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Suede Discography

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Suede released 29th march 1993 nude records formats: lp/mc/cd (nude1lp/mc/cd) members of the band: Brett Anderson (lyrics, vocals), Bernard Butler (music, guitar, some piano), Mat Osman (Bass), Simon Gilbert (drums) producer and some piano: Ed Buller

Shot in grainy fag-ash monochrome, he sits sideon with head back, long hair draped over one half of his face, filter-tip in paw, and a distant, unreadable experience in his eyes. The credit says simply: “Beckenham ‘69”

Now 1969 was a strange year for Bowie. He had just been turned down by a fourth record company. His improbable, over-ambitious folk01 so young 02 animal nitrate 03 she's not dead mime trio Feathers was going nowhere. His 04 moving 05 pantomime horse 06 the drowners relationship with self-styled actress Hermione 07 sleeping pills 08 breakdown 09 metal mickey Farthingale was on the skids. And his grandiose10 animal lover 11 the next life sounding Beckenham Arts Lab – the venue where the photo was taken – was in truth just a So Young back room of the Three Tuns boozer in anderson / butler Beckenham high street. It was not a great time to be the future Thin White Duke. she can start to walk out when she wants because we're young, because we're gone But weird karma was afoot. He had written a we'll take the tide's electric mind, oh yeah? oh song called “space oddity”, Neil Armstrong was yeah fourth months away from sketching that crucial inaugural moonwalk. And David Bowie was five we're so young and so gone, let's chase the months away from making that giant step into dragon, oh what, in the vernacular, would be called “headfuck stardom” because we're young, because we're gone we'll scare the skies with tigers eyes, oh yeah? oh yeah “I like to imagine,” suggests Brett Anderson over yet more tea “that he’s just sitting there thinking we're so young and so gone, let's chase the that no one quite knows yet. He looks very cool dragon, oh and inscrutable. I’ve always thought like that. let's chase the dragon . . . I’ve always had a kind of romantic self-image, sitting in drab surroundings thinking of what I . . . from our home high in the city could possibly do.” where the skyline stained the snow i fell for a servant who kept me on the boil What Brett Anderson and Suede could do is the we're so young and so gone, let's chase the most exciting moot point in rock music today. dragon from our home! Depending where you’re standing, they could go any or all of the following… Become Britain’s Whatever happened to the teenage dream? By biggest and sexiest rock band of the 1990s in Dave Cavanagh (Q magazine) UK december record time… re-familiarise a jaded notion with 1992 glamour, sex and songwriting class on a scale not seen since Roxy Music, Marc Bolan and the On the wall of Brett Anderson’s dingy finest inter-galactic hour of Bowie himself… claustrophobic Notting Hill first-floor flat hangs Have a number 1 debut album in March…. Bond a poster of David Bowie. A pretty cool idea. hedonistic and neurotic youth alike in the mostMillions had it before him. Anderson likes to all encompassing display of life-threatening contemplate the picture while he sips his tea. ambisexual teenage fan-worship since the heydays of the Smiths… Write some of the most But this is one of the most anomalous and beautiful songs about complete unquestioning challenging images from Bowie’s mighty folio. sexual devotion since Bowie’s Lady Grinning

Soul… Induct the hitherto underrated word “paracetamol” into rock’s workable vocabulary…And turn the Brighton commuter belt satellite town of Haywards Heath into the most famous British Rail Southern pitstop since Paul Weller first announced he hailed from Woking…

think we can live up to it. It would be dreadful thing if it was under-listened to.” He speaks fluently, confidently, his sentences building up into paragraphs of vaguely neurotic self-reference, all delivered with a bright glint in the eye. Like Morrissey, there’s a love of arcane words: “gruesome” and “drab” tend to re-appear. Unlike Morrissey, there’s no coy self-loathing, no “well, of course, I’m unloveable”. Brett Anderson seems particularly pleased with the new vistas his talent has opened up.

For Suede, after two brilliant singles, years of daydreaming, and horrible upbringing in working-class nowherevilles, have it in them to be just about the most extraordinary, intelligent and potentially enormous guitar band and potentially enormous guitar band this country has It’s difficult to avoid comparing Suede to The seen in a decade. Smiths. Anderson’s deliberately blurred gender references recalls Morrissey on songs like Handsome Devil and Reel Around the Mountain. “There’s nothing more frustrating than knowing (Anderson claims to be a bisexual who has yet to you’ve got all these songs that no one knows have a homosexual relationship). Morrissey, about yet” says Anderson moodily, as he leans possibly sensing a chip of the old block here, has over to the tape machine to play a song from become a fan: he has covered “My insatiable Suede’s as yet untitled debut album. The song is One” live and has gushed about Suede to a beautiful piano ballad called “The Next Life”, journalists on his autumn American tour…. which Anderson wants to end the record. The relationship between Anderson and his coAs it unfolds – and it takes a while – a scene writer, guitarist Bernard Butler, too, has strong lodges in the memory. A decrepit little Notting echoes of Morrissey and Marr. The singers are Hill flat. An upright piano in the corner with its eloquent and witty, the guitarists are moody and front removed and all its mechanics showing in a aloof. gynaecological pre-war pianola effect. And Bernard Butler is really aloof. He won’t actually talk at all. That’s pretty aloof for And the singer and writer of “The next life” someone who has only two singles out. He’s nonchalantly sipping tea while he gazes at a 23- quiet explicit about it. Request to Suede’s year old poster of David Bowie that was taken management for permission to ask him “a couple when he himself was two. of questions” in the studio come back with a curt communique that reads “don’t bug Bernard.”… “We always knew the kind of bands we’d be” states Suede’s bassist Mat Osman categorically through long, thin hair “which was an important, celebratory, huge rock band. A really oldfashioned thing. A great British rock band.”…. At 22, Bernard Butler is already a serious candidate for guitar hero of the next decade, a wonderfully fluid, almost bluesy musician, he dips dextrously from metallic T-Rex thrash into sympathetic sad clown texture that drip with emotion and melody. Mat Osman, a bit of a star Somewhere in among that bizarre little lexicon, himself on bass at it happens, calls Butler in the songs’ fantastic hooklines, in Anderson’s “uncanningly brilliant” self belief, in the guitar playing of Bernard Butler, and in the sweaty high dram of Suede’s 1992 live shows, four putative stars have been “One of the most poignant thing he’s ever said” fashioned. …….. recalls Anderson “is he thinks of himself as a “It’s always been a case of wanting to make pop singer who can’t sing. He speaks through his songs that people love,” says Anderson in his guitar, pretty much. He definitely co-stars with slightly camp, precious twang “there’s a sense of me on the song. He astounds us with what he can expectancy about our record, but that’s good. I play.”……

probably “The feeling of desperation in the lyrics is reflected in the music,” says Anderson approvingly “and there’s something really dark about it that I like. Those were always the kind of songs that I wanted to write – something that was incredibly emotional, but not necessarily in the normal way. Usually, something that’s emotional is quite inspiringly emotional…





His father was an “insane classical music fan” who was in the habit of taking yearly pilgrimages to Franz Liszt’s birthplace in Hungary, where he would kiss the ground and bring back some soil as a souvenir.

