Morrissey's top 10 song countdown went well, I felt, and, as such, onwards and upwards is the direction in which things will now be travelling...
Next up are Brit-Pop inventors and all round UK music legends, Suede. Fronted by the flamboyant, sarcastic, indie, comedic and recovering-from-most-drugs maniac, Brett Anderson, Suede have enjoyed success and endured hardships in the years since the release of their debut single, "The Drowners/To The Birds" in 1992.
For me, the band's output sits in three firm categories. Stuff from 1992 to 1994 with utter genius Bernard Butler on guitar, stuff from 1994-2003 with his replacement Richard Oakes churning out top 10 hits, and later, big, big misses, and lastly, comeback material; 2013 and on.
"Bloodsports", the new album, was out last week. Again, with the artist seemingly in the headlines, it seems more than appropriate to launch wildly and over enthusiastically into another, pointless but fun top 10 countdown...
Next up are Brit-Pop inventors and all round UK music legends, Suede. Fronted by the flamboyant, sarcastic, indie, comedic and recovering-from-most-drugs maniac, Brett Anderson, Suede have enjoyed success and endured hardships in the years since the release of their debut single, "The Drowners/To The Birds" in 1992.
For me, the band's output sits in three firm categories. Stuff from 1992 to 1994 with utter genius Bernard Butler on guitar, stuff from 1994-2003 with his replacement Richard Oakes churning out top 10 hits, and later, big, big misses, and lastly, comeback material; 2013 and on.
"Bloodsports", the new album, was out last week. Again, with the artist seemingly in the headlines, it seems more than appropriate to launch wildly and over enthusiastically into another, pointless but fun top 10 countdown...
"Heroine" (3:23) (1994)
(Track from album, "Dog Man Star")
This song, the highlight of a very hit-and-miss album, is a two-pronged lyrical attack; the words address addiction to both an object of female desire (the heroine) and also, one of a narcotic necessity (heroin). A fitting soundtrack to Brett Anderson's widely publicised drug problems of the mid-1990s, "Heroine" is special to me because of the music rather than the words. The instrumentation has a loud, moody, stomping manner, built by the abrasive depth of the rhythm section, and countered by the crunchy, trebly details of the lead guitar. Undoubtedly, just from listening, this is the work of Bernard Butler, the bridge section also bringing to the song a harsh chord change, one which is drastic, but smoothly punky at the same time. If the remainder of "Dog Man Star" had sounded like this, we'd have been in for a treat. As it goes however, I rather much enjoy "Heroine"'s hidden, gem-like quality and the way it embodies some of Butler's last work for the band.
(Track from album, "Dog Man Star")
This song, the highlight of a very hit-and-miss album, is a two-pronged lyrical attack; the words address addiction to both an object of female desire (the heroine) and also, one of a narcotic necessity (heroin). A fitting soundtrack to Brett Anderson's widely publicised drug problems of the mid-1990s, "Heroine" is special to me because of the music rather than the words. The instrumentation has a loud, moody, stomping manner, built by the abrasive depth of the rhythm section, and countered by the crunchy, trebly details of the lead guitar. Undoubtedly, just from listening, this is the work of Bernard Butler, the bridge section also bringing to the song a harsh chord change, one which is drastic, but smoothly punky at the same time. If the remainder of "Dog Man Star" had sounded like this, we'd have been in for a treat. As it goes however, I rather much enjoy "Heroine"'s hidden, gem-like quality and the way it embodies some of Butler's last work for the band.
"Stay Together" (7:25) (1994)
(Standalone single)
At 7:25, I still never want this song to end. And funnily enough, the band hate it. Butler hates the guitars, Anderson hates the lyrics, they all hate the artwork, the B-sides and the (allegedly undeserving) chart success. The song comes from a tense time in the band's history, on the brink of Butler's departure and just prior to the explorative half masterpiece/half miserable and failing "Dog Man Star", but for me, it was the first real, stand-out Suede song I ever heard, prompting me to go back for the first album. As testified by Anderson and Butler, there are well over 50 overdubs, and even if you listen carefully, you can hear a mere fraction of them. It's complex, intricate and wonderfully druggy. The lyrics aren't the strongest, and the band are right to hate the sleeve, but the B-sides ("The Living Dead" and "My Dark Star") are beautiful, with equally great guitar parts and, actually, far superior lyrics, and so I like it as a package if not anything else...
