Interviews/Articles

The story of the making of Seal's third album is almost as epic as parts of the record itself. Started three years ago, long-term producer Trevor Horn initially occupied the producer's chair on the album, before the two of them fell out and then subsequently reunited to complete the project. Meanwhile, the expiry of ZTT's partnership with WEA Records prompted a bidding war for the artist's services last year, which ultimately resulted in him leaving the label he joined eight years ago to sign directly with Warner Bros in America.

Now that is all behind them, however, and ZTT co-owner Horn believes that Human Being, out on November 16, could be Seal's best album yet. "It's more understated than the other two but it's a little more focused. He always sings well, but he sings beautifully on this record," he says. For his part, the Englishman in LA is also confident he has delivered the best record he could in Human Being. "I think my voice is richer on the album. I'm beginning to realise that whatever music I deliver, it doesn't matter as long as it's based around my voice," says Seal.

When he started writing and recording around three years ago, Seal says he initially wanted to do as much as possible on his own. "I spent about one-and-a-half years preparing, writing, formulating songs without a producer, getting it going. Then Trevor came on board and did some work, went off and then came in again for the final eight months," he says. "The difficult thing about working with Trevor, which is also amazing, is that he is an artist like myself, a musican who's fronted a band and been out on the road, so you're dealing with the temperament of an artist, and the passion. The relationship was particularly tempestuous with this album, but it made the songs better."

Horn has his own take on the process. "The best thing in the world is to have an argument about music because it means you care about it. Seal has a clear idea of what he wants and sometimes that can be hard. When someone plays you a wacko drum track and says, 'This is the kind of drum sound I want', and you have to make it work behind a beautiful ballad, that can be tough." Seal had been listening to a lot of music from DJ Shadow, adds Horn. "A couple of songs on the album have got unusual rhythm tracks, like Still Love Remains, which has got the strangest drum part," he says. "When I first heard it I thought he was out to lunch but we made it work."

Seal warmly invited the LAUNCH crew into his Hollywood Hills home to conduct this soul-searching interview about spirituality, personal connection, and fame. The be-slippered singer-songwriter displayed the "monolith" of a computer he'd just wired and expounded enthusiastically on his hopes for the Internet as a tool to enhance communication among our species. "I spend most of my time on the Internet these days," says the artist, whose home is equipped with a high-speed T-1 connection to the world. "I think it's the thing that's going to save us." He told LAUNCH executive editor Dave DiMartino that he foresees a revolution in which record labels, radio stations, and music video networks could be rendered obsolete by artists who are newly empowered by the computer. "There will be such a revolution," he notes, "that the concept of a CD will cease to exist."

SEAL: There's a number of reasons I chose to do the liner notes in that way. First, an album really is a musical diary of someone's life. It's an account of events that is put into song format. It's a period in an artist's life. I'm often asked why I don't write the lyrics to my songs on my albums. There are various reasons. This time, I thought it would be a lot more interesting and informative to write [about] the inspiration behind what made me write those songs. And I've found that, because I spend a lot of time communicating across the Internet and via email, that that would be more of an appropriate way to create some insight into what inspired those songs. That's why you have email letters from my manager telling me that someone is coming to the house for an interview, correspondence between my mentor and myself, email to friends, like my friend Charles, my tech buddy. That's why it ended up in that format.

SEAL: I tried to create or give some insight behind what goes into the work-in-progress of an album. I'm sure a lot of people think it's all hunky-dory, like you walk into a studio with a producer and your ideas and it's all a bed of roses. Obviously that dialogue between artist, producer, and manager isn't quite the case. I guess I wanted to show that side as well, the side where it does get quite traumatic and personalities do clash for various reasons. I just wanted to show that it's not always a smooth process.

