Seals and Crofts
Warner Bros. BS 2629
Released: July 1972
Chart Peak: #7
Weeks Charted: 109
Certified Gold: 12/14/72
Jim Seals and Dash Crofts, both born in Texas, met in junior high school. They first achieved success as members of The Champs, who had a huge instrumental hit in 1958 with "Tequila," though only Seals had been in the band at the time. Seals, the guitarist, and Crofts, the drummer, remained in the group (which also notably included Glen Campbell for a short time) until the mid-'60s, when they constituted a new band called The Dawnbreakers; this in turn broke up when all the members were converted to the Baha'i faith, and Seals & Crofts retreated to consider their musical direction in the light of their new religion.
They emerged in 1970 -- with Crofts by now playing the mandolin -- as a soft-rock harmony duo, who quickly established a large following. After two albums on TA Records, Seals and Crofts and Down Home, they moved to Warner Bros., since when all of their albums have gone gold, and one, Seals & Crofts' Greatest Hits, double platinum. Warner Bros. also acquired the first two albums and reissued them as Seals & Crofts I & II.
It is difficult to account for their overwhelming success, but it is certainly true to say that they happened at the right historical moment. Though they later began using a backing band for live appearances, their music is generally lightweight, and their lyrics have dealt in a rather naive manner with Matters of Concern -- e.g., their 1974 album Unborn Child was a thematic work protesting the evils of abortion.
Despite the fact that they are undoubtedly the super-wimps of the '70s, they have come up with one classic compostion, "Summer Breeze," which was turned to good advantage by the Isley Brothers.
- Nick Logan, The Illustrated Encyclopedia of Rock, 1976.
This is very good folkish c-&-w work by a team whose self-conscious purity of attack often threatens to lapse into pop pomp. When Seals and Crofts are good (and that's quite often on this album, as in "The Boy Down the Road"), they project a fie and lovely lyric line combined with excellent instrumental work. When they are not so good, as in "Hummingbird," their work sounds alternately pussyfootish and demi-grand. Fortunately, this doesn't happen often, but when it does you find yourself having doubts about the tracks that you did enjoy.
- Peter Reilly, Stereo Review, 12/72.
Seals and Crofts have crafted an album that is amazing in its Iightness of touch and delicacy of feel. Harmonically perfectly matched, their voices meld together, creating a comforting, soothing effect. A resounding quality of subtle joyousness pervades the general mood of the album and puts the Iistener in a state of well-being. Particularly evocative are "Hummingbird," "Yellow Dirt" and "Summer Breeze."
- Billboard, 1972.
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