Seal [1991]

1	The Beginning 5:40
2	Deep Water 5:57
3	Crazy 5:56
4	Killer 6:22
5	Whirlpool 3:58
6	Future Love Paradise 4:20
7	Wild 5:28
8	Show Me 5:59
9	Violet 8:30

Barnes & Noble

Seal launched his career in 1990 with "Crazy," a seductive single that combined a futuristic dance groove with a commanding, soulful vocal -- and a hook that's hard to shake after even the briefest exposure. "Crazy" was the result of a collaboration between Seal and producer Trevor Horn, best known for masterminding Frankie Goes to Hollywood's '80s epic, "Relax." But unlike Frankie, Seal was a talent with depth, emotion, and tremendous charisma. Seal's performances are striking against Horn's meticulously manufactured settings, but it's clear his vocals would have the same effect if he were accompanied only by an acoustic guitar. This album, not to be confused with his more gently atmospheric follow-up, also called Seal, contains "Killer," a track Seal originally recorded with dance act Adamski -- and which first brought the singer to Horn's attention. "Future Love Paradise" is in some ways superior to "Crazy"; it's a haunting track with a downright messianic vocal performance. All this could simply have been trendy ear-candy with a lesser singer, but Seal brings warmth, heart, sophistication, and tremendous personality to all the high-tech splendor. Michael Hill

All Music Guide

London singer/songwriter Seal certainly made a name for himself with his eponymous debut despite the comparison to fellow London mate, the raspy soul Terence Trent D'Arby. But Seal is more relaxed, and his craftsmanship is delicate and well defined. Lyrical depictions are light, songwriting is personal, and production credits are most impressive. With star-studded work from both Trevor Horn (Tina Turner, the Art of Noise, Rod Stewart) and Trevor Rabin (Yes, John Miles), Seal is surely a critical hit. Becoming a mainstream radio mainstay for the summer of 1991, the single "Crazy" carried heavy notoriety for Seal and instantly made him a household name. His collaborative effort with Adamski for "Killer" was a massive club hit thanks to its Hi-NRG strength, but house elements are showcased other album tracks such as "The Beginning." Seal is not necessarily a dance innovator, but he makes for a select crossover artist with impeccable talent worthy of heavy acclamation and critical recognition. The general mood captured on his debut album is refreshing for the early-'90s mediocrity of post-hair metal and manufactured synth bands. His music was a major force throughout the decade and well into the new millennium. With Trevor Horn at his side, it's undeniable. Together they go for exactly what Seal is looking for: the beauty, desire, and simplicity in creating a new sound. Seal is the face and Horn is the face behind it all. MacKenzie Wilson