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Suede

 
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Suede

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Prior to the release of Suede’s debut album in 1993, the British band had already been embellished with a career’s worth of attention by their native press. Seemingly emerging from nowhere, the London-based four piece had been dubbed "The Best New Band In Britain" by Melody Maker, among others, and began cropping up on magazine covers across the United Kingdom. Although some suggested that the buzz over Suede was little more than media fomented hype and that the band’s actual talents were dubious, the group continued to attract fans. When their self-titled album went straight to the number one position on sales charts, becoming England’s fastest-selling album in almost ten years, it grew apparent that Suede’s merits were not the product of a few critics’ caprice. Subsequently, the group went on to record even more critically acclaimed albums and sold out a number of concert performances.

But unlike many acts who made a splashy entrance, Suede displayed staying power, as well as a need to avoid artistic stagnation. Despite Suede’s consistent approval on their home shores throughout phases of petulant guitar pop and dramatic, almost operatic song-writing, as well as through conflict within the group, their success in the United States has been disappointing. Nonetheless, Suede have made a mark as purveyors of well-crafted, original pop music, while lead singer and songwriter Brett Anderson has proved to be a cultural icon in his transgressive style and views on gender and sexuality.

While Suede entertains an image of glamour and fame, the group’s beginnings were inauspicious. Residents of the London, England, suburb of Hayward’s Heath, singer Anderson and bass guitarist Mat Osman decided to form a band in 1989, founded on a common love for the style and attitude of seminal British artists of the punk, glam, and pop rock genres, including the groups Roxy Music, The Jam, T. Rex, and The Smiths. Moreover, Anderson was undeniably influenced by legendary singer/songwriter David Bowie, who had fused intelligent songs of daring subject matter with a selfconsciously constructed image of ambiguous sexuality. With the help of an advertisement in the New Musical Express, the twosome discovered guitarist Bernard Butler. The band briefly played as a trio before enlisting former punk rock drummer Simon Gilbert, and second guitarist Justine Frischmann, who would later form the band Elastica.

The band began performing under the name Suede, playing small, bitterly received gigs. As one critic asserted in a press release, the band found themselves "hated, to be frank, by journalists, venues, agents, and record companies who dismissed their low-rent style of

glamour as a thing born of ennui." In the face of such utter disdain, the group continued to plug away at live performances and recorded a forgettable single, "Be My God." It seemed that Suede was doomed to stagnating in bars and small clubs. However, by 1992 Suede would become one of England’s most discussed group of artists.

Suede’s success took shape when the group was signed to newly formed Nude Records. Nude’s owner and founder, Saul Galpern, was enthused about Suede’s demo tapes and began finding exposure for the band. "They have the ingredients that make a great group that people haven’t seen for a long time," Galpern told Independent Catalogue. "They can play, they write great songs, they have a singer with charisma, a guitarist who never ceases to amaze me … they can speak and their sound is very distinctive. I’m not saying it’s completely new or different but they’re taking influences and making it sound very 90s." Suede then released a succession of three singles, "The Drowners," "Metal Mickey," and "Animal Nitrate," and critics and listeners quickly echoed Galpern’s sentiments. All three singles had increasingly impressive success on sales charts, and all were named Single of the Week by Britain’s premiere popular music journals, Melody Maker and The New Musical Express. Furthermore, the band began to develop its own image, with the media focusing on the photogenic, quotable Anderson.

In March of 1993, the self-titled album, Suede, was released in the United Kingdom, and its success fulfilled the hopes ignited by its preceding singles. The album entered the charts at number one and turned gold on the second day of sales, a stellar achievement for a debut record on an independent label. The ten songs on the album were a solid mixture of infectious, guitar driven pop songs and emotive ballads laced with subtle lyrics evoking drugs, tragedy, and sex with both sincerity and irony. In fact, the sexually ambiguous quality of Anderson’s songwriting, as well his self-conscious image, made the singer a virtual poster child for the transgressive in popular culture. "I really don’t think you have to declare your sexuality absolutely," Anderson stated on the subject of his lyrics in a Melody Maker forum on sex and music. "Morrissey [the ex-vocalist for the band The Smiths] never has—his songs can be homoerotic, or about friends, or just about love. And he’s all the more interesting for that."

America Remains Unswayed
While Suede had proved in England that they were more than mere hype, something was lost in translation over the Atlantic. Despite positive reviews in American magazines such as Rolling Stone, Suede’s sales in the United States were marginal, comprised largely of independent rock fans. Probably, this sluggishness in mass American acceptance stems from Suede’s decided British style and subject matter. In a period when the United States was busy celebrating the rebirth of more aggressive rock in the wake of bands like Seattle’s Nirvana, Anderson’s delivery of songs, steeped in a tradition of British pop music, clashed harshly with the American trend. Band members were also quite frank in their dissent of global Americanization, and they became key figures in the British press’s laudation of "Britpop" alongside the likes of Blur, Saint Etienne, Pulp, and Oasis. As Select magazine asserted, "the men who have come to save pop are using as their weaponry certain qualities, certain characteristics of English culture that have lain dormant since the heyday of The Smiths. Some of Suede’s portfolio may appear trivial—the blousy image, the hair oil and fringes, the hipster jeans and brocade shirts—but it underlines the aspects of Suede that are anything but superficial, the things that make them a salvation".

To compound matters in the United States, Suede became the target of a copyright infringement lawsuit launched by American lounge singer Susan DeBronkart. DeBronkart, who had released several albums under the name Suede, claimed sole rights to the moniker in America, and her lawyers offered the band a list of alternates to choose from. After deciding that changing their name to The London Suede was the least odious of these options, the band was forced to release subsequent material in the United States under that name, while remaining simply Suede in the rest of the world.

The group’s first release as Suede was the 1994 single "Stay Together," a soaring eight-minute romantic epic that was never to appear on an album. However, the ambitious mode of "Stay Together" set the mood for the band’s second full-length release, Dog Man Star. Clocking in at over an hour, Dog Man Star continued the previous album’s exploration of the dimly lit youth subculture of an England in glamorous decline at the end of the millennium, again blurring gender lines with its lyrical imagery. "I want the style of a woman, the kiss of a man," Anderson intoned on the album’s first cut, "Introducing the Band." Musically, Suede bypassed the single-oriented song style of their debut album in favor of sweeping, orchestral ballads more in tune with cabarets and musical theater than popular radio. Nonetheless, the album fared well commercially in England and was received as an instant classic by critics. A year later, Select magazine included Dog Man Star on its list of the ten best albums of the 1990s and was heralded by the Manchester Guardian as one of the one hundred best records of all time, with only three other 1990s albums on the list. Suede had by now achieved a status of artistry allotted to very few performers.

