batman Forever (the beginning of the end of the ‘Batman’ franchise) and propelled him into the musical stratosphere, landing him Grammys for Record & Song of the Year and Best Male Pop Vocal. This was his peak – at least commercially speaking, because when you’ve hit the very top, the only place to go is down (a word of warning for you Mr. Mayer, make sure you reserve your seat next to Ms. Jones in the “depressed artist dealing with after-Grammy slump” clinic; you can share a room with long staying residents Ms. Keys and Ms. Furtado – I could go own, its endless).
It has taken nearly 9 years, 5 since his last release, but it appears as if Seal has finally shed away that Grammy fat and produced an album that has the potential to once again, hoist him into the upper echelon of adult contemporary artists. The gawkily titled Seal IV is perhaps his premium blend of R&B, dance beat tunes, pop melodies and love ballads; an album that boasts ooh-la-la and plenty of hip-shaking potential.
“Get it Together” is a grand number, suave and club savvy, it features Seal’s distinctive voice over a well distributed dance beat that spends periods hushed beneath the vocals, splitting time as the track’s main component. His voice is without doubt a great asset, in “Love’s Divine”, the instruments are mostly subdued, tracked to keep rhythm while his vast enlightening pipes rain down like the drought’s end. It is a familiar trend throughout this release, the one quality that shines far above the rest and soaks in attention grabbing ability. In “Waiting for You”, Seal lets the instruments do some talking; a spidery bass line coupled with blaring orchestral horn work make it the album’s prime instrumental offering, but not surprisingly, kept vital by Seal’s soulful vocal front.
Few can doubt his ability to compose radio accessible adult contemporary charms, he (along with producer Trevor Horn) writes as well for the dance floor as he does for the bedroom. Seal IV is proof that after a lengthy layaway, this once dread-locked crooner still has the knack for writing transcending music that is as equally appealing, as its capacity to move. It takes awhile to achieve post-critical-acclaim success; some take years to once again reach that level, some never do. Let’s just hope that Seal doesn’t win another Grammy anytime soon.
(Warner Bros.)