“His three heroes are Liszt, Nelson and Churchill. And on their birthdays he puts a The recording of the album seems to be giving Union Jack outside his council house on his him a kind of ulcer of the soul. flagpole. That used to bug me to sh1t when I was a kid, but now I think it’s one of the greatest things ever.” “It’s been upsetting us for quite a long time,” he says thoughtfully. “Even one duff track and it Brett himself was a bit of a loner; nominally would be a failure. We don’t really have any aligned to a punk gang at school, but appalled by refuge from it at all.” the violence. Suede’s roots lie in working-class, early ‘80ies “There is really a violent element to the school I Britain. The thing is, they don’t look like it, as went to. I remember once this boy got lifted up Mat Osman ruefully concedes. by these older kinds with a huge iron bar, …………… “If we were the tea-drinking fops that we’re An early love for Crass and Discharge (he made out to be, we’d probably all be Seatle compares Feeding of the 5000 to “your first …” grunge chic types by now,” he reckons “I don’t soon mutated into a love affair, via his big think you can be interested in looking good or sister’s record collection, with David Bowie. being glamorous without coming from the most Here, he was bang on tune with Mat Osman. stultifyingly boring backgrounds. And there is nowhere duller than the suburbs of London. I do At 16, Brett was wearing a tuxedo to school or, think if you come from there you’re the only failing that, a “yellow Cliff Richard suit” in an people left who believe in the pop dream. All of effort to get the David Bowie blow-dried Let’s us, from the age of seven, have assumed this is Dance look. He compounded the effect by dying what we were going to do.” his hair blonde and sporting a bow tie. He sang in a band called Suave and Elegant (error: they Anderson seems particularly keen to stress the were called Geoff, they were called Suave and seediness of his roots. He claims that every Elegant when the band played in London). “I single member of Suede had had a job at one was a right ponce, actually.” He says breezily. time or another scrubbing toilets. He told one interviewer that when he was growing up, a raw But there was fear about. Aside from the very onion was “a luxury”. obvious threat of a nuclear war (1983 was the year of the Cruize/Pershing crisis) – about which He and Mat Osman grew up in Haywards Heath, he used to have nightmares every night, the near Brighton. Both were working-class. Osman teenage Brett’s chief concern was to avoid was a one-parent family. “Whenever I went getting beaten up, while Simon Gilbert, the round there,” remembers Anderson “the place drummer, paid the price for being the first 12always smelled of cat piss and they were having year old punk in Stratford-On-Avon in 1977 by baked beans for tea.” having the shit kicked out of him on almost an hourly basis. His own family had little money, since his mother (now dead) was an unsuccessful artist and his father was “permanently unemployed” (taxi driver, ice cream van driver), And I think “Me and Brett would go and see the Smiths in Brighton.” Says Osman “And you’d see rugby players down the front with their arms round each other – very strange – and you’d know that

these people kissing each other’s necks were the overdoing-it limpwrist warbling untold same people who were going to beat you up on perversions in music-hall cockernee. (estuary the way back to the station.” english) As one pledged to looking “quite chic, quite special”, Brett was an obvious target of grief “Everywhere you went, there was always the threat of someone beating you up.” He sighs “Everyone was always pushing themselves towards being some sort of sexual, potent, violent character all the time. And Suede emerged from that smog of small town violence, Anderson and Osman have been making music together since they were “about 14”. Early catastrophes were survived (one prototype demo is voted “a horrible twee perfect pop piece of crap” by Brett now) and when they pocked up Butler through an NME ad (which actually did say: “No musos”), they knew that they were on to something. Osman and Anderson maintain that they’ve known since age 16 that they would be in a shudderingly successful and very brilliant band.” But they were learning. Bernard Butler was brilliant anyway, and Anderson’s writing was showing signs of a definite peculiar skill. All they needed was to work as a songwriting partnership. (Meanwhile Justine left the band) One day they got it right. And they swear the glam rock sound is wholly accidental. “Well,” sighs Anderson “We’re a guitar band, and that’s the accidental sound we’ve arrived at. We’ve grown up playing venues where you have to be blatant about what you do. I think a lot of glam music was quite blatant, quite teenage, and that’s the accident we’ve arrived at. There were a lot of definite points made in the 70ies and recent guitar music has tended to be very obscure. We do have a desire not to sound like that, I guess.” Osman is more forthright: “I came from a background where any excitement or any degree of extremity came through records. If you took me when I was 13 or 14 and said. Show me something glamorous, sexually bizarre and talented, I’d have pointed you to my Bowie records. And if you listen to it every day for five years, it’s imprinted in your memory cells. You can’t help it. Your fingers move that way. It feels right.

They (moved to London and) went on to record their first single “Be my god/art” (produced by Mike Joyce) in 1990. The band in those days was Anderson, his girlfriend Justine on guitar (who inspired the name of the band after a laundrette in Stoke Newington), Butler and Osman (and drum machine). They were “unripe musically”. They needed a drummer. So they advertised for a Mat Osman is shooting pool in the studio temporary one. kitchen. A quick appraisal of his physique, haircut and attire conforms that, sure enough, “And Mike Joyce walked in” laughs Anderson this man could walk into Mott the Hoople circa incredulously “He just randomly answered the Honaloochie Boogie. ad. One of the most incredible things ever to “Hmm” he considers “I just can’t understand the happen to us. It was like Jim’ll Fix. A beautiful way they’re always singing about being in Mott guy, though. He was so helpful.”. The single the Hoople and how awful it is. Incredibly never materialised (it’s the one named above arrogant. Mind you, give us 10 years and it’ll which was printed but not distributed), hence the probably be the most meaningful music I’ve ever legal wrangling with the label boss, who heard.” apparently thinks now is the suitable time – and suede embarked on the long and painful process Bernard Butler is nowhere to be seen, ferociously of becoming famous by playing gigs. avoiding those who might bug him. “We were useless.” Says Anderson. And they were despised. Gigs throughout 1990 and into 1991 were a mixture of catcall cacophonies and silence, as audiences were trying to get their collective heads round a bunch of mincing glam primadonnas in crimplene, fronted by a seriously Simon Gilbert is trying to persuade Brett to reconsider his power of veto on one of the songs tentatively lined up for the album. But the veto is such that if one member of Suede isn’t happy with the song, it gets dropped immediately, so – out it goes.