Just as the pinnacle of the band’s output was released, conflict within Suede caused Butler to depart from the band to later team up with vocalist David McAlmont. Because Butler had been the chief author of the group’s music, it was doubtful whether Suede could withstand such a loss. The band’s fans were apprehensive, while their critics saw Butler’s departure as, in Q writer Tom Doyle’s words, "a smirking, told-you-so affirmation that the most over-exposed and loudly trumpeted band of the decade had prematurely collapsed under the weight of their bloated reputation and sky-scraping egos." When the band made the daring decision to replace Butler with 17-year-old Richard Oakes, the suspense only mounted. Oakes accompanied Suede for the Dog Man Star world tour, providing competent guitar work. But the issue of whether the band could pen impressive new material without Butler remained unsettled.

After the release of their third album, Coming Up, in late 1996—there was a several month lag for the American release—Suede proved that they were no fluke, but a band with a stable core. It also appeared that the expansive musical style of Dog Man Star had largely been the vision of Butler, whose post-Suede singles "Yes" and "You Do" followed in the same direction. While still steeped in Suede’s characteristic affecting, yet ironic pathos, Coming Up was a returning step towards the singles-oriented catchiness of the first album, proving that Oakes and newly acquired keyboardist Neil Codling were worthy songsmiths. As Doyle assessed, by their third album the band had "distilled the grandeur of Dog Man Star and bottled it in three-minute pop songs," with Anderson still "making evocative references to nowhere towns and seaside shacks, Streatham trash and petrol fumes, peepshows and freak shows, drag acts and drug acts, tasteless bracelets and Terylene shirts." Moreover, the album celebrates the quick passing of youth, "looking nostalgically at youth as living it," as Selectwriter Roy Wilkinson noted.

While Coming Up was both critically and commercially a smash in England—it entered the charts at number one—and produced several successful singles including "Trash" and "Saturday Night," by the time of its release Suede had become almost invisible in America. With few exceptions, most notably Oasis, the so-called "Britpop" phenomenon was out of synch with mainstream radio in the United States. Thus, Suede’s stateside following was again limited to devout fans of extravagant pop. Despite Suede’s uncertain relationship with American audiences, their status as a world-class band remains clear. In Wilkinson’s words, they are celebrated as a band who "have taken the greater challenge: to take the eternal verities of the pop tune and make them fresh one more time."

Selected discography
The London Suede (original U.K. title: Suede), Nude/Columbia, 1993.
"Stay Together" (single), Nude/Columbia, 1994.
Dog Man Star, Nude/Columbia, 1994.
Coming Up, Nude/Columbia, 1997.

Sources
Independent Catalogue, March 1993.
Melody Maker, December 12, 1992.
Q, September 1996.
Select, April 1993; October 1996.
Additional information was obtained from publicity materials from the Columbia Media Department, 1997.
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AMG AllMusic Guide: Pop Artists:

Suede

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  • Genres: Rock

Biography

Suede kick started the Britpop revolution of the '90s, bringing English indie pop/rock music away from the swirling layers of shoegazing and dance-pop fusions of Madchester, and reinstating such conventions of British pop as mystique and the three-minute single. Before the band had even released a single, the U.K. weekly music press was proclaiming them as the "Best New Band in Britain," but Suede managed to survive their heavy hype due to the songwriting team of vocalist Brett Anderson and guitarist Bernard Butler. Equally inspired by the glam crunch of David Bowie and the romantic bed-sit pop of the Smiths, Anderson and Butler developed a sweeping, guitar-heavy sound that was darkly sensual, sexually ambiguous, melodic, and unabashedly ambitious. At the time of the release of their first single, "The Drowners," in 1992, few of their contemporaries -- whether it was British shoegazers or American grunge rockers -- had any ambitions to be old-fashioned, self-consciously controversial pop stars and the British press and public fell hard for Suede, making their 1993 debut the fastest-selling first album in U.K. history. Though they had rocketed to the top in the U.K., Suede were plagued with problems, the least of which was an inability to get themselves heard in America. Anderson and Butler's relationship became antagonistic during the recording of their second album, Dog Man Star, and the guitarist left the band before its fall release, which inevitably hurt its sales. Instead of breaking up, the band soldiered on, adding new guitarist Richard Oakes and a keyboardist before returning in 1996 with Coming Up, an album that returned them to the top of the British charts.

Through all of Suede's incarnations, vocalist/lyricist Brett Anderson and bassist Mat Osman remained at the band's core. The son of a cab driver, Anderson formed the Smiths-inspired Geoff in 1985 with his schoolmate Osman and drummer Danny Wilder. Anderson was the group's guitarist; Gareth Perry was the band's vocalist. Geoff recorded two demos before splitting up in 1986, as Anderson and Osman left to attend university in London. A few years later, the pair formed Suave & Elegant, which lasted only a few months. By the end of 1989, the pair had placed an advertisement in New Musical Express, asking for a "non-muso" guitarist. Bernard Butler responded, and the trio began recording songs, primarily written by Anderson and Butler, with the support of a drum machine. Taking the name Suede after Morrissey's "Suedehead" single, the trio sent a demo tape, Specially Suede, to compete in Demo Clash, a radio show on GLR run by DJ Gary Crowley. "Wonderful Sometimes" won Demo Clash for five Sundays in a row during 1990, leading to a record contract with the Brighton-based indie label RML. By the time the band signed with RML, Anderson's girlfriend Justine Frischmann had joined as a second guitarist.

Suede placed an advertisement for a drummer, and former Smiths member Mike Joyce responded. Joyce appeared on the group's debut single for RML, "Be My God"/"Art." Scheduled to be released on a 12" in the fall of 1990, the single was scrapped shortly before its release, due a fight between the band and the label. Throughout 1991, the group rehearsed and recorded demos, eventually adding drummer Simon Gilbert. Frischmann left Suede in early 1992 to form Elastica; she was not replaced. A few months later, Suede signed a two-single deal with the indie label Nude Records. Shortly afterward, the band appeared on the cover of Melody Maker, without having released any material. The weekly newspaper declared them the Best New Band in Britain.

