While nothing on “Sowing the Seeds of Love” comes close to being as catchy as “Everybody Wants To Rule the World” (what did?), it does take their music further than it had ever been before. It also achieves that rarest of musical feats: something that can be taken as a whole. Seeds work like an elaborate song cycle. Not as hypnotic as Van Morrison’s “Astral Weeks” or cerebral as the Who’s “Tommy” “Seeds of Love” is equally artful. Seeds has terrific moments of song craft, singing, lyrical inventiveness, stellar musicianship, and show-off production. The CD itself sounds fantastic. The engineering superb.
There are many collaborators on Seeds, most notably Oleta Adams. Plucked from a bar in Kansas City during a TFF tour, Oleta brings the soul to the proceedings through her husky voice and Pentecostal give-me-a-hallelujah piano. The call and response between her and Roland, reworked in concert to include songs like Believe, would be a highlight of their tour that year. Adams turned out to be a real find, earning a Grammy nomination while building a successful solo career.
Phil Collins cameos, as he was apt to do all though the 80’s, and turns in a solid performance trying yet again recreate In the Air Tonight’s dramatic drum entrance. It’s nowhere near as good – try Against All Odds – that’s almost as good.
Co-writing 5 of the 8 songs on the CD (with Orzabal), much credit should be given to pianist Nicky Holland for the feel of the record. A flair for subtle melodies and a skilled right hand on the acoustic piano is on display here (and on her two under-appreciated solo CD’s). “Advice for the Young at Heart,” and “Famous Last Words” both show how this lovely touch elevates the song beyond pop into something more lush and spacious.
The rhythm section was stellar. Peter Gabriel drummer, Manu Katche, never sounded better than on “Badman’s Song.” Talk about a kick drum sound – check that out – the Eagles could have learned a thing or two from that track. Pino Paladino plays, as always, great bass. Apparently, many of these songs started as jams between Katche, Paladino, Hopkins, and Orzabal. This makes sense as their interplay is fluid and dynamic. Trumpeter Jon Hassell adds some nice color to “Standing on the Corner of the Third World.” The Holland/Orzabal compositions on Seeds take TFF sonically beyond anything on Chair, or The Hurting regarding scope and execution.
Seeds title track is quite a number. An everything-but-the-kitchen-sink production – and blatant homage to the Beatles – brilliantly captures psychedelia and optimism allowing us to practically smell the patchouli while Roland sings proudly, “I love a Sunflower!” Nothing so groovy has been produced since (with the possible exception of some World Party and Austin Powers). A song that is derivative, respectful, and original at the same time. Try that sometime.
The real star of the show is Roland Orzabal. His vocals, his songs, and one would suppose, his vision made the record what it is. Curt Smith’s contributions are less clear here – besides his lovely tenor on “Advice for the Young at Heart.” In interviews, it seems there was lots of collaboration between Smith and Orzabal on this record. Those comparisons to Andrew Ridgley were mean and ungrounded. Orzabal and Smith share production credits on the record. Plus, Smith plays a terrific bass guitar.
After this record Smith and Orzabal took a break from each other. Two “Orzabal only” Tears for Fears projects, “Elemental” and “Raoul and the Kings of Spain” came. Both are terrific records, and worth seeking out. But neither has the confidence and grandeur found in Seeds. It’s simply a beautiful record.
“Kick out the Style bring back the Jam!”