Foreigner’s Agent Provocateur album marked a significant achievement for the iconic AOR rock band, propelling them to new heights in their musical journey. However, beneath the surface, tensions were escalating among the key members of the group, particularly between the main collaborators.

The release of their prior album, 1981’s Foreigner 4, which was masterfully produced by Mutt Lange, showcased a different dimension of the band. This was largely due to the remarkable success of the heartfelt ballad “Waiting for a Girl Like You.” Featuring enchanting synths from Thomas Dolby and a powerful vocal performance by Lou Gramm, Foreigner managed to secure yet another major hit single. Despite peaking at No. 2 on the charts, it was kept from reaching the top by the likes of Olivia Newton-John and Hall & Oates.

When Agent Provocateur was released in December 1984, guitarist Mick Jones aimed to replicate their previous success by pushing for the release of another captivating ballad, “I Want to Know What Love Is,” as the lead single from their fifth album. In his memoir published in 2013, Gramm expressed his discomfort with this decision, stating that he felt they were compromising their artistic integrity. Jones, however, seemed unconcerned about these philosophical reservations, opting to proceed with his vision for the album.

READ MORE: Mick Jones Reflects on the Impact of ‘I Want to Know What Love Is’

Gramm contended that the success of “Waiting” had been built upon a foundation of strong rock tracks. He warned that releasing “I Want to Know What Love Is” as the lead single could potentially inflict lasting damage on their established rock image. Nonetheless, Jones pressed on, and the ballad ultimately became Foreigner’s first and only No. 1 single, sparking passionate debate among music fans regarding the implications of that decision.

Watch Foreigner’s Video for ‘I Want to Know What Love Is’

As noted by Nick DeRiso on the UCR Podcast, the release of “I Want to Know What Love Is” represented a dramatic shift in Foreigner’s musical direction. It initiated with a familiar sound for fans who appreciated “Waiting for a Girl Like You,” but soon transitioned to incorporate gospel elements, including a full gospel choir. This evolution in style was so pronounced that listeners tuning in midway through the song might not even recognize it as a Foreigner track.

Jones, in contrast, maintained a different perspective on the band’s musical trajectory compared to Gramm. He stated, “If you listen back to the first four albums leading up to Agent Provocateur, each of them had a similar proportion of ballads.” He explained that during the transition from Foreigner 4 to Agent Provocateur, the ballads were predominantly emphasized by the record label, impacting their musical choices.

READ MORE: Discover the Top 10 Foreigner Songs

Jones further elaborated by mentioning that the music industry was undergoing changes at that time, and rock tracks were beginning to receive more airplay. He indicated that he had never consciously aimed to soften their sound or shift towards a keyboard-centric style; rather, it was simply a phase that the band was navigating.

Agent Provocateur certainly featured a selection of robust rock tracks, including the album’s powerful opener, “Tooth and Nail,” and the energetic “Reaction to Action,” both of which stand out. Additionally, mid-tempo songs like “A Love in Vain” and “That Was Yesterday,” which nearly broke into the Top 10, further highlight the album’s diverse sound.

Watch Foreigner’s Video for ‘That Was Yesterday’

In the aftermath of the release of Agent Provocateur, Gramm clarified that his opposition was not directed against ballads per se but rather concerned the structure and sequencing of the songs. He believed that a well-placed ballad could enhance their albums, but he grew apprehensive about a trend that seemed to favor ballads over rock anthems. “A strong ballad should appear occasionally in a band’s catalog,” he explained, emphasizing the importance of balance in their music.

The internal conflicts during the Agent Provocateur era were unfortunate but not uncommon in the music industry. The band began working on this album with producer Trevor Horn in the fall of 1983. However, Horn later recounted, “I couldn’t go on, because we didn’t get on, so I walked out.” Gramm echoed this sentiment in his memoir, describing Horn’s lack of focus as a significant setback, leading to lost time and resources.

Despite the tumultuous process, the overwhelming commercial success of “I Want to Know What Love Is” should have served as a fitting conclusion to their struggles. Yet, it also came at a significant cost, one that neither Gramm nor Jones may have fully anticipated. Following the tour for Agent Provocateur, Gramm departed from the band to pursue his solo career, resulting in the release of 1987’s Ready or Not. Although he returned for the 1989 album Inside Information, it was clear that the dynamics within the band had irrevocably changed.

READ MORE: Lou Gramm’s Solo Journey with ‘Ready or Not’

By the close of the 1980s, both Jones and Gramm had once again parted ways, and while they would sporadically reunite in the 1990s, their relationship fractured again at the turn of the new millennium. Reflecting on the Agent Provocateur period in 2016, Jones acknowledged, “[It] was a tough time for the band, definitely,” alluding to the recurring tensions that resurfaced before their eventual decision to pursue separate paths.

Listen to UCR’s Roundtable Discussion on Foreigner’s ‘Agent Provocateur’