"The Drowners," the band's first single, appeared shortly after the Melody Maker cover, and it became a moderate hit, debuting at number 49 due to strong reviews and word of mouth. "Metal Mickey," released in the fall, became their breakthrough hit, reaching number 17 on the U.K. charts after a suggestive, controversial performance on Top of the Pops. Anderson soon became notorious for causing controversy, and his infamous comment that he was "a bisexual man who never had a homosexual experience" was indicative of how the group both courted controversy and a sexually ambiguous, alienated audience.

A short tour before the spring release of their eponymous debut album was very successful, setting the stage for "Animal Nitrate" debuting at number seven. Shortly afterward, Suede entered the charts at number one, registering the biggest initial sales of a debut since Frankie Goes to Hollywood's Welcome to the Pleasuredome. By the summer, Suede had become the most popular band in Britain -- winning the prestigious Mercury Music Prize for Best Album that fall -- and they attempted to make headway into the United States. Their progress was halted when Butler's father died in the fall, forcing the cancellation of their second tour; they had already begun to be upstaged by their opening act, the Cranberries, who received the support from MTV that Suede lacked. Shortly afterward, the band was forced to change its name to the London Suede in America, due to a lawsuit from an obscure lounge singer performing under the name Suede.

Tensions had begun to develop between Bernard Butler and the rest of the band during the group's 1993 tours, and they peaked when they re-entered the studio to record a new single in late 1993. Butler conceived the song "Stay Together" as a sweeping epic partially in tribute to his father, and while it was a success upon its February 1994 release, debuting at number three, the recording was not easy. As they were working on Suede's second album, Anderson and Butler began to fight frequently, with the guitarist claiming in a rare interview that the singer worked too slowly and that his partner was too concerned with rock stardom, often at the expense of the music. Butler left the band toward the end of the sessions for the second album, and the group finished the record with Anderson playing guitar. Bernard's departure launched a flurry of speculation about Suede's future, and Dog Man Star didn't answer any of those questions. A grandiose, ambitious, and heavily orchestrated double album, Dog Man Star was greeted with enthusiastic reviews but muted commercial response. As Suede were working on their second album, their remarkable commercial success was eclipsed by that of Blur and Oasis, whose lighter, more accessible music brought the groups blockbuster success in the wake of Suede.

While Dog Man Star sold nearly as much as Suede, the impression in the press was the group was rapidly falling apart, and the band didn't help matters when they replaced Butler with Richard Oakes, a 17-year-old amateur guitarist, in September. Suede embarked on a long, grueling international tour during late 1994 and the spring of 1995, before disappearing to work on their third album. During the interim, Butler had a Top Ten single with vocalist David McAlmont, and Gilbert, the only homosexual member of Suede, was attacked in a hate crime in the fall. At a fanclub gig in January of 1996, the group debuted several new songs, as well as their new keyboardist, Neil Codling, the cousin of Gilbert. Suede returned as a five-piece in September of 1996 with Coming Up. A lighter, band-oriented affair than either of the group's two previous albums, Coming Up was an unexpected hit, entering the charts at number one and generating a remarkable string of five Top Ten hits -- "Trash," "Beautiful Ones," "Saturday Night," "Lazy," and "Filmstar." Coming Up was a hit throughout Europe, Canada, and Asia, but it wasn't released in the U.S. until the spring of 1997.

Coming Up never did win an audience in America, partially because it appeared nearly a year after its initial release and partially because Suede only supported it with a three-city tour. Nevertheless, the record was their most successful release to date, setting expectations high for the follow-up. Upon their return to the studio in the fall of 1998, the band decided to ditch their longtime producer, Ed Buller, choosing to work with Steve Osborne, who had previously produced New Order and Happy Mondays. The resulting album, Head Music, was released in May of 1999; an American release followed in June. ~ Stephen Thomas Erlewine, Rovi
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Suede (band)

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Suede

Suede, Royal Albert Hall, 2010.
From left to right: Brett Anderson, Richard Oakes, Neil Codling, Mat Osman, and Simon Gilbert.
Background information
Also known as The London Suede (USA)
Origin London, England
Genres Alternative rock, Glam rock, Britpop
Years active 1989–2003, 2010–present
Labels Nude, Columbia, Sony BMG
Associated acts The Tears, Futon, McAlmont and Butler, Elastica
Website Official website
Members
Brett Anderson
Neil Codling
Simon Gilbert
Richard Oakes
Mat Osman
Past members
Bernard Butler
Justine Frischmann
Alex Lee

Suede are an English alternative rock band from London, formed in 1989. The group's most prominent early line-up featured singer Brett Anderson, guitarist Bernard Butler, bass player Mat Osman and drummer Simon Gilbert. By 1992, Suede were hailed as "The Best New Band in Britain", and attracted much attention from the British music press. The following year their glam rock-inspired debut album, Suede, went to the top of the charts, became the fastest-selling debut album in almost ten years and won the Mercury Music Prize, helping kick-start the Britpop movement. However, the band's lush follow-up, Dog Man Star (1994), saw Suede distance themselves from their Britpop peers. Although it is often regarded as the band's masterpiece, the recording sessions for Dog Man Star were fraught with difficulty, and ended with Butler departing the band after heated arguments with Anderson.

In 1996 following the recruitment of Richard Oakes and later keyboardist Neil Codling, Suede went on to greater commercial success with Coming Up. The album charted at number one in the UK, producing five top ten singles and became their biggest-selling album worldwide. In 1997, Anderson became addicted to crack and heroin. Despite problems within the band, Suede's fourth album Head Music (1999) was a British chart-topper. Suede's final album, A New Morning (2002), their first after the collapse of Nude Records, was a commercial disappointment, and the group disbanded the following year. After much speculation Suede reformed in 2010 for a series of concerts.