“I have high expectations.” Grimaces Osman over a tricky cannon “I think there is a curse of low expectations in British music at the moment. The curse of the mediocre – oh, it’ll do. The march of the average. Well, no, it won’t bloody do.” r. French Review by xavier : released by nude records/ epic 1992 uk Suede » serait-il une nouvelle illustration de ce postulat selon lequel les grandes réussites, les grands albums sont le fait de rencontres marquantes, de confrontations novatrices ? En restant en Angleterre, on se souvient que David Bowie et Mick Ronson avaient été identifiés comme tels, Morrissey et Johnny Marr également. C’est précisément sur ces deux bases, on ne peut plus recommandables, que Suede nous avait été introduit en 1993.

s’engouffreront dans cette brèche en cristallisant le mouvement, établissant ainsi des carrières durables - Supergrass, The Boo Radleys, Oasis, Blur. Mais dans ce contexte de début des années 1990 où le grunge fait rage outre Atlantique, c’est bien Suede qui, en Angleterre, tient la barre de la pop à tel point que ce disque a été, sur certaines éditions, baptisé symboliquement « The London Suede »... Translation: suede album - released by nude records/ epic 1992 uk - review by xavier paf-paf fr. translation: zebras54 2004

Suede would this be a new illustration of this postulate: the great successes, the great albums are the result of marking encounters, innovative confrontations? Staying in England, we remember that David Bowie and Mick Ronson were identified as such, Morrissey and Johnny Suede, c’est d’abord le charme de l’esthète Brett Marr as well. The album Suede was introduced Anderson : des vocalises passionnées et to us on precisely these two bases, - which could romantiques, des mimiques de scène maniérées not come more recommended. mais juste ce qu’il faut pour ne pas tomber dans le pompeux, des emprunts au glam dans son côté théâtral mais en laissant de côté les bouclettes, le Suede it is first the charm of the aesthete Brett maquillage et les déguisements. Suede, c’est Anderson: passionate and romantic vocalises, aussi toute la virtuosité du guitariste Bernard mannered mimicry on stage but just enough not Butler : des rythmiques, des solos, des arpèges le into the pompous, borrowings of glam from the tout baignant dans un subtil dosage d’effets du theatrical side but leaving aside curly locks, type flanger, fuzz ou e-bow. Sacré boulot make up and disguises. d’enregistrement mais aussi sacré boulot en concert quand on sait qu’il fait ça sans aide. Aux postes de bassiste et batteur, Mat Osman et Suede it is also the virtuosity of guitar player Simon Gilbert portent le fertile duo avec justesse Bernard Butler: rhythms, soli, arpegio - all of this et assiduité. Ce premier album aligne de bathing in a subtle dosage of flanger, fuzz or epuissants hymnes rock - « Animal Nitrate », « bow. What a heck of a recording, but also what a Metal Mickey », « Animal Lover » - sur lesquels heck of concert when it is known that he does so Anderson contribue à forger des refrains without help. Posted as bass-player and particulièrement entraînants à l’aide d’une très drummer, Mat Osman and Simon Gilbert bring juste maîtrise du tambourin. Le disque propose accuracy and assiduity to the inspired duo. également des titres comme « Pantomime Horse », « Sleeping Pills » ou encore « Breakdown », This first album lines up powerful rock anthems plus calmes, plus noirs mais tout aussi prenants. "Animal Nitrate", "Metal Mickey", "Animal Enfin, non content de placer ses terribles talents Lover" on which Anderson contributes to forge de guitariste, Butler s’offre deux parties de piano particularly catching choruses with the help of a - « So Young », « The Next Life ». very accurately mastered tambourine. The record also offers titles like "Pantomime Horse", C’est grâce à cette première œuvre éponyme que "Sleeping Pills" or else "Breakdown" which are Suede posera, en premier, les fondements de la calmer, darker but as much catching. Finally, not touche Brit Pop - même si les Stones Roses happy enough only to place his amazing talents avaient déjà pas mal déblayé le terrain. De as a guitar player, Butler treats himself with two nombreux artistes d’influences plus diverses parts on piano "So young" and "The next life"

bend? it is thanks to this first eponymous work that suede, as the first band, put the foundations of . . . ever tried it that way, have you ever tried the Brit Pop touch - even though the Stone Roses it that way? had quite cleared the site. Many artists with various influences would go through this opening by crystalising the movement, thus establishing long lasting careers - Supergrass, the Boo Radley, Oasis, Blur. But, in this context of the beginning of the nineties where grunge was all the rage beyond the Atlantic, it is very much Suede who in England, held the level of pop so high that this record was on edition symbolically baptised "The London Suede".

Pantomime Horse anderson / butler i was born as a pantomime horse ugly as the sun when he falls to the floor i was cut from the wreckage one day this is what i get for being that way well did you ever, did you ever go round with them? well did you ever, did you ever go round the bend? i was conned by a circus hand tragic as the son of a superman "i would die for the stars” she said this is what i get for my beautiful head well did you ever, did you ever go round with them? well did you ever, did you ever go round the

dog man star

anderson / butler there was a girl who flew the world from a lonely shore through southern snow to heathrow to understand the law there was a boy who loved the noise of the underground he left the coast and overdosed on that london sound he said, "i don't care if you're black or blue me and the stars stay up for you i don't care who's wrong or right and i don't care for the uk tonight so stay, stay"

released 10th october 1994 nude records formats: lp/mc/cd (nude3lp/mc/cd) 01 introducing the band 02 we are the pigs 03 heroine 04 the wild ones 05 daddy's speeding 06 the power 07 new generation 08 this hollywood life 09 the 2 of us 10 black or blue 11 the asphalt world 12 still life members of the band: Brett Anderson (voc, lyrics), Bernard Butler (music, guitar, some arrangements, some piano), Mat Osman (bass), Simon Gilbert (drums) Produced by Ed Buller, guest musicians: London Sinfonia during live tour: Richard Oakes replaces Bernard Butler

and then one day she moved away from those garden walls she left some flowers, he smoked for hours she understood the law i don't care if you're black or blue me and the stars stay up for you i don't care who's wrong or right and i don't care for the uk tonight so stay, stay, stay, stay there was a girl who flew the world And those shoes, Q magazine Brett Anderson’s footwear is battered and gaping; he constantly picks at the stitching, whose valiant attempt at holding the leather flaps into shoe-shape will soon be over. The hems of his trouser legs have been taken up and hand sewn on the inside, a party to which no iron was invited. The word scruffy simply doesn’t suffice. For a band seen as fashion plates, style gurus, trend setters, Suede are a delightfully, shabby bunch. For all claims of flamboyance and camp, Suede sport a very sensible shoe, as it were. Perhaps this is another part of their charm, a cherishably dog-eared ordinariness. ](Mat) Osman, no slouch in crap V-neck thermal and a pinstripe jacket he’s had on since the first gulf war opines, “I’ve always liked vain people. We live in seriously unflashy times. I like people

Black or Blue

who stand up to be ridiculed.” Talking to Q (Andrew Collins) two days later in BBC’s Maida Vale studios (they are live on Emma Freud’s Radio One show) Anderson clarifies the difference between how they look and what they do:

walked into the collaboratory studio in France and decided “Oh, I get it. You’re the AntiChrist” and exited, stage left. His reputed response was “I’m not the Anti-Christ, I’m Bernard.” It would be fanciful to suggest that Dog Man Star’s high drama and bold excess were fuelled by internal tension between Sir Anti-Christford and the rest of Suede, but at least he was professsional enough to finish the work before he hopped it. On its making, (Simon) Gilbert enthuses: “They talk about difficult second albums; this was easier than the first one. Well… at the beginning it was. And at the end… the very end.”

“If you want to call me some stupid fop, or a ponce, that’s fine – but just listen to the music. The music is much better than our image. Our image is shit. We don’t really have one.”