SEAL: It's funny you use that word, "religion," or "religious philosophy." Because although I wouldn't really regard myself as religious in the general sense, since I don't believe you have to go to church to pray to God, etc., but if one actually takes the word "religion," it is to realign yourself with one's origin. In that sense, I am religious, but not a fanatic or anything like that. Like I don't believe if I tell a lie I'll go to hell. My guru is like a religious mentor, and he's more like an elder brother who'd advise you on certain things and help to realign you with your origin. That's his role in my life.

SEAL: That it wasn't just "business as usual." Obviously, relationships play a huge part in the emotional content of the album, so there was that factor. Also, growing older and becoming more comfortable with the reality of my surroundings. There were so many different events that contributed to what you hear on the album--as I mentioned before, relationships, my correspondence, meetings with my mentor, friends, wonderful events in my life. Those are things most of us take for granted, including myself. But every now and then I can allow myself to be still and remind myself that everything really is beautiful if you choose to see it that way.

SEAL: I don't know the answer to that question. I can't help thinking that there's some kind of bigger picture. I'm not quite sure what that is. I'm sure of the path I have to take to get there, because that's very clear, very simple. But I'm not quite sure what lies ahead in terms of what I will be doing. Being freer with my voice and trusting my voice, more trust in my work if that makes any sense, that is the single [factor] that has inspired or contributed to my creativity and growth: trust. Once I allow myself to let go and trust that this thing is bigger than me, then I'm delighted by the music and the art I've created with other musicians and my producer. That is the only real time that I feel I'm growing--when I trust. That probably sounds a bit general, but it really is that. It's just a case of trusting and letting it kind of do its own thing. People say, "You have a great voice, how do you write these songs...when did you start singing?" and I've always had the philosophy that I'm leasing--like I'm borrowing--this ability to make music, to connect. This voice. I feel that it's more in control; I don't think that I necessarily control it. You have to be open and receptive to this thing happening. When you trust, that's when that creative flow comes through. For me, anyway.

SEAL: I think I'm really fortunate for people to like me as an artist or like my music in that way. I could understand how some people could be afraid of it. There have been instances where I've been performing, touring, and I've gone out the stage door, ready to get onto the bus, and sometimes the look on peoples' faces is--they just seem to be amazed by you. I think firstly because no one actually thinks I'm this tall. They seem to be so amazed almost to the point that they're speechless. That was one thing that frightened me to begin with early on in my career. There's that saying: Be careful what you wish for because you might get it. I always wanted to be a performer, be famous. I thought it would make my life better, I could get girls easier. Then it happened, and that thing you talk about, the fans who like me, really like me, and they can't relate to you on a normal level. It's frightening at first, but then I should be so lucky to have a problem like that. It makes you question yourself, it makes you dig deeper and really get to the core of who you are.

SEAL: It can be quite destabilizing if you're not quite sure of who you are. That was the case at the beginning of my career and I suffered a case of anxiety attacks as a result. But it's really just a matter of coming to terms and embracing it because it's a wonderful thing to have, to actually see how you affect people. Even if it's just a slight change, you've made someone smile, shaken their hand, acknowledged them. That's an incredible gift to have. Every day I wake up and I cannot believe that I'm in this position, considering the things I've done in my life, getting myself into some really sticky situations. Sometimes I can't believe I'm still alive and in this fortunate position where people appreciate what I do. That's one of the biggest gifts you can give, the ability to communicate and connect. Because, after all, that's what we're here for. If you ask anyone person what they want out of life, they'll say, "I want to be successful, famous, loved"--any number of different things--but really, if you really got to the core of what they want, it would be a sense of validation as a human being. To communicate, to be heard. "I'm here." No one wants to be insignificant, anonymous. They just want to be heard. To exist. I think that's what being an artist does for me. It gives me that gift.