(Standalone single)
At 7:25, I still never want this song to end. And funnily enough, the band hate it. Butler hates the guitars, Anderson hates the lyrics, they all hate the artwork, the B-sides and the (allegedly undeserving) chart success. The song comes from a tense time in the band's history, on the brink of Butler's departure and just prior to the explorative half masterpiece/half miserable and failing "Dog Man Star", but for me, it was the first real, stand-out Suede song I ever heard, prompting me to go back for the first album. As testified by Anderson and Butler, there are well over 50 overdubs, and even if you listen carefully, you can hear a mere fraction of them. It's complex, intricate and wonderfully druggy. The lyrics aren't the strongest, and the band are right to hate the sleeve, but the B-sides ("The Living Dead" and "My Dark Star") are beautiful, with equally great guitar parts and, actually, far superior lyrics, and so I like it as a package if not anything else...
"This World Needs A Father" (3:45) (1994)
(B-side to single, "The Wild Ones", from album, "Dog Man Star")
This song is unique in Suede's discography as the only track to feature input from both Bernard Butler and replacement guitarist Richard Oakes. As such, and as you might guess, it's frankly bloody amazing. The waltzing pace is set majestically by rolling drums, intricate guitars and a wandering bass-line that creates an atmosphere of arty, poetic flare, accompanied, almost in juxtaposition, by the gritty, working-class realism of the lyrics, which, including the use of the cynical 'sci-fi lullaby' as well as the damning, 'through the tears of your shit stained dream'. The winding meander of the song is topped nicely by a simple but sonically satisfying guitar solo which, in the closing moments of the song, jumps ecstatically. The whole song has a very accomplished finish and coats the passageways of the ears like musical butter, though, annoyingly, as a lowly B-side, it's genius is sadly often neglected as it lays forgotten on the flipside...
(B-side to single, "The Wild Ones", from album, "Dog Man Star")
This song is unique in Suede's discography as the only track to feature input from both Bernard Butler and replacement guitarist Richard Oakes. As such, and as you might guess, it's frankly bloody amazing. The waltzing pace is set majestically by rolling drums, intricate guitars and a wandering bass-line that creates an atmosphere of arty, poetic flare, accompanied, almost in juxtaposition, by the gritty, working-class realism of the lyrics, which, including the use of the cynical 'sci-fi lullaby' as well as the damning, 'through the tears of your shit stained dream'. The winding meander of the song is topped nicely by a simple but sonically satisfying guitar solo which, in the closing moments of the song, jumps ecstatically. The whole song has a very accomplished finish and coats the passageways of the ears like musical butter, though, annoyingly, as a lowly B-side, it's genius is sadly often neglected as it lays forgotten on the flipside...
"It Starts And Ends With You" (3:52) (2013)
(Single from album, "Bloodsports")
Exploding glamourously into existence after a bright sweep across the drums, the first official Suede single in over 10 years is the perfect pop song, and its failure to chart in today's music climate is testament to this brutal fact. The opening snarl of 'like a cause without a martyr, like an effigy of balsa' hits like baseball bat to the brain, knocking the dust from the ears, gathering in the wake of contemporary music's death and cleansing the barren wasteland of the musical mind with pure glam rock, decades after 'it was cool'. The lyrics jar occasionally in their overt attempts at indie-cynic-chic ('like a hairline crack in a radiator, leaking life'), but who cares? This song is just so bold and brash, the guitars crunching with jangle overdrive and the lyric swaggering flamboyantly, poetically fixated on the driving passion of relationships, and complimented by the passionate, sexual energy of the sleeve - I admire its raw energy above most of the songs on this list...