“We’re Suede. And we are back.” Anderson’s first words as he mounts the bonsai stage at Raw, couldn’t have been better chosen, heading off at the pass all those ambulance chasers who would At any rate, it seems agreed that the finished have happily seen Suede fail in their darkest days product is a towering testament to Anderson, thus far. It didn’t happen. Butler, Osman and Gilbert – Suede Mark 1. Dog Man Star, unleashed to ecstatic reviews is according to Brett Anderson, “three times better” than the debut. Suede who has now sold a quarter of a million. (“there were some big flaws on the first album, looking back I wouldn’t have had Moving or Animal Lover on it”) Osman says “10 times better”. It’s a lot better. And it had to be. When “Suede” was released in March 1993, the vultures were already checking their callendars for the Suede backlash. But it never came. Suede never once lost their cool, unless you count Stay Together (the first single after the album) only entering the charts at Number 2. The front covers kept on piling up, as did the odds against them. “I don’t know why people hate us so much” ponders Anderson “Maybe because we are in their faces.” He tells a tale of a rep from their record label Nude going into Tower Records to check on the sales of the new LP and a thoroughly fed-up assistant reporting: “Suede, Suede, Suede and more bloody Suede”. “There is this theory that we couldn’t have failed, which is absolute twaddle. It would’ve been so, so easy for it to have all crumbled.”

If Dog Man Star’s music is the sound of a door being closed for good, then Anderson’s lyrics are its written guarantee. Suede are a going concern. These words, sometimes ridiculous, sometimes alarming, conjure a netherworld where nuclear threat is rife, a peculiar urban squalor patched up with postcards brought from Athena in 1981. Brando, Monroe and Dean are its heroes; pigs, blood, drugs, and concrete its hard reality. (He knows that James Dean as an icon in the song “Daddy’s speeding is “utter cliché” but defends the usage as a snook cocked to all those Suede watchers who still expect cosy British themes: “They’re better songs than if they’d been about Dad’s Army) Anderson’s sixth sense for dirt and depravity is obviously linked with his well documented appetite for drugs. He regrets being so frank in interview and yet his lyrics give him away (“I need my heroines/aching, being dying for hours, and “I supply her with ecstasy) “Some of the things I say in interview must sound really crappy” he admits “I can’t help it, I am crappy sometimes. Who really gives a shit if someone takes drugs? Everyone takes them anyway. I only mention it because it’s as much part of my life as sitting here drinking coffee.”

The exact details of Butler’s departure are still veiled in mystery. He’s been AWOL ever since, and apocryphally at least, his first post Suede But not everyone takes drugs. The majority of “project” with former All About Eve singer Suede fans don’t take drugs. Juliette Regan ended when, one morning, she

“No? Perhaps you get a distorted image living in Written by Anderson/Butler the city. But even people in the sticks do cider and cigarettes.” Produced by Ed Buller, 1994 Song duration - 4:19 …. As they storm Raw in (relative) secret, it still Track 2 on the album "Dog Man Star" feels like Suede belong to “us”, whoever “we” Track 19 on the album "Singles" are. (…) Suede's 6th single “People are always going to think that this band is just about to fall apart.” Concludes Osman “I look at people like R.E.M. and Paul Weller and sometimes I’m really jealous of the goodwill they generate. People were desperate for that R.E.M. album to be good. It’s never going to be like that for us; there are always going to be huge gangs of masked men with baseball caps waiting for us. Come on, fuck up, fuck up! It’s always one crisis after the other… Well the church bells are calling Police cars on fire And as they call you to the eye of the storm All the people say "Stay at home tonight" I say we are the pigs, we are the swine We are the stars of the firing line And as the smack cracks at your window You wake up with a gun in your mouth Oh let the nuclear wind blow away my sins And I'll stay at home in my house I say, we are the pigs we are the swine we are the stars of the firing line But deceit can't save you so We will watch them burn

a review:

Instead of following though on the Bowie-esque glam stomps of their debut, Suede concentrated on their darker, more melodramatic tendencies on their ambitious second album, Dog Man Star. By all accounts, the recording of Dog Man Star was plagued with difficulties -- Brett Anderson wrote the lyrics in a druggy haze while sequestered in a secluded Victorian mansion, while Bernard Butler left before the album was completed -- which makes its singular vision all the more remarkable. Lacking any rocker on the level of "The Drowners" or "Metal Mickey" -only the crunching "This Hollywood Life" comes close -- Dog Man Star is a self-indulgent and pretentious album of dark, string-drenched epics. But Suede are one of the few bands who wear pretensions well, and after a few listens, the album becomes thoroughly compelling. Nearly every song on the record is hazy, feverish, and heartbroken, and even the rockers have an insular, paranoid tenor that heightens the album's melancholy. The whole record would have collapsed underneath its own intentions if Butler's compositional skills weren't so subtly nuanced and if Anderson's grandiose poetry wasn't so strangely affecting. As it stands, Dog Man Star is a strangely seductive record, filled with remarkable musical peaks, from the Bowieesque stomp of "New Generation" to the stately ballads "The Wild Ones" and "Still Life," which are both reminiscent of Scott Walker. And while Suede may choose to wear their influences on their sleeve, they synthesize them in a totally original way, making Dog Man Star a singularly tragic and romantic album. ~ Stephen Thomas Erlewine, All Music Guide

observed a lone young man strolling the streets in a vaguely distracted condition. While the shoppers bustled by and the bunked off school kids ran for the nearest park, the tall, towsel released 2nd september 1996 haired figure would move at a slower pace, nude records slightly out of time with everything but the lp/cd/mc (nude6lp/cd/mc) 01 trash 02 filmstar 03 lazy 04 by the sea 05 she stirring litter. In one hand he'd be cupping a 06 beautiful ones 07 starcrazy 08 picnic by the cigarette, in the other there'd be a dictaphone which he occasionally hummed or half-sung into. motorway 09 the chemistry between us 10 His petrol blue eyes would flicker with a benign saturday night proprietal light. Sometimes he'd step off the pavement as if unaware of the traffic. produced by Ed Buller Band members: Brett Anderson (voc, lyrics), Neil Codling (keyboards, some music), Richard With the "Dog Man Star" tour over, Brett was Oakes (guitars, some music), Mat Osman (bass), back in West London. The Edgar Allen Poe like environs of Highgate had been left behind for a Simon Gilbert (drums) more human, sunny flat in Ladbroke Grove, allowing Sphinx, his Persian cat to sunbathe in trash comfort and Brett was set about writing the next anderson / oakes album in a more tranquil frame of mind. (....) maybe, maybe it's the clothes we wear, the tasteless bracelets and the dye in our hair, This time around he wanted to write directly and colloquially. In consideration of his flatmate and maybe it's our kookiness, to avoid fights with the neighbours, he had one or maybe, maybe it's our nowhere towns, our nothing places and our cellophane sounds, room soundproofed and for ays he'd pace the padded mini-studio, working on ways to translate the chemically, sexually, joyfully insane lives of maybe it's our looseness, his small circle of friends into songs. but we're trash, you and me we're the litter on the breeze, When inspiration wasn't coming he'd wander off we're the lovers on the streets, outside, maybe head out to some forgotten edge just trash, me and you, it's in everything we do, it's in everything we of town and record his free'd up melodies and thoughts into a dictaphone. Occasionally a mad do night at getting high would kick him into the maybe, maybe it's the things we say, the words we've heard and the music we play, right frame of mind. He was taking time to do some groundwork too. Saul Galpern from Nude maybe it's our cheapness, Records was sending him records over. T Rex's oh maybe, maybe it's the times we've had, "Tank" made a big impression for the first time. the lazy days and the crazes and the fads, He'd never listened much to Bolan in the early maybe it's our sweetness, years when critics were fingering him as a glam but we're trash, you and me, rocker and in the same way, after years of being we're the litter on the breeze, told that there were similarities, he finally started we're the lovers on the streets, listening to Scott Walker. Brian Eno's early just trash, me and you, edgey solo pop also took few good spins on the it's in everything we do, CD player. This time around he wanted the kind it's in everything we do . . . of simplicity and gleaming metal hooks that cut through even while you were doing the ironing.