Contents

History

Formation and early years: 1989-1991

Brett Anderson and Justine Frischmann met in 1989 while studying at University College London and became a couple soon afterwards.[1] Together with Anderson's childhood friend Mat Osman, they decided they had a core of a band, and spent hours a day playing covers of The Beatles, The Smiths, and David Bowie.[2] After deciding that neither Anderson nor Frischmann had the skill to be a lead guitarist, the group placed an advert in NME seeking to fill the position.[2] It ran in the magazine's 28 October 1989 issue: "Young guitar player needed by London based band. Smiths, Commotions, Bowie, PSB's. No Musos. Some things are more important than ability. Call Brett." The advert ensued interest from nineteen-year-old Bernard Butler, who soon auditioned to join the group.[3] The group settled on the name Suede; lacking a drummer, the band initially used a drum machine.[4] Despite Frischmann's efforts as the group's de facto manager, the group primarily scored small-scale gigs around London's Camden Town area.[5]

Suede's first breakthrough came with their second demo Specially Suede which they sent to compete in Demo Clash, a radio show on Greater London Radio run by DJ Gary Crowley. "Wonderful Sometimes" won Demo Clash for five Sundays in a row during 1990, leading to a record contract with the Brighton-based indie label RML.[6] The song featured on a cassette compilation in April 1990 representing Suede's first official release.[7] After a series of gigs with an unreliable drum machine, Suede decided to recruit a full-time drummer. Justin Welch briefly fulfilled the role as drummer, though he only lasted six weeks, before joining Crawley band Spitfire.[8] After Welch's departure, Suede placed another advert seeking a replacement. To the group's surprise, the ad was answered by former Smiths drummer Mike Joyce. Joyce reluctantly turned down the role of drummer as he felt Suede still had to forge their own identity. He felt that by being in a band that had similarities to the Smiths, he would have done them more harm than good.[9] Joyce stayed long enough to record two songs with the group, which were set to be released as the "Be My God"/"Art" single on RML Records. The band was dissatisfied with the result, and most of the 500 copies pressed were destroyed.[10] In June 1990 Suede found a permanent drummer, Simon Gilbert, through former manager Ricky Gervais. Both worked at the ULU. After hearing their demo and realising the band were devoid of a drummer, Gilbert asked to audition.[11]

By 1991, Anderson and Frischmann had broken up; Frischmann started dating Damon Albarn of the group Blur. Frischmann believed the group could accommodate the new situation.[12] However the situation grew tense; Butler recalled, "She'd turn up late for rehearsals and say the worst thing in the world - 'I've been on a Blur video shoot.' That was when it ended, really. I think it was the day after she said that that Brett phoned me up and said, 'I've kicked her out.'" After Frischmann's departure, the character of the group changed. "If Justine hadn't left the band", Anderson said, "I don't think we'd have got anywhere. It was a combination of being personally motivated, and the chemistry being right once she'd left." Anderson and Butler became close friends and began writing several new songs together.[13] However, the band's music was out-of-step with the music of their London contemporaries as well as the American grunge bands. Anderson said, "For the whole of 1991, A&R men wouldn't give us a second look."[14]

Through the end of 1991 and early 1992, Suede received a number of favourable mentions in the music press, garnering them slots at shows hosted by NME and attended by musical figures such as former Smiths singer Morrissey. One of the gigs at the ULU in October 1991, which caught the attention of the media was Frischmann's final gig.[15] John Mulvey of the NME, the journalist who first wrote about Suede was at the ULU gig. He said "They had charm, aggression, and... if not exactly eroticism, then something a little bit dangerous and exciting."[16]

Signing and early singles: 1992

After seeing the group perform at an NME show in January 1992, Saul Galpern approached the group about signing to his independent record label Nude Records. Suede eventually signed a two single deal to Nude in February 1992 for the sum of £3,132.[17] Following Nude's offer Suede attracted further interest from Island Records and East West Records, who were keen on signing them long term.[18] Suede were being hailed as "The next big thing" and prior to the release of the group's first single, the cover of 25 April issue of Melody Maker featured the group, with a headline stating "Suede: The Best New Band in Britain".[19]

The band's debut single "The Drowners" attracted excitement because of its sharp contrast to the dying Madchester scene and the U.S. grunge sound of the time.[20] A moderate hit, "The Drowners" reached number 49 on the UK Singles Chart in May.[21] The band were then approached by Geffen Records and although the Geffen deal was very attractive (Galpern described it as "insane"), the band still had plenty of other offers to consider.[22] In September 1992 they released their second single, "Metal Mickey", which charted at number 17. It was the only Suede single to crack the US Modern Rock top 10, peaking at number 7.[23] Shortly after the release of "Metal Mickey", Suede signed to Nude/Sony. Galpern was determined to sign the band long term and struck a deal with Sony - making them a tiny independent label with major muscle backing.[24] The contract gave Suede creative controls such as the artwork on their releases.[25]

Anderson soon became notorious for causing controversy such as his infamous quote that would resurface in interviews and articles in the following years, that he was "a bisexual man who never had a homosexual experience."[6] In February 1993, Suede went from highly-touted indie band to major chart contenders with their third single, "Animal Nitrate", which went into the UK top ten.[25] The single earned them a last-minute invitation to play at that years Brit Awards ceremony.[25] Impressed by the band's charged sexuality, Suede's first sequence of singles and debut album shocked audiences and critics alike.[26] Suede's sexual lyrics made them a rallying point for the alienated, one of the few British bands since the Smiths who united as much as they divided.[27] Comparisons were being made to David Bowie, though Suede sounded nothing quite like anybody else around at the time, and soon they fell upon what critics quickly deemed was a new movement.[27] Anderson recalls, "I had always been fascinated by suburbia, and I liked to throw these twisted references to small-town British life into songs. This was before we had that horrible term Britpop."[28]

Debut album, European and American tours: 1993

In the year leading up to the release of their debut album, Suede were the most written-about band in Britain.[29] The self titled Suede entered the British charts at number one, registering the biggest initial sales of a debut since Frankie Goes to Hollywood's Welcome to the Pleasuredome a decade before.[6] It sold over 100,000 copies in its first week of release,[30] going gold on its second day.[31] The albums release was met with high critical praise and hype.[16] At the time it was hailed as "the most eagerly awaited debut since Never Mind The Bollocks by the Sex Pistols."[32] Some notable press at the time was the front cover of the April 1993 issue of Select, which is seen by many as the start of Britpop.[20] The album went on to win the 1993 Mercury Prize.[31] The band donated the entire £25,000 in prize money to Cancer Research.[33] Their debut was the only album released in the U.S. under the name "Suede", where it remains their highest selling release.[34]