SEAL: My manager told me once, "Whatever you do, just make sure it's from the heart and you'll be okay." That's always been my criteria, to make sure it comes from the heart. So even if it's not commercial, you do what you have to do. Do I consider the commercial aspect of making records? Yeah, I have to. And when I say have to, I don't necessarily mean it's agonizing to do so. The art of making a pop record is an artform in itself. It's a separate thing. I'll give you an example. On this record, I listen to some songs and I think, "This is too long, it will never make it on the radio..." Because radio has to do a certain thing because people have very short attention spans, including myself. If it's doesn't happen in the first 10 seconds, it's off. If something doesn't grab me from the voice, the hook, or the melody, I'm on to the next thing. That's how people listen to the radio. So on this album, there are songs I listen to that I know could never exist in their present form on the radio. Recently, I've gone to the studio with my producer and recut four singles. It's amazing the difference it makes. It's amazing what you find out--it never ceases to amaze me how much difference an edit can make. "State Of Grace" is a perfect example. It's a very longwinded song. I've edited some stuff out of it in the first and second chorus. A song that was more than five minutes, is now about four. In my opinion, the song is 10 times better because of it. "Lost My Faith" is another case in point. I did the same thing with that song. I halved the first chorus, brought the drums in much earlier. The difference it makes is amazing. Yes, I do consider the commercial appeal, because it's no fun staying true to your art, but not communicating with people. Not being able to go out and talk and play in front of a lot of people. I dread to think what it would be like if I all of a sudden lost my appeal and I had to go out and tour to 100-seat clubs. It wouldn't be fun at all. If I said I didn't think about it, it wouldn't be true at all.

SEAL: The death of the two rappers, Tupac and Biggie, inspired me to write "Human Beings" in somewhat of a sad way. It would be impossible to deny that Tupac was a very gifted, talented poet. I didn't always agree with the way he articulated what he was saying, but that's just my opinion. But I do feel that as musicians, or people in the public eye, that we have a responsibility. We have the ability to affect people and to make an impact on people's lives. So I think, therefore, that it is important that certain responsibility is taken there. Living a life of gangsterism or consistently portraying violence and debauchery as an image to sell is not necessarily taking responsibility. And so I think that "Human Beings" kind of started out as an angry song, not really just directed at the two rappers, but directed at all of us as human beings. This is the one chance we get in this current existence to live life to the fullest and to choose the path of light as opposed to the path of darkness. The only way our society will get better is if we start taking responsibility. It's the same in the movie industry. I think one of the best films I've seen in a long time was Bulworth. That really hit home. It's an incredibly underrated movie that said a lot of things I'd like to say. No one is really taking responsibility, and then we seem so shocked when we hear stories of kids carrying guns to school. I think a lot of what goes on in the media influences that and I think that now we have to bear up to our responsibilities, especially those of us who are fortunate to be in a position like I am. That's what "Human Beings" was saying. If we play with fire, we'll die. We're humans; we're not invincible. But at the same time, my songs tend to have a general theme--it was also directed at certain aspects of our society--fear of the self, of growing older, not wanting to deal with the self. That's another way of not bearing responsibility. If we're constantly running away from ourselves, that's no good. We have to get to the core of who we are.

SEAL: I never feel guilt. Occasionally, I'll feel a twinge, but only if I buy something really expensive that I don't really need. I've since curbed that habit. But no, I don't feel guilty about being in this fortunate situation, because I do, to a degree, believe in destiny and I think we can help create our destiny. Also, I do know what it is like not to have, and I do know what it is like to come from an extremely poor background and extremely (in some ways) dysfunctional background. I've had my fair share of turmoil, so I don't feel guilty. However, it's very difficult for me to feel comfortable and totally happy. There are too many things in society that I find difficult to acknowledge and say that the world is a great place and I'm happy in it. It is a great place, but there's a lot of sh-t. If you're in L.A. and travel to East L.A., some of the atrocities you'd see...I wouldn't really say it creates a feeling of guilt, but it certainly creates a feeling of deep sadness every time I see that. And what can you do? It's not like you just put your hand in your pocket and give them some money. That temporarily takes care of their problem, and it takes care of your guilt, but it doesn't get the person out of the situation. And I think it's that sadness that inspires me to try and do things about it in other ways. And so, no, I wouldn't really say there was guilt.