(Single from album, "Bloodsports")
Exploding glamourously into existence after a bright sweep across the drums, the first official Suede single in over 10 years is the perfect pop song, and its failure to chart in today's music climate is testament to this brutal fact. The opening snarl of 'like a cause without a martyr, like an effigy of balsa' hits like baseball bat to the brain, knocking the dust from the ears, gathering in the wake of contemporary music's death and cleansing the barren wasteland of the musical mind with pure glam rock, decades after 'it was cool'. The lyrics jar occasionally in their overt attempts at indie-cynic-chic ('like a hairline crack in a radiator, leaking life'), but who cares? This song is just so bold and brash, the guitars crunching with jangle overdrive and the lyric swaggering flamboyantly, poetically fixated on the driving passion of relationships, and complimented by the passionate, sexual energy of the sleeve - I admire its raw energy above most of the songs on this list...
"Metal Mickey" (3:04) (1992)
(Single from album, "Suede")
The introduction here says it all - suave, exotically toned, manic, wildly danceable, loud and subsequently, a most beautiful glam-rock song of the modern age indeed. The guitars are definitely an important feature here, and show Bernard Butler at what is often seen as his best, delicate and complex, but oppositely loud and electrifying at the same time, with a massively crunchy and technically speedy solo to boot. The lyrics are sputtered in their punkish delivery which, despite the borderline shouting, retain Anderson's signature, gallantry. The topic has always grabbed me as well, if anything, because it seems so risqué. I had originally believed it to be about prostitution ('she sells heart, she sells meat') but on further reading, I have found out that it is actually more likely to be about a strip club, which makes more sense of 'all the people shake their money in time'. Regardless, it's edgy, and that goes for its hard sound as well...
(Single from album, "Suede")
The introduction here says it all - suave, exotically toned, manic, wildly danceable, loud and subsequently, a most beautiful glam-rock song of the modern age indeed. The guitars are definitely an important feature here, and show Bernard Butler at what is often seen as his best, delicate and complex, but oppositely loud and electrifying at the same time, with a massively crunchy and technically speedy solo to boot. The lyrics are sputtered in their punkish delivery which, despite the borderline shouting, retain Anderson's signature, gallantry. The topic has always grabbed me as well, if anything, because it seems so risqué. I had originally believed it to be about prostitution ('she sells heart, she sells meat') but on further reading, I have found out that it is actually more likely to be about a strip club, which makes more sense of 'all the people shake their money in time'. Regardless, it's edgy, and that goes for its hard sound as well...
"Snowblind" (4:05) (2013)
(Track from album, "Bloodsports")
"Bloodsports" has been kind to selective Suede listeners such as myself, who found the gap between the debut album and "Coming Up" to be such a vastly varied minefield of musical hits and misses. Incorporating both the glitzy glam rock sound of the debut effort and also the mood and intimate miserablism of "Dog Man Star", the album is both explosive and sensual. "Snowblind" is, hands down, the best song on the album, epitomising these factors. Opening with a detonating flurry of guitar chords and drum crashes, the pretentiousness of Anderson's lyric is cutting and wastes little time, with 'rumours [burning] like roman candles', by the third line. And with a chorus filled by guitar delicacies reminiscent of the jangly opening to 1996's "Beautiful Ones", it's just one big sonic win. My personal highlight is the bridge section with it's orchestral lead guitars, seemingly in imitation of strings, though regardlessly shimmering and abrasive.
(Track from album, "Bloodsports")
"Bloodsports" has been kind to selective Suede listeners such as myself, who found the gap between the debut album and "Coming Up" to be such a vastly varied minefield of musical hits and misses. Incorporating both the glitzy glam rock sound of the debut effort and also the mood and intimate miserablism of "Dog Man Star", the album is both explosive and sensual. "Snowblind" is, hands down, the best song on the album, epitomising these factors. Opening with a detonating flurry of guitar chords and drum crashes, the pretentiousness of Anderson's lyric is cutting and wastes little time, with 'rumours [burning] like roman candles', by the third line. And with a chorus filled by guitar delicacies reminiscent of the jangly opening to 1996's "Beautiful Ones", it's just one big sonic win. My personal highlight is the bridge section with it's orchestral lead guitars, seemingly in imitation of strings, though regardlessly shimmering and abrasive.