Following the success of the album, the band toured extensively on the continent, receiving a major covering of MTV. In July, they gave a benefit concert for Red Hot Organization at "The Grand" in London where they invited Siouxsie Sioux to perform with Butler a version of Lou Reed's "Carolyne Says".[35] Suede then prepared themselves for their imminent American tour in the summer of 1993. During the tours of 1993, tensions began to develop between Butler and the rest of the group.[6] On the first American tour tensions peaked in Los Angeles, when Butler disappeared during a soundcheck. The gig went ahead, but for the rest of the tour the two parties barely spoke.[36] The tensions grew worse on the second American tour mainly for the fact that Butler's father had died, which forced Suede to cancel the tour prematurely.[6] Butler disliked the band's indulgence on the tour during his bereavement, in which he became more alienated from the band so much that he even travelled separately.[37] Their American success was limited as they had already begun to be upstaged by their opening act, The Cranberries, who received the support from MTV that Suede lacked.[6] At times Butler left the stage while Suede was performing and convinced a member of The Cranberries to fill in for him.[38] Moreover, a lounge singer's lawsuit forced the band to stop using the trademarked American name "Suede". For their subsequent releases and shows performed in the United States, the band used the moniker "The London Suede". Anderson wasn't happy about having to change the group's name for the U.S. market, as he stated: "The London Suede is not the name I chose for the band, I didn't change it happily, and I'm not going to pretend I did."[39]

"Stay Together" and Butler's exit: 1994

In February 1994, the band released stand-alone single "Stay Together", which became their highest charting single at the time, reaching number three in the UK. The single was backed by a collection of strong b-sides; this new bombastic sound, however would fracture the band and lead to the departure of Butler.[40] Despite the success of the single the band have since distanced themselves totally from the song, an aversion usually attributed to problems with Butler at the time.[41] In the aftermath of "Stay Together", Anderson isolated himself and wrote songs for Suede's next album.[42] It was at this time that Anderson eschewed himself from what was dubbed the "laddish Britpop movement", which he was seen by many to inaugurate.[28] Bands such as Blur, Oasis and Pulp began to dominate the music scene, whereas Suede became a lot more experimental and introverted. Tensions grew worse during the recording of the album when Butler criticised Anderson in a rare interview, claiming that he worked too slowly and that he was too concerned with rock stardom.[6] On Anderson, he said: "He's not a musician at all. It's very difficult for him to get around anything that isn't ABC."[43]

At the time Suede were said to be a band who were "unafraid to be out of step with its peers",[39] however, Suede's experimentation would ultimately lead to their separation. The group often recorded songs with long lengths. Osman said he, Anderson, and Gilbert often thought these tracks were the result of Butler trying to wind the band members up.[44] Anderson recalled that Butler and the rest of the group largely recorded their parts separately. The guitarist then clashed with producer Ed Buller, who he insisted should be sacked as he wanted to produce the record himself.[45] Butler then gave Anderson an ultimatum: fire the producer or I’m leaving. "I called his bluff," says Anderson.[46] Days after Butler's wedding, he returned to the studio to find he was not being allowed in and his guitars were left out on the street.[47] According to John Harris's Britpop history The Last Party, the final words Butler uttered to Anderson were "you're a fucking cunt".[48] Butler left the band leaving parts of the record incomplete.

Dog Man Star, new line up and Coming Up: 1994-1997

Led by the single "We Are the Pigs", Suede's second album Dog Man Star finally appeared in late 1994. The album was well-received by critics receiving rapturous press across the board.[49] It entered the UK Albums Chart at number three,[21] but slid quickly down the charts.[50] The singles from the album charted poorly, though they are still regarded as Suede's best output, especially "The Wild Ones", which is considered by many to be Suede's finest hour.[51] In September 1994, Suede announced their new guitarist, 17-year-old Richard Oakes, who after reading about Butler's departure, sent a demo tape to the band's fanclub.[52] When Simon Gilbert heard Anderson playing back the tape whilst going through audition tapes, he mistakenly believed it to be an early Suede demo. Oakes made his video debut on "We Are the Pigs" and co-wrote the b-sides to "New Generation". Suede embarked on a long international tour during late 1994 and the spring of 1995, before disappearing to work on their third album. In 1995, the group contributed a track to The Help Album charity compilation, covering Elvis Costello's "Shipbuilding". In January 1996, the band was joined by new member Neil Codling, a cousin of Simon Gilbert who handled keyboards and played second guitar. He made his debut at a fanclub gig at the Hanover Grand, which turned out to be one of Suede's most important gigs of their entire career. A short set devoid of Butler songs was well received by critics, "...A set that says. 'No Need'," observed Steve Sutherland in NME.[53]

Suede released their third album Coming Up in 1996. Anderson said that in contrast to the group's previous albums, which he felt "suffered at certain times from being quite obscure," he intended Coming Up to be "almost like a 'greatest hits'".[31] Lead single "Trash" was popular and tied with "Stay Together" as the group's highest-charting UK single, reaching number three,[21] which helped to make the album their biggest mainstream success. The album brought the band five straight top-10 singles and was a hit throughout Europe, Asia and Canada. Coming Up never did win an audience in America, partially because it appeared nearly a year after its initial release and partially because Suede only supported it with a three-city tour.[6] Nevertheless the album topped the UK chart and became the band's biggest-selling release,[21] setting expectations high for the follow-up. In May 1997, Suede fell upon more bad fortune in the U.S. when their truck full of equipment got stolen after playing a gig in Boston, Massachusetts.[54] Due to the success of the album, Suede secured top billing at the 1997 Reading Festival. Suede's next venture was Sci-Fi Lullabies, a collection of b-sides, which reached number nine on the UK Album Chart.[21] The compilation was well received and is considered by some to be their strongest collection of songs.[40]

Continuing success: 1998-2000

By the time the compilation was released in 1997, the Britpop movement was noticeably waning in popularity, and the band had decided to split with long-time producer Ed Buller before commencing work on their follow-up to Coming Up. Before focusing work on their next album, the group recorded a version of "Poor Little Rich Girl" for the Twentieth-Century Blues: The Songs of Noel Coward in 1998.[55] Despite being backed by their second-highest charting single "Electricity", Suede's fourth album, Head Music divided both fans and critics, though it once again took the band to number one on the UK Albums Chart.[21] A synth-infused album that focused less on guitar riffs and more on keyboards, it was produced by Steve Osborne, who had worked with Happy Mondays and New Order. Critical opinion was sharply divided; many felt the records lyrics were too shallow and lacking in substance.[56] Others, however praised the album highly feeling that the group were again taking a different direction and charting new territory.[57]