SEAL: I think certainly in terms of the actual writing of music, there are many, and they are the obvious ones like Hendrix, Joni Mitchell. But I think the person that I really identify with--even though his life is very different from mine--but certainly the person I aspire to be as good as from a vocal perspective, would probably be Marvin Gaye. Because I think What's Going On? is the most important record of our time. It's not a record I listen to a lot because it is so extremely intense. I was driving home with my girlfriend the other day and the song came on in the car and there's a line, "Don't punish me with brutality...just talk to me." Tears flooded my eyes just hearing that line. Just the simplicity in that line. And how long ago was that written? He's basically been saying what we've all been trying to get to grips with today. Communication. Things wouldn't be that bad if we just improved our communication. Improve that skill. My theory is that humans aren't really bad; we all do bad things, but being bad is not our natural state. You're acting out of fear, lack of understanding, compassion, but essentially communication. Human beings are made of love, an overwhelming desire to love. When we communicate, we exist in our natural state. Marvin Gaye would probably be my most prominent role model. Obviously there are things in his life that I don't identify with or aspire to. But the way he used his voice...I'm a believer in not over-singing. I'm not interested in vocal gymnastics, how many notes one can get in one word. I find it unattractive. The thing that most turns me on about a voice is tone. The thing that I aspire to is the tone. I think you can say so much, have such an impact through just your tone and how you choose to voice a feeling in a tone. Marvin Gaye was the tone king.

SEAL: Again, it boils down to this thing of communication. I think the Internet is the savior of our time. I think it's the thing that is going to save us because of its communication factor and that is the thing that attracts me most to technology. Does it improve communication? And the Internet does. I'm really fond of it. I spend most of my time on it these days, kind of redesigning my website, sending and receiving email, etc.

SEAL: Yeah, I'm pretty plugged-in. I've had a high-speed Internet connection in my house for more than three years. A friend of mine designs websites, and I run a T-1 off his house to mine. So I'm pretty plugged-in. I just built a computer, a monolith you'll see in there [gestures to room in house]. That was my latest project...I have an active involvement in my website. I have this whole plan, a master plan, but I don't want to give too much away. I think that music technology is advancing in the most incredible way. As soon as we have full-stream motion video across the Internet, there will be such a revolution...it will be intense. It's already happened with audio, but once we get to the point where you can watch your computer like you watch your TV, I think you'll see companies like MTV won't have such a monopoly. Artists will generate video music long-forms, interviews from their own websites. You'll be able to log in to an artist, like a true commodity, and there will be a lot of those things that will pop up. The way that people will listen to music and the concept of a CD will cease to exist. In five years from now, I don't think it will exist at all.

September 25, 2001 10:51 AM - A decade ago, Seal broke through on the American music scene with the hit single "Crazy," a song that helped propel the British singer's self-titled debut to sales of over 1 million copies in the U.S. alone. Even greater success followed with his 1994 release, also titled "Seal," which spawned the massive hit "Kiss from a Rose" and went on to ship over 4 million copies in the U.S.

Four years passed before a third album, "Human Being," surfaced. A highly publicized split in 1997 with producer Trevor Horn--who produced Seal's first two albums--marred the recording process, but Seal eventually reconciled with Horn in the summer of 1998, and "Human Being" hit stores in November. The album failed to realize the success of its predecessors, however, and has only been gold certified for shipping 500,000 copies in the states.

Seal: I met Stephan about six months ago at Tiger Jam III, which is a benefit that Tiger Woods stages in Las Vegas. Stephan was performing there. We became very good friends and we stayed in touch. He said, "Look, I'm doing this thing called Breathe to raise money for hospitals in under-privileged areas of America and for women to go and get tested for breast cancer." I thought it was a great cause, and I liked his vibe and conviction.