Coming Up

By a coincidence of instinct, Richard Oakes was meanwhile putting together tunes in a bristling, sweetly vicious fuzz rock style. Brett would come over and sing him vocal lines. With surprising speed they put together "Trash", "She" As the summer of 95 faded, residents of some of and "Saturday Night" and as soon as they were London's less chic perimeters might have written the mood picked up. At last they knew

for sure that the Anderson/Oakes team really could produce a great album. Written by Roger Morton - The Beautiful Ones ISBN 1-873884-80-X ufo music ltd 1997 Reviews in quotes: 3 Stars (out of 5) - ...Suede get back to pop basics, offering concise melodies and taut, brashly energetic arrangements... Rolling Stone (05/29/1997) 8 (out of 10) - ...Swinging free of their past, ignoring the football present, Suede concentrate on one sweet, super-trebly corner of the world. Madly devoted flash hounds, they erase the distance between 1973 and 1997 and triumph at their own game. Spin (05/01/1997) 5 (out of 5) - ...Suede view this album as a brandnew beginning, and though the themes are familiar, low life and loveless, in many ways they're right....Busy, brave, bright, that's COMING UP... Alternative Press (02/01/1997) Ranked #96 in Q's 100 Greatest British Albums ...A glam-rock crunch redolent of DIAMOND DOGS-era Bowie, while visualising mid-'90s youth as bored teens and beautiful losers. In their neon-lit world, the kids only come alive via pills, booze, sex and music... Q (06/01/2000) ...Suede return with a determinedly harder yet more buoyant offering. There's atmosphere aplenty, but radio-friendly nuggets rather than glam, histrionic set pieces are the order of the day. - Rating: B+ Entertainment Weekly (05/02/1997)

picnic by the motorway anderson / oakes i'm so sorry to hear about the news, don't you worry, i'll buy us a bottle and we'll drink in the petrol fumes, i'm so sorry to hear about your world, don't you worry, there's a gap in the fence down by the nature reserve, hey, such a lovely day, such a lovely day, such fun, looking at the lovers in a lay-by with my little one. i'm so sorry to hear the news today, don't you worry, there's been a speeding disaster so we'll go we'll go to the motorway, i'm so sorry to hear about the scene, don't you worry, just put on your trainers and get out of it with me, hey, such a lovely day, such a lovely day, such fun, looking at the lovers in a lay-by with my little one, hey, such a lovely day, such a lovely day, such fun, looking at the lorries in the litter with my lovely one, we could go dancing, we could go walking, we could go shopping, we could keep talking, we could go drinking, we could sit thinking, we could go speeding, or we could go dreaming, see? oh hey . . .


Written by Anderson Produced by Steve Osborne, 1999 Song duration - 6:12 Track 5 on the album "Head Music" All the people in your life say you're down And the strangers in the night say you're down And the loonies on the right say you're down You're down And the ambulances sigh that you're down And the traffic speeding by say you're down And the people in your mind say you're down, you're down

Published by Nude Records (Bare Tunes) – Epic/Sony released 3rd may 1999 NUDE 14 UK Release Date: 03-05-99 1. Electricity 2. Savoir Faire 3. Can't Get Enough 4. Everything Will Flow 5. Down 6. She's In Fashion 7. Asbestos 8. Head Music 9. Elephant Man 10. Hi-fi 11. Indian Strings 12. He's Gone 13. Crack In the Union Jack Produced and Mixed by Steve Osbourne for 140db. Cover by Nick Knight, Peter Saville, Brett Anderson. Designed by Howard Wakefield and Paul Hetherington at Commercial Art members: Brett Anderson (voc, lyrics, some music, some acoustic guitar, some weird name stuff), Neil Codling (some keyboards, some music, some lyrics), Richard Oakes (guitar, some music, some keyboards), Mat Osman (bass), Simon Gilbert (drums)

Hey, you chase the day away, Hey, you draw the blinds and blow your mind away, There's a sadness in your eyes, And there's a blankness in your smile, And the people in the park say you're down, And the strangers in the dark say you're down, And the pissheads in the bars, say you're down, you're down And the audiences cry that you're down, And the ambulances sigh that you're down And the boyfriends and your love say you're down, you're down Hey, you chase the day away Hey, you draw the blinds and blow your mind away, There's a sadness in your lite, There's a madness in your smile Hey, you chase the day away Hey, you draw the blinds and blow your mind away, There's a sadness in your lite, There's a madness in your smile"


Richard was well aware that the next record wasn’t going to be a traditional guitar record, but while Neil was getting more and more interested in synthesiser experimentation, it left Richard in a bit of a pickle. “It kind of meant that I didn’t really know what to write, because I always write on guitar.” He admits “I always write from a fairly straightforward classic point of view. I always write imagining a verse and a chorus. Neil was far more… he’d write vibe pieces. And he was doing some great stuff. He did the demo for “She’s in fashion”, which was called “Gloopy Strings”. It was like something out of Doctor Who at that point! He did a lot of really innovative stuff and I was really into it as music, but there was no way, I could have written like that. I couldn’t find my way around a sampler. I knew how to play the guitar but, especially with Brett, that wasn’t what he wanted to hear.” Oblivious to the concerns of his colleagues, Brett was still full of enthusiasm for the next album, soaking a huge range of influences. He became increasingly excited by dance music and hip hop. “One night… Justine played me Tricky’s “Black Steel”, he remembers “I simply couldn’t stop playing it. I loved the dark groove and the voice but most of all I loved the words. They seemed to sum up generations of racial anger. They were written by Public Enemy.” “While we were touring Coming Up in Asia, I started to read about Eastern philosophy and began to practise meditation.” He says “There were no religious implications, only philosophical ones. The concept of ultimate enlightenment, Satori, is very seductive. “Everything will Flow is an obvious example of this fixation with the karmic laws of cause and effect, but Asia had a musical impact too as witnessed by the bent string motifs of Indian Strings, She’s in fashion and Everything Will Flow. “The initial concept for “Indian Strings” was to get that tinny Bollywood string sound” says Brett, who had also begun devouring literature for virtually the first time in his writing career. “I read the Outsider by Camus around 1998. Its bleak, blank, observational style made me want to write in a less romantic, flowery way. I later discovered Michel Houllebecq, whose obsessions with sex and depression seemed to mirror my own.” He had converted the summer house at the bottom of his garden into a studio where he

wrote the bulk of the material that would form “Head Music”. “Can’t get enough” – his personal Lust for Life – and she’s in Fashion based around a loop called “Gloopy Strings”, were both based on tapes sent by Neil, while the deeply personal Indian Strings and Down about his slide into crack addiction, were solo works. “These songs were the first I had written using eighttrack rather than four-track portastudios and these songs were the first I had written around technology like Juno synth, loops and drum machines rather than acoustic guitars and pianos.” He says “I was trying to do Prince, Tricky and Krautrock…” Written by David Barnett – Love and Poison (2003) Andre Deutsch Publishers London