The next three singles released from the album failed to crack the top 10, breaking a run stretching back to the 1996 single "Trash". Anderson also began being criticized more by fans for his often use of redundant vocabulary and limited lyrical themes.[58] The track which received the most attention and criticism was "Savoir Faire".[59] Though, some critics felt that the albums mixed reaction and lazy lyricism could be linked to Anderson's heavy drug use at the time, especially when he later admitted that he "was a crack addict for ages."[59] Speaking of his addiction, which plagued him for two and a half years, Anderson said: "Anyone who has ever tried crack will know exactly why I took it. It's the scariest drug in the world because the hit you get from it is so, so seductive. I wanted to experience that, and I did - repeatedly."[27] Suede headlined the Roskilde and V festivals in July and August 1999 respectively. During 2000 there was press speculation that Suede were on the verge of splitting, which was not helped by Codling's absence at some European gigs. Anderson denied these claims and insisted that Codling was healthy and that they were keen to record the next album.[60] For the whole of 2000 Suede retreated themselves from the pubilc and only played one gig, which took place in Reykjavik, Iceland. The band premiered several new songs that would eventually make it onto their final album.[61]

Commercial disappointment and breakup: 2001-2003

Not long after the release of Head Music, Nude Records effectively ceased to exist. Like many of their labelmates, Suede ended up signing to Nude's parent company/distributor Sony to record their fifth album, A New Morning. Between the release of Head Music and A New Morning, Suede wrote and recorded "Simon" as the title theme for the film Far From China.[62] The long and troubled gestation of the new album saw keyboardist Neil Codling leave the band, citing chronic fatigue syndrome, to be replaced by Alex Lee, formerly of Strangelove.[63] In concert, Lee played keyboards, second guitar, backing vocals and occasionally harmonica. The album title, according to Anderson, referred to "a fresh start, a new band and a new fresh outlook" – the singer had been addicted to heroin and crack cocaine, which was having an increasingly deleterious effect on his health. Anderson claimed that A New Morning "...was the first ever Suede record that wasn’t influenced in its making by drugs."[64]

Although the group began work with Tony Hoffer producing,[65] the album was produced by Stephen Street (The Smiths, Blur). Overall, seven different recording studios and four producers were used during the two year recording span for A New Morning, and costs estimated at around £1 million.[66] The album was a commercial disappointment which failed to crack the top 20, and ultimately was never released in the U.S.[67] A New Morning was considered a solid enough outing by fans of the band, but critical reaction was decidedly lukewarm and the mainstream public interest had long disappeared. Only two singles, "Positivity" and "Obsessions", were released from the album, the fewest singles taken from any of the band's albums, and neither charted particularly well. Anderson has since stressed his disappointment with Suede's final album, stating "We made one Suede album too many. 'A New Morning' is the only one I don't believe in as much as the other Suede records and I totally believed in the first four, even 'Head Music' which divided the fans."[68]

In September 2003, Suede played five nights at London's Institute of Contemporary Arts, dedicating each night to one of their five albums and playing through an entire album a night in chronological order, with b-sides and rarities as encores.[69] In October 2003, Suede released their second compilation album Singles, and accompanying single "Attitude", which charted at number 14 in the UK. The group had begun working on a follow-up album to A New Morning, which was planned to be released after the Singles compilation.[70] Anderson said that "Most of the new material is more aggressive and less song based than A New Morning." He added, "We're spending a lot of time working on tracks that sound nothing like traditional Suede."[70] The planned album never saw release.

On 28 October, after performing on V Graham Norton to promote the Singles compilation, Anderson made the decision to call it a day.[71] On 5 November the band announced there would be no more projects under the Suede name for the foreseeable future – effectively announcing the end of the band, as they stated on their website: "There will not be a new studio album until the band feel that the moment is artistically right to make one."[72] Their last concert at the London Astoria on 13 December 2003 was a two-and-a-half hour marathon show, split into two parts plus encore. Anderson made an announcement, saying: "I just want you to know. There will be another Suede record. But not yet."[73]

Other projects: 2004-2009

Immediately after the Astoria gig, Anderson asked Suede's manager Charlie Charlton for Butler's phone number, who soon informed the former guitarist to expect a call.[74] The pair who had not spoken to one another since 1994, were spotted drinking in London just four days after Suede's final gig.[75] In 2004 the pair resurfaced with a project named The Tears. The following year they released the album Here Come the Tears, which received favourable reviews, however, failed to generate popular interest beyond the duo's hardcore fanbase. One review remarked that the record was not "far from the records Suede made without their errant guitarist".[76] The band have been on indefinite hiatus since 2006.

Anderson has released four solo albums, which received mixed reviews, with the possible exception of his third effort, Slow Attack.[77][78]

Bernard Butler has been working as a producer, collaborating with artists such as 1990s, Black Kids, Sons and Daughters, Duffy and Kate Nash.

Matt Osman has toured with Brett Anderson, while Simon Gilbert is in the international band Futon.

Richard Oakes has completed an album with singer, writer and producer Sean McGhee under the name Artmagic. Their debut EP, called "I Keep On Walking", was released in May 2011. The album will be released in 2012.

