Bought: Oxfam, Notting Hill Gate
Tears For Fears’ second album Songs From The Big Chair did the business. A relatively cheap record to make, it sold millions and elevated the Bath boys into the big league.
Early ‘80s technology, boy-band looks and some great hooks had carried TFF through the first two albums but now they felt they had to deliver a polished, ‘musicians’ album’ to match their heroes. Big mistake…
The Seeds Of Love was the result, and with it they tragically o’erreached themselves in the search to emulate their heroes Gabriel, Ferry and Sylvian. Four producers. Nine studios. Over a million pounds in studio costs. Broken marriages. Dozens of session musicians.
A famous Q article outlined the painful, sometimes embarrassing lengths the two protagonists Roland Orzabal and Curt Smith went to to complete Seeds.
Orzabal has said he wanted to make something musicians would love, something ‘world-class’. This over-egged curio shows what happened when pop stars tried to buy credibility in the late-‘80s, undeniably under a fair amount of record company pressure to follow up a monster.
The intro of ‘Woman In Chains’ still retains some Blue Nile-ish power before being obliterated by Phil Collins’ sledgehammer drums and overblown AOR guitars; Gabriel/Joni/Sting drummer Manu Katche plays a blinder on ‘Badman’s Song’ but the melodies barely register.
‘Sowing The Seeds Of Love’ still stands up though as a decent Beatles tribute complete with some lovely woozy drums from Big Chair producer and ex-Ant Chris Hughes and a very cool chord sequence.
‘Standing On The Corner Of The Third World’ is initially very attractive complete with Jon Hassell’s ethno-trumpet and some typically slinky fretless playing from Pino Palladino, but its grand atmosphere and ambience can’t obscure the lack of structure and good ideas.
Swords And Knives’ starts with an interesting piano/voice melody but quickly gets mired in a succession of annoying guitar solos and grandiloquent key changes.
‘Year Of The Knife’ (these boys are really interested in knives…) is a pretty ugly collision of gospel vocals and a sub-‘Broken Wings’ groove. Again, the song runs out of stream after two minutes and tries to cover it up with a fiddly string arrangement and weird avant-metal guitars. Even uber-drummer Simon Phillips sounds uninspired.
Orzabal almost achieves a Sylvian-ish level of sophistication on the closing ‘Famous Last Words’ but once again blows it, neglecting to supply a B section or cogent lyrics. Quiet/loud dynamics alone do not a good song make.
The album was a hit, going straight to number one in the UK and selling well in Europe and the States, but was it worth all the effort? Orzabal and Smith were barely on speaking terms and didn’t record together for over a decade after Seeds‘ completion. It was certainly a big and bold farewell to the ’80s from one of the decade’s success stories.