Press release review: In mid-1998, SUEDE set about recording their fourth album and the thirteeen songs which you are going to know and love as "Head Music". They changed producers from Ed Buller to Perfecto's Steve Osborne who was responsible for the early Happy Mondays' seminal work ("Loose Fit", "Kinky Afro" et al ) and changed direction too. Brett said after the last LP that he wanted to make a less emotional record (by which, I guess, he means more honest since emotions get in the way sometimes) but if you think that's gonna make it difficult to engage then you've got another think coming: because "Head Music" will be fucking wired to your head. It's a colder record, sure, but it's hungrier and angrier too and surely how a rock record should sound in 1999 - a blazing, twenty-first century rock 'n' roll of a type that couldn't be made anywhere else in the world. It opens with "Electricity", the first single, which is a huge, life affirming, classic Suede pop song that's as hard-edged and spikey as any Suede single so far. On it, there are elements of Pistols and Hendrix and a chorus that you could probably eat if you could grab hold of it quick enough - "oh, it's bigger than the universe/it's bigger than the two of us/oh, it's bigger than you and me/we got a love between us and it's like electricity." …For the record, Brett has said that this is just meant to be a simple love song. Cheers. The dark sensibility prevalent on "Electricity" is continued on "Savoir Faire" which, at the risk of being accused of being oxymoronic, is probably the most modern song ever recorded. Brett has said this is his favourite ever Suede track and the key track on "Head Music" and you can see why; it's funky, Prince-like in parts and as cold as you can get - a remote, alien woman might make love and "swallow a Dove in her room" (rather than kissing to a popular tune) here but earlier she is cooking up crack to give us a heart attack. Firm but fair you'd have to say. "Can't Get Enough" follows and starts like "She's Lost Control", all mechanised synth drums and weird FX before turning into an ever-so psycho punk rock song about needing another fix. It's a really exciting song (Gilbert's favourite and you can just imagine the frenzy this is going to create live.) After this we get "Everything Will Flow", which is possibly the warmest track on the LP and a big

string-laden ballad that's sure to make it as a single further down the line."Down" (sorry) is, quite simplly, breathtaking: Written as a backdrop to the aftermath/comedown… you are shamed into silence: "And the ambulances sigh/that you're down/ And the pissheads in the bars/say you're down" says it all really if you've ever been here. If you had an opinion about "Head Music" before you hear it then you should probably listen to "She's In Fashion" which comes up next. Tipped as the second single, and featuring "oriental" keyboards (thanks, NME), this is probably Suede's brightest, lightest moment ever. Deliberately ironic, it is sure to be a huge hit (not just on the catwalk) not least because Brett manages to make the line "and she's as similar as you can get/To the shape of a cig-ar-ette" sound so gloriously decadent. To follow, "Asbestos" is probably the spookiest Suede song around these parts but it's also probably their sexiest. This is a very groovy song that features the kind of casually magnificent guitar that's become a Suede hallmark, “big time” trumpets and "suburban girls making eyes at suburban boys." A very, very slinky number for Suede to pull off at this stage. "Head Music", the title track (not the LP) slides through the open door marked Track 7 next and is about as rude as it gets. "Give me head/Give me head/Give me head" Brett intones before slipping in "Music instead" as the kiss off. This'll remind you of a fucked-up and slowed-down "Breakdown" by the Buzzcocks (with more chic thug appeal), is all too brief and is the first time Suede have deigned to offer us a title track. And I think that means something. Hot on its heels, comes "Elephant Man" which is written by Neil Codling, has elements of the Fall at their best and appears to conform to the Suede edict of "apartness": Suede are the Elephant Men and "people wish that they weren't around/when we rock and roll into town." The last four tracks on "Head Music" are stunning. "Hi-Fi" is another groovy, sexy, otherworldly number that Kraftwerk might have come up with if they'd had the foresight and circumstance to record with Steve Osborne in the "white city " of London in 1999. "Indian Strings" is a beautiful-yet-forlorn, orchestral, Eastern-

influence ballad (almost a continuation of "My Dark Star") that's about as sad as you can get particularly as it features the line "and you'll see my heart is broken too/cos I've seen the re-al you". "He's Gone" is more upsetting still and presumably concerns the fall-out from a relationship as Anderson places himself asexually in the centre of the drama; I defy anyone who comes up with a better stanza than this: "Like the leaves on the trees/Like the Carpenters song/ Like the planes and the trains and the lives that were young/He is gone and it feels like the words to a song" – heartbreaking. And finally, "Crack In The Union Jack" which Brett has said is "the closest we've ever come to an overt political statement" and I guess might remind people of the Costello/Stone Roses acoustic codas of the '80s if only because ,duh, it's acoustic, political and it signs off the record. It's more subtle than this, mind you, and maybe a lot more apocalyptic in vision: "Saw it on the news today/Heard the lonely people say/There's a great big crack/In the union jack." You should make up your own mind. Mat Osman has said that the current Suede lineup only really became a band after they finished recording "Coming Up" and if that is the case then "Head Music" certainly has the feel of an extraordinary debut. It might be the least "themed" of any Suede record to date - and the most difficult to pigeonhole - but it is also the most modern record you'll ever get to lay your hands on. And again, in Suede's case, this is not an oxymoron. "It's like modern art. When you see a piece of really good modern art, you see a really good painter who has managed to describe forms with minimal strokes of the brush. That's what I want to do. Keep it to a minimum." Brett Anderson. 1999. Written by Saul Galpern, Nude Records, 1999

so many games to play see the blue suburban dream, under the jet plane sky, sleep away and dream a dream life is just a lullaby oh, and everything will flow watch the day begin again, whispering into the night, see the pretty people play, hurrying under the light, a million cars, a million trains, under the jet plane sky nothing lost and nothing gained life is just a lullaby oh, and everything will flow the neon lights in the night tonight will say "everything will flow" the stars that shine in the open sky will say "everything will flow" the lovers kissed with an openness will say "everything will flow" the cars parked in the hypermarket know "everything will flow"

Everything will flow anderson / oakes watch the early morning sun, drip like blood from the day, see the busy people run,

A NEW MORNING released: 30-09-2002 label: Sony 508956 producer: Stephen Street List of songs: Positivity, Obsessions, lonely girls, lost in tv, beautiful loser, streetlife, astrogirl, untitled morning, one hit to the body, when the rain fall, plus you belong to me, hidden track:

Suede are Alex Lee (guitar, clavinova keyboards, harmonica), Richard Oakes (gibson guitar), Simon Gilbert (drums), Mat Osman members: Brett Anderson: (voc, some acoustic (bass), Brett Anderson (vocals, lyrics, guitar and perc, some music, lyrics), Alex Lee percussions) (keyboard player Neil Codling (and (guitars, clavinova, keyboards, harmonica), Simon's cousin) had to take early retirement in Richard Oakes (some music, some keyboards, 2001 due to ME disease – (edit 2010) he now guitars), Mat Osman (bass, some music), Simon makes music for Pearl Lowe, Faithless, Talvin Gilbert (drums, some music) Singh, and his band Barry O Neill, played (Neil Codling gets credits for some music but left keyboards on some Brett Anderson solo live the band in 2001) dates and joined Penguin Cafe Orchestra in 2009 guest musicians: Millenia Strings ...morning (Anderson) A new morning" sleepy head get out of bed the big bad world is calling step in your shoes and catch the news it’s another morning morning it’s morning morning it’s morning again review " a new morning is what it feels like to survive and come out the other end with a revitalised joie de vivre. it’s an album that somehow manages to combine all the best bits of previous suede records and still sound remarkably unique." says about the album . reviewer is glad to hear that!