Reunion and subsequent events: 2010-present

In late 2009 there was increased speculation of a Suede reunion. The press appeared to be sensing an imminent reunion, such that one journalist wrote in a review of Anderson's third solo album in October, "Roll on a Suede reunion".[79] Anderson insisted that he still stays in contact with his former bandmates and has not ruled out a reunion. Performing at the Jack Daniel's birthday set at London's Village Underground venue, Anderson admitted "I'd quite like to make a band record again, my last few have just been me in the studio with a piano. I can't say whether I'd get back with Suede or not."[68]

Following persistent rumours, the boss of the band's former label, Nude Records' Saul Galpern officially announced on 15 January 2010 that Suede would be playing together again. "It's a one-off gig," he explained of the show, which featured the band's second incarnation. The band played London's Royal Albert Hall as part of the 2010 Teenage Cancer Trust shows on 24 March 2010.[80] Despite the gig initially being billed as a one night only reformation, when questioned on German radio station MotorFM in early February, Anderson refused to confirm that the band would not continue.[81] The band subsequently announced two UK 'warm up' gigs prior to the Royal Albert Hall show, at the 100 Club in London and the Ritz in Manchester.[82] The trio of gigs were very well-received by critics,[83] including a glowing two-page review in the NME.[84]

In August the band played at the Skanderborg Festival in Denmark and Parkenfestivalen in Bodø, Norway. In September the band announced that they will release The Best of Suede on 1 November 2010. The compilation curated by Anderson consisted of singles, album tracks and b-sides.[85] Shortly after the release they played a short European tour during late November into December covering Spain, France, Belgium, Sweden, the Netherlands and Germany. The band concluded the tour on 7 December at the O2 Arena in London. Suede were recently[when?] asked whether they would produce any new material and Anderson has said, "Unless we were all convinced it would be an amazing record, I think we’d rather just leave it alone. It’s not like we have to at the moment, it has to feel special and that’s always been our criteria."[86]

Suede continued to perform in 2011. After they had completed their biggest show ever at London's O2 Arena, Brett confirmed that Suede were in the mood for more shows.[87] They have performed at various festivals all over the world, including Blackberry's Live & Rockin' Festival on 19 March 2011,[88] the Coachella Valley Music and Arts Festival on 16 April 2011 and the SOS 4.8 Festival in Murcia, Spain on 7 May 2011.[89] They played Latitude Festival in Suffolk on 17 July 2011. The Berlin Festival is the last date Suede are pencilled in for. They will play Berlin on 9 September 2011. This will directly follow the Asian tour in August.[90]

In June 2011, following on from the success of the recently released compilation album, the band released remastered and expanded editions of all five studio albums.[91] They have also performed their albums Suede, Dog Man Star and Coming Up at London's O2 Brixton Academy over three nights on 19, 20 and 21 May 2011,[92] and at Dublin's Olympia Theatre on May 24, 25 and 26.

Suede embarked on a full Asian tour where they played Jisan, Singapore, Taipei, Beijing, Shanghai, Hong Kong, Osaka and Tokyo. The band commenced their eight-date tour in late July in Jisan, South Korea and finished up at the Summer Sonic festival in Tokyo, Japan on 14 August 2011.[93][94]

They then performed in Athens on 11 September 2011, and will wrap up their touring commitments in Russia on 16 and 18 December 2011.

Legacy

A significant part of Suede's legacy consists in having inspired the Britpop scene which eventually overshadowed the band's own achievements in the public mind. Alexis Petridis wrote in 2005, "These days, rock historians tend to depict Suede's success as a kind of amuse bouche before the earth-shattering arrival of Britpop's main course".[48] In an article about the British music press' "ferocious one-upmanship campaign" of the mid-1990s, Caroline Sullivan, writing for The Guardian in February 1996, noted Suede's appearance as an unsigned band on the cover of Melody Maker as a pivotal moment in the history of Britpop:

Suede appeared on Melody Maker's cover before they had a record out... The exposure got them a record deal, brought a bunch of like-minded acts to the public's attention, and helped create Britpop. It was the best thing to happen to music in years, and it mightn't have happened without that Suede cover.[95]

The year following the Melody Maker cover saw Suede captivate a pop phenomenon of critical praise and hype.[16] Not since the dawn of the Smiths had a British band caused such excitement with the release of just a few singles.[96] Suede are regarded by many as the first British band to break into the mainstream from the new wave of alternative rock in the '90s. With their glam rock style and musical references of urban Britain, Suede paved the way for acts such as Blur and Pulp to enter the British mainstream.[97] They were influential in returning some of the creative impetus to English guitar music in a scene increasingly dominated by Madchester, Grunge and Shoegazing.[20] A March 1993 article in The Independent wrote that "Suede have had more hype than anybody since the Smiths, or possibly even the Sex Pistols. The reviews are florid, poetic, half-crazed; they express the almost lascivious delight of journalists hungry for something to pin their hopes on."[16]

Suede's laurels would remain intact through their early career until Butler's departure, which the press signalled as the end of Suede. As new rock groups were arriving on the scene, British pop culture was in the midst of a shift towards lad culture and the same critics who championed Suede were now plotting to extinguish them.[31] A 1996 article on the eve of the release of Coming Up wrote the following: "Cast in the classic mould of the androgynous rock star, Anderson appears curiously anachronistic in a British rock scene polarised between the laddishness of Oasis and the suburbiana of Blur and Pulp."[31] In a 2007 article in The Daily Telegraph, Bernadette McNulty wrote that while the frontmen of those bands "are all being bestowed with reverential status, Brett Anderson has become the lost boy of Britpop".[98] Since the Britpop movement ceased to exist, like many bands associated with it, Suede's popularity sharply declined. As one writer put it at the end of Suede's career, "Suede slid from zeitgeist into a smaller, pocket-sized cult band."[27] In the same article, Anderson spoke about their legacy:

"It's not in my nature to be bitter. We may have been overlooked somewhat, but all you need to do is listen to the music. Our legacy speaks for itself." He added, "...Fate dealt us this card, and I don't think we've done particularly badly with it. Music today seems so very worthy, so very dull. Nobody wants to stick their neck out any more, and I think that is a great pity. We did, and we left our mark."[27]

