IN THE BRITPOP ERA, SEAL AND PRODUCER TREVOR HORN FOUND A WAY TO INNOVATE, DIFFERENTIATE AND DELIVER A KNOCKOUT SECOND RECORD, PROVING THE STAR’S 1991 DEBUT STUDIO ALBUM WAS NO FLUKE
Lee Campbell
RHINO
Although it’s become unofficially known as Seal II, Seal’s second album, released in May 1994, was oddly once again eponymous. As with its predecessor, it hit the top of the UK album charts, while its No.15 placing was an improvement Stateside. Trevor Horn then repeated the production tricks from the debut, sprinkling his intricate details into the nooks and crevices to land another gem. The quality of those first two Seal records can never be overstated.
Released for album two’s 30th anniversary, Rhino seem to have taken on board the criticisms of the original Seal reissue which left one side of the vinyl set blank, by filling out all four sides of the 2LP this time around.
Although Kiss From A Rose received the lion’s share of plaudits at the time, becoming an iconic track with a little help from Batman Forever, Prayer For The Dying more than holds its own in terms of melody and killer hooks, too. Meanwhile, the guitar work on Seal II from Londoner Gus Isidore sits perfectly with the synth beats of the singer’s signature sound. From the funky groove of opener Bring It On, soulful Dreaming In Metaphors, rousing Don’t Cry through to the upbeat Newborn Friend, the songs have aged gracefully. There is barely a weak link on the album.
Alternative versions of the original LP (only available on the CD+Blu-Ray version) are subtle and closely similar on first li