Oceans produced by Stephen Street

Three years in the make, produced by Stephen Street of The Smiths, err Blur (Parklife) fame, rub your eyes as nature sighs Stephen Street also produced "Disgraceful" by the population’s yawning Dubstar which to me was a classy record,(A as you step in your shoes there’s so much to record sounding like Beck was not really what do Suede wanted so that's why they parted company with Tony Hoffers, who produced Sea Changes, it’s a brand new morning mind you the producer of the new Beck album morning it’s morning called Nigel Godrich did produce the first morning it’s morning again McAlmont&Butler album. Hence the Suede family might know a thing or two about arty pop and all around this cardboard town the cops music and if they listen to Cohen and are crawling Bacharach...! And how does the music on that the sirens scream and break your dreams record sound? Read on what a lefthanded guitar it’s morning player has to say: "A new morning is a it’s morning surprisingly harmonious affair with a lot of it’s morning piano, acoustic guitar, beatleresque choirs and lyrical bass-lines from the hands of the much underestimated Master Mat Osman ( cut cut cut, ed ) the wonderfully beautiful songs "When the rain falls" and "Lonely girls" prove that, it is still worth to go on giving an inclined listen to this band" (writes Now Magazine, Austria) hmm bringing the Beatles in a Suede review, lovely so you heard everybody? listen to this album!!! . Well, there is a bit of Cohen and Bacharach in those lyrics, "Beautiful Loser" reminds me of a book by Leonard Cohen. Here is the dejected perspective of some mislaid pre-fab surburban place by the sea where nothing happens on a wet weekend, stuck with TV and music, and lots to

read.. . This New Morning album has been on the actual recording.” nicknamed by friends of mine "happiness in a Suede kind of way", rather that than being street life troubled and confused . They just know how to (Brett Anderson/Alex Lee) make their fans happy keeping telling them - us about being beautiful, and inviting to sing along. street life into the night with the syncopated Yes, there is a huge difference between melodies superficial flattery and a heartfelt compliment, street life look left look right you’ve got lips and they know it.... the band's record collection is from a magazine always interesting, they like the sex pistols, the cheap sound that comes from underground Smiths, David Bowie, T-Rex, Prince, firm communicates to everyone favourites Air, Beck, Stina Nordenstam, street life it’s alright you get your tips from a Supergrass, Robert Wyatt, The Flaming Lips and popular song some more unusual names like The Yeah Yeah Yeahs, The Libertines, The Streets, Oxide and it’s the beat of the concrete street that you’ll Neutrino. love for a million years it’s the sound that comes from underground After listening to Bound Da Reload, I conclude that’s got you clapping that Streetlife is an accurate portrayal of some got you shaking your rears modern urban life and some of the music, the anger, the fast pace and the tenderness. Suede, as street life Q magazine said in 1993, roots lie in working- street life step to the mike with your sexual class, early 80ies Britain. The thing is, they don't equality look like it, as Mat Osman ruefully concedes "If street life look left look right you’ve got lips we were the tea-drinking fops that we're made from a magazine out to be, we'd probably all Seattle grunge chic cheap sound that comes from underground is types by now". The band has been keeping up like a bass drum kicking along with the fast pace of a changing society and street life sweet life cheap life it’s street life chronicling about it with their chosen style, there going on and on is no need for them to follow a trend, they make their own, give their opinions, just most people to the beat of the concrete street you can live would do, in this case much to the surprise of for a million years Oxide and Neutrino and their contempories, the dumb sound that comes from Brett Anderson decided to give his opinion on underground that’s got you clapping their music and the people who listen to it. got you shaking your rears street life Musically, the album is versatile yet coherent. It is melodic and accessible. The songs are full of it’s all you know characters and scenes and small stories combined it’s all you see with some words of uplifting wisdom and it’s all you follow foolishness: it’s all you believe “the record’s about looking at life a different way i suppose,” ponders Brett, “looking at life as something that’s potentially ‘great!’ instead of troubled and confused.” and the title? “for me it’s a symbol of a new start for the band. it isn’t suddenly a reggae record or a swing record or anything like that. it’s definitely a suede record. but it seems like there’s a sense of freshness injected into it. when we were making the record i was feeling very excited about life and hopefully some of that vitality has come across move your feet to the concrete beat and you can live for a million years to the sound that comes from underground, clap your hands get shaking your rears street life

glauben? Die Steine bleiben so dahingeworfen zwischen uns. Der Stein, also Come On ist im Tschechischen ein Kamen mich hat dies an ein Come on SUEDE werfen keine Steine nach. Das ist eindeutig nicht ihr Stil. Aber sie haben deren Gehalt und Dichte. SUEDE sagen come on auf ihre unnachahmliche Art und Weise und ich habe darin den tschechischen kamen gehoert wie planken schlittern, denn SUEDE stehen fuer bewegung und Kontur. Ich habe in den ersten Zeilen dieses Textes ein paar Saetze von SUEDE frei kombiniert. Ja, SUEDE sind kompatibel mit sich selbst, ihre Texte gleichen kompakten Einheiten und nehmen schnell Tempo auf. Sie koennen beliebig gelesen und neu zusammengesetzt werden, verlieren dabei mitunter sogar etwas kontextuellen Ballast. SUEDE entdecken etwas Buntes in der Welt, und sie entdecken es von der Strasse aus - und nicht von einem sterilen Penthouse. Jeder Tag bringt etwas Neues, das Neue ist etwas Gutes, und das Gute stirbt nicht. Die Schatten bleiben . So koennte es Brett Anderson vielleicht auch sagen.