Members

Former members

Discography

Main article: Suede discography

References

  1. ^ Harris, p. 28-30
  2. ^ a b Harris, p. 32
  3. ^ Barnett, p. 32
  4. ^ Harris, p. 34-35
  5. ^ Harris, p. 35
  6. ^ a b c d e f g h "The London Suede: Full Biography". MTV.
  7. ^ Barnett, p. 37
  8. ^ Harris, p. 36
  9. ^ Barnett, p. 45
  10. ^ Harris, p. 36-37
  11. ^ Barnett, p. 50-51
  12. ^ Harris, p. 61
  13. ^ Harris, p. 62
  14. ^ Harris, p. 63
  15. ^ Barnett, p. 63-64
  16. ^ a b c d Leith, William. "Now you see them". The Independent. 21 March 1993. Retrieved on 1 January 2010.
  17. ^ Barnett, p. 74
  18. ^ Barnett, p. 74-75
  19. ^ Davidson, Neil. "Suede: The next big thing?". Canoe.ca 21 April 1993. Retrieved on 1 January 2010
  20. ^ a b c Youngs, Ian. "Looking back at the birth of Britpop". BBC News. 15 August 2005. Retrieved on 1 January 2010.
  21. ^ a b c d e f Roberts, David, ed. (2006), British Hit Singles & Albums (19th ed.), HIT Entertainment, ISBN 1-904994-10-5
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  23. ^ "Billboard Chart History". Billboard. Retrieved on 1 January 2010.
  24. ^ Barnett, p. 96
  25. ^ a b c Middleton, Fraser. "True Suede blues". The Herald. 10 March 1993
  26. ^ Womack, Andrew. "Suede, Dog Man Star Live at the I.C.A". The Morning News. 20 January 2004. Retrieved on 1 January 2010.
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  33. ^ Barnett, p. 127
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  47. ^ Harris, p. 171-172
  48. ^ a b Petridis, Alexis. "Frankly I hated Suede". The Guardian. 22 April 2005. Retrieved on 1 January 2010.
  49. ^ Future, Andrew. "No more tears for ex-Suede boys". Drowned In Sound. 11 November 2004. Retrieved on 1 January 2010.
  50. ^ Harris, p. 187
  51. ^ Author unknown. "Download Suede's Final Studio Session". XFM. 29 October 2003
  52. ^ Barnett, p. 161
  53. ^ Barnett, p. 195
  54. ^ "London Suede Looks For Missing Gear Online". MTV.com. 27 May 1997.
  55. ^ "London Suede Pass On Coward Duties". Billboard. 13 January 1998. Retrieved on 1 January 2010.
  56. ^ Author unknown. "Words don't come easy for Brett". nme.com 23 October 2000
  57. ^ Sturges, Fiona. "The Week in Review". The Independent. 1 May 1999
  58. ^ Segal, Victoria. "Better the devil you know". The Times. 23 April 2005
  59. ^ a b Harris, John. "Pipe down". The Guardian. 11 February 2005. Retrieved on 1 January 2010.
  60. ^ Author unknown. "Studio-bound Suede trash split stories". nme.com 2 May 2000
  61. ^ Author unknown. "Geysers!". nme.com 23 October 2000
  62. ^ "Far From China soundtracks". IMDb. Retrieved on 1 January 2010.
  63. ^ Cohen, Jonathan. "Billboard Bits: Fatboy Slim, Suede, Keb' Mo'". Billboard. 23 March 2001. Retrieved on 1 January 2010.
  64. ^ Author unknown. "The Drugs Don't Work". nme.com 24 September 2002.
  65. ^ Carpenter, Troy. "London Suede Begins Recording New Album". Billboard. 1 June 2001.
  66. ^ Author unknown. "'Morning' Glory!". nme.com 30 April 2002.
  67. ^ Carpenter, Troy. "Billboard Bits: Memorial Day, Anastasio, Suede". Billboard. 12 May 2003. Retrieved on 1 January 2010.
  68. ^ a b "Suede to reform?". Eircom.net
  69. ^ Carpentor, Troy. "Billboard Bits: Suede, Diane Schuur, Alejandro Escovedo". Billboard. 11 August 2003.
  70. ^ a b Author unknown. "A New Suede!". nme.com 23 May 2003.
  71. ^ Barnett, p. 275
  72. ^ Cohen, Jonathan and Troy Carpenter. "Suede Calls it a Career". Billboard. 6 November 2003.
  73. ^ "See You in the Next Life". nme.com 13 December 2003.
  74. ^ Barnett, p. 278
  75. ^ Author unknown. "Stay Together". nme.com 7 January 2004
  76. ^ Simpson, Dave. "The Tears, Here Come the Tears Review". The Guardian. 3 June 2005
  77. ^ Shepherd, Fiona. "Gig review: Brett Anderson". The Scotsman. 12 February 2010
  78. ^ Gill, Andy. "Album: Brett Anderson, Slow Attack (BA Songs)". The Independent. 6 November 2009
  79. ^ Clay, Joe. "Brett Anderson: Slow Attack". The Times. 31 October 2009. Retrieved on 1 January 2010.
  80. ^ Author unknown. "Suede reunion show is definitely happening says label boss". nme.com 15 January 2010.
  81. ^ MotorFM 1 February 2010
  82. ^ "Exclusive Suede warm-up gigs announced". Teenage Cancer Trust. 22 February 2010
  83. ^ "The O2 official website"
  84. ^ Thomas, Luke. NME. 31 March 2010
  85. ^ "Suede Announce Best Of". The Quietus. 22 September 2010
  86. ^ Graham, Sarah. "Suede reunited: Britpop pioneers return for tour and greatest hits album". Daily Mail. 26 October 2010
  87. ^ "Brett Anderson says Suede will continue playing in 2011" NME. 14 December 2010
  88. ^ "Rocking with Suede in Jakarta" The Jakarta Post. 20 March 2011
  89. ^ "Suede confirm first festival appearance of 2011" NME. 20 January 2011
  90. ^ "Suede confirm Berlin Festival slot" Official Berlin Festival 2011 website. 4 May 2011
  91. ^ "Suede releasing remastered editions of all their albums" NME. 21 January 2011
  92. ^ "Suede to play first three albums in full in London" NME. 20 January 2011
  93. ^ "Asian Tour 2011" Suede.co.uk. 21 June 2011
  94. ^ "Singapore and Hong Kong confirmation and press release from promoters" Midas Promotions. 21 June 2011
  95. ^ Sullivan, Caroline. "Feature: Seeing Stars". The Guardian. 5 February 1996. p. 39.
  96. ^ Simons, Ted. "Suede by hype heroes at home, England's latest pop fad tests America". Phoenix New Times. 9 June 1993
  97. ^ Author unknown. "Suede Blitzes Europe For 'Head Music'". Billboard. 7 April 1999
  98. ^ McNulty, Bernadette. "The return of Britpop's lost boy". The Daily Telegraph. 22 March 2007. Retrieved on 1 January 2010.

Bibliography

External links

Suede
Studio albums
Compilations
Singles
Videos
Love and Poison · Introducing The Band · Lost In TV
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