Sort of. I think the way that Stephan's got it planned is that one person will go on and do their own set, and when that person gets to the end of their set, [the next artist] will come on and do a duet with them, and so on and so forth. I was supposed to come on at the end of Stephan's set--which we still may do--and do my set, and then Aaliyah was coming on at the end of my set. Obviously, that's another tragedy that ... God, so much has happened, hasn't it? So, obviously, we've had to change that around. But it's really something I'm looking forward to. I'm just really happy and honored that Stephan asked me to do it.

Well, it's finished. It's called "Togetherland" and it'll be released in February. I'm very excited. I produced this one myself. I thought [the concept and title of the album] was pretty poignant when I was recording it--or conceiving it, as it were--but I think it is even more so now, given recent events. It's an album that tries to promote the concept of togetherness and love and acceptance, the elimination of pointless barriers, the elimination of prejudice. I'm mixing at the moment, I'm mixing the last two tracks, but it's pretty much finished.

Yeah, that's partly true. Not entirely true, because I'm always tweaking. But, yes, I could have been finished a while ago. Warner Bros. seems to have gotten their act together now. Tom Whalley, who was at Interscope and who was really successful there, is now the man in charge of the music division of Warner Bros., and someone who I absolutely adore is his second in command, a gentleman by the name of Jeff Ayeroff. Jeff is an amazing person, a true music lover, and is someone who is extremely intelligent, one of the most intelligent people in the business. He has a great understanding of how to work with artists and get the most out of them. I consider both of those people to be allies. And I have great management at the moment, which always helps. I had different management last time. And, yeah, I think we have a good crew at Warner's. Everyone is excited about this record.

Yeah, I would definitely agree with you. I think the essence of what I was trying to portray with "Human Being" was positive, but I think that the actual circumstances that I was going through at the time were considerably darker, and that inevitably had some reflection on the overall sound of the record. The essence of what I'm about or what I've always tried to say is always, I think, positive. Perhaps I haven't always communicated that essence in a positive way. But I think, in hindsight, that you are correct in saying that it was a very dark album.

However, I am proud of the album. I don't play it much, but I don't play it much for other reasons. I think it had some good songs on it--some, I underline--but I didn't like the sound of it. I thought that it suffered from having too many cooks to spoil the broth--too many producers--and from me not retaining my focus. I think it had some good ideas, and quite possibly some of the best lyrics I have written, but it takes more than that to make a great album. And it is not a great album. It's an OK album.

I actually just did a cover of "Imagine." I just went ahead and recorded it at home, because--first of all, "Imagine" is the greatest song ever written, in my humble opinion--I listened to the lyrics, and they are so profound, and more poignant now than ever before. So I went ahead and recorded it and I'm going to try to submit it to see whether or not they can [sell] it and [have] all the proceeds go to the relief fund. I did it really quickly, and I don't know whether or not they will, but it's my offering, in any case.

I think it's really important that everyone--not just artists, but everyone--does as much as they can, especially in these times, for any worthy cause. Anything that sort of proliferates unity and coming together, I think people need to make an extra effort to get involved in. With regard to artists, musicians, it's not just about being a rock star. In fact, that whole concept is dead. It's not about being on MTV and who's got the hippest, brightest, most expensive video. That's done. That's over.

Yeah. It is about stepping up. If you are a musician, and you do have a voice that people are willing to listen to, it's about stepping up there and choosing. In this global war between love and hate, and good and evil, it's really about choosing. It's as simple as that. I think it's the moral duty of a lot of artists and people who have a voice to take a stand now so that everyone shows their true colors and we know where we are.

Who knows where we will be four or five months from now? Who knows whether we'll be at war, whether we'll be able to fly, whether we'll be able to commute in our country in the same way ever again? Who knows? I guess I'm taking it for granted that I'll be able to tour. I mean, I have all my band members in place, but who the hell knows? My plan is to tour and to get out there and play and to try to promote unity. That's what I feel is my main obligation--my raison d'etre, as it were--at the moment, and I will find some way of doing that, but I don't know what's going to happen. I think, however, in my heart of hearts, that it's going to be OK.