Review – in German/ English translation follows "Rezension SUEDE A new morning. Von Michael Stavaric

(poet, translator (czech/German) and writer from Brno, born 1974, author of "Without Wings" (Fluegellos) , tagwerk.landnahme.ungelenk (a clumsy mapped dayjob") - Ed Vabene/Red&Guilty) cultural secretary for Czech embassy in Vienna, assistant to Jiri Gruza, hobbies icehockey and rollergliding, music: Czech, and Rage against Melodisch gelingt SUEDE eine gute Mischung zwischen Stimme und Instrument, wobei das the Machine/Audioslave letztere stets weichen muss, damit die Texte atmen koennen. Eine gute Wahl und absolut (he reviews A new Morning plus a cassette with empfehlenswert. come on SUEDE. See you in Filmstar, Trash, Elephant Man and Europe is Prague." Our Playground) translation: Morning! Morning it's morning again. Tina sits and waits for a telephone call. Maybe it's our Morning! Morning it's morning again. Tina sits looseness. What to believe in, it's impossible to and waits for a telephone call. Maybe it's our say? You're coming down the hard way. The looseness. What to believe in, it's impossible to pretty people run. Or ist that a cardboard sky? say? You're coming down the hard way. The Run with me baby from Eastern Block to France. pretty people run. Or ist that a cardboard sky? Der Morgen als ewige Wiederholung der Run with me baby from Eastern Block to France. Hoffnung auf andere Tage. Ein Morgen in Wien und Prag und London und Belfast. Menschen The morning as an eternal return of hope for sitzen vor Telephon und inhalieren Nachrichten, other days. A morning in Vienna and Prague, and beginnen ihr Tagwerk, schliessen die Herzen. London and Belfast. People sit in front of their Tina erneut auf dem Boden der Tatsachen. Ein telephones and inhale the news, start their daily Morgen in einem Land ihrer Wahl in Europa. work, close the hearts. Tina once again back to the floor of reality. A morning in a country of her Ein Tag, wenn er zu Ende geht, bleibt kein Stein choice in Europe. The first lines of this, I auf dem anderen, so schrieb ich in der Einleitung combined freely a few sentences from Suede. meines letzten Buches. Woran soll man sonst Indeed, Suede are compatible with themselves

and their lyrics resemble compact units which get the rhythm quickly. They can be read and reassembled, losing perhaps a bit of kontextual "ballast" (excess weight). "Ein tag wenn er zu Ende geht/Bleibt kein Stein auf dem anderen" (A day when it comes to an end, no stone is left unturned), this is what I wrote in the introduction of my last book. What to believe in? The stones are thrown between us. The stone is called in Czech "kamen" - and this word reminds me of "come on" SUEDE do not throw stones. That is not their style at all. But they have content and poetic density (dichte: means 1) to write poetry and 2)density). Suede say "Come on" in their inimitable ways and in that I hear the Czech word "kamen" gliding over the stage boards because Suede stand for movement and contours. "Suede discover something colourful in the world and discover it from the streets - and not from a sterile penthouse. Every day brings something new which is good, das Neue ist etwas Gutes, und das Gute stirbt nicht. The shadows remain. Maybe Brett Anderson would put it that way also. Musically, Suede get the right balance between voice and instruments, and the latter always steps back to let the texts breathe. A good choice and highly recommendable. "Come on" Suede. See you in Prague.

Suede split at the end of 2003 their last release was a compilation album called "Singles", it gives a great overview of the band's career. In 1997 they released a compilation album of their B-Sides called "Sci-Fi Lullabies"

tracklist Sci-Fi Lullabies (from 1997) b-sides 1992-1997 1. My Insatiable One 2. To The Birds 3. 3. Where The Pigs Don't Fly. 4. He's Dead5. 5. The Big Time 6. High Rising 7. The Living Dead 8. My Dark Star 9. Killing Of A Flash Boy 10. Whipsnade 11. Modern Boys 12. Together 13. Bentswood Boys 14. Europe Is Our Playground disc 1. Every Monday Morning Comes 2. Have You Ever Been This Low? 3. Another No One 4. Young Men 5. The Sound Of The Streets 6. Money 7. W.S.D. 8. This Time 9. Jumble Sale Mums 10. These Are The Sad Songs 11. Sadie 12. Graffiti Women 13. Duchess

Drums: Simon Gilbert, bass: Mat Osman, singing/lyrics: Brett anderson guitars and keyboards as follows: 01 beautiful ones (richard Oakes/Neil Codling) 02 animal nitrate (bernard butler) 03 trash (new recording) (richard Oakes/1996 Neil/2004 Alex Lee) 04 metal mickey (bernard Butler) 05 so young (bernard butler) 06 the wild ones (bernard butler) 07 obsessions (richard oakes, alex lee) 08 filmstar (richard oakes, neil codling) 09 can't get enough (richard oakes, neil codling) 10 everything will flow (richard oakes, neil codling) 11 stay together (bernard butler) (1994 not available on other albums) 12 love the way you love (richard oakes, alex lee) (2004 not available on other albums) 13 the drowners (bernard butler) 14 new generation (bernard butler) 15 lazy (richard oakes, neil codling) 16 she's in fashion (richard oakes, neil codling) 17 attitude (richard oakes, alex lee) (2004 not available on other albums) 18 electricity (richard oakes, neil codling) 19 we are the pigs (bernard butler) 20 positivity (richard oakes, alex lee - music by Neil Codling) 21 saturday night (richard oakes, neil codling) the Asian Edition included a video CD of an acoustic concert in Singapore from 2003.

What they did next:

Brett Anderson, got in touch with former songwriting-partner Bernard Butler from the first two Suede albums. He also was a guest musician on Rollerskatin' an album by Bertine Zetlitz and produced by Fred Ball, from teh band Pleasure - originally from Norway and now based in London. Brett played his first soloconcert in Copenhagen in 2003, where he previewed "Love is Dead" a song from his forthcoming solo album.

Simon Gilbert – moved to Thailand where he joined glam-punk band Futon and regularly visits the UK. Apart from playing concerts in Asia, Futon also played in Europe incl. Dublin and London Their album is called Love Bitem they are now called Goo and their EP is called Sniffin' Goo Message from Brett, on Suede website, September 2003 thought I'd just make a brief appearance here to keep you all updated about what's going on. Well, me and Bernard are back in a London studio putting the finishing touches on what is shaping up to be a truely special record.Usually by this point in making any album I go through a period of doubt about it's quality but this time the songs are just getting better. My drive, direction and focus ,which became clouded towards the end of my work with Suede, are all back with a vengeance and both me and Bernard are excited about being back in the game. The record should be finished in October so you will be able to judge for yourselves whether I am bullshitting or not early next year when it is released. We are planning our first live appearance for December 2004. My solo album is pretty much finished but will now probably be released after the Bernard record. It has turned out to be a dark, melancholic affair, kind of 'Brett Noir'. It goes without saying that I am hugely excited about this too. That's it for now. The next news you will hear will be more concrete. Thanks for all your love Brett Brett Anderson: Here Come the Tears (under The Tears with Bernard Butler) , Brett Anderson (2007), The London Sessions (Live LP 2007), Wilderness (2008), Slow Attack (2009)

Alex Lee – played guitar and produced Patrick Duff's solo album "Luxury Problems" Both musicians were members of the band Strangelove. Patrick and Alex played several concerts in the UK, Africa and New Zealand within the WOMAD festival and within their home town of Bristol. He also guested on Goldie Lookin Chain single and with Placebo during their 2007 live tour.

Mat Osman is based in Notting Hill, London and plays bass for the band alternative/dub band Mista Brown who released a single called Inner Harmony in 2005, they split in 2007 - he also edited a book called "Le Cool Book on London")

All the former Suede bandmembers are still Richard Oakes - formed the group Artmagic with keeping in touch. Sean McGhee in 2010 - They premiered their

material on June 28th,




Suede played live dates in 2010 - line up: Brett Anderson, Mat Osman, Neil Codling, Richard Oakes, Simon Gilbert for further information on the Suede bandmembers and the band's discography and live dates please visit: www.

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