"Sam" (3:36) (1996)
(B-side to single, "Beautiful Ones", from album, "Coming Up")
This, another obscure vinyl flip-side, is a profound and warming lyric, layered in a gloopy vocal syrup over a simplistic acoustic guitar riff with Neil Coding's piano tinkling lightly in the background. The opening line, and in my opinion, the most important part of a song, is superbly world-weary and jaundiced in it's sarcastic and kitchen-sink style observation; 'you live on Lancaster road, and you've got a computer, and you go when the library's closed and sit and think of the future'. Better still are the lines likening someone's brother to John Travolta and also the notes on the character who 'drinks tea in a café close to me' and doesn't care if they're near the breadline. The bass-line nd guitars only cut in halfway through the first line, making for a glitzy chorus - the poetic disenchantment, however, goes on for the remainder of the song and the overall effect is melancholy but still induces broad smiles of relatable understanding...
(B-side to single, "Beautiful Ones", from album, "Coming Up")
This, another obscure vinyl flip-side, is a profound and warming lyric, layered in a gloopy vocal syrup over a simplistic acoustic guitar riff with Neil Coding's piano tinkling lightly in the background. The opening line, and in my opinion, the most important part of a song, is superbly world-weary and jaundiced in it's sarcastic and kitchen-sink style observation; 'you live on Lancaster road, and you've got a computer, and you go when the library's closed and sit and think of the future'. Better still are the lines likening someone's brother to John Travolta and also the notes on the character who 'drinks tea in a café close to me' and doesn't care if they're near the breadline. The bass-line nd guitars only cut in halfway through the first line, making for a glitzy chorus - the poetic disenchantment, however, goes on for the remainder of the song and the overall effect is melancholy but still induces broad smiles of relatable understanding...
"Just A Girl" (feat. Justine Frischmann) (3:00) (2011)
(Early demo from 2011 special edition of album, "Suede")
Humble and heartwarming, this demo features the future Elastica's bold frontwoman Frischmann on vocals before her departure from the band, and whilst muffled, has a winsome and tear-jerkingly emotional effect as all the elements shine. The words are beautiful; 'ashtray eyes and bootlace ties will never set you free'. Anderson's cynicism and sarcastic traits translate cleanly to a love song and it gives the whole track genuine romance, the references to 'cheap clothes' and being pale because 'we don't eat meat' make the scenario that much more warm and true. Richard Oakes struggles with the guitar on the studio release, a B-side on 2003's, "Attitude/Golden Gun". This version is cleaner than the demo but sounds spooky without Frischmann, and in that respect, the two songs are entirely divorced. Incomplete after a bum note which ends the song, Oakes swears and Anderson acutely comments, 'ah, it was going well as well weren't it?'...
(Early demo from 2011 special edition of album, "Suede")
Humble and heartwarming, this demo features the future Elastica's bold frontwoman Frischmann on vocals before her departure from the band, and whilst muffled, has a winsome and tear-jerkingly emotional effect as all the elements shine. The words are beautiful; 'ashtray eyes and bootlace ties will never set you free'. Anderson's cynicism and sarcastic traits translate cleanly to a love song and it gives the whole track genuine romance, the references to 'cheap clothes' and being pale because 'we don't eat meat' make the scenario that much more warm and true. Richard Oakes struggles with the guitar on the studio release, a B-side on 2003's, "Attitude/Golden Gun". This version is cleaner than the demo but sounds spooky without Frischmann, and in that respect, the two songs are entirely divorced. Incomplete after a bum note which ends the song, Oakes swears and Anderson acutely comments, 'ah, it was going well as well weren't it?'...
"Howl" (3:37) (2013)
(Bonus track from album, "Bloodsports")
"Howl" is the (second) best Suede have ever been, and yet, still, the track was relegated to bonus track status, lost to owners of the standard release, a meagre afterthought. Which is a tragedy - because it would have vastly improved the album if used on the track listing. The opening melody is obscenely beautiful, crunchily winding in and around the bass that hovers and dances in a display of groovy agility behind. The vocals keep to the same theme of relationships and even remain faithful to the style of "Bloodsports"' second side in demonstrating the down-time in love, furthering the criminality of its exclusion from the album. The vocal shines expressively and with passionate desparation alongside the guitars, especially during the emotionally climactic chorus, and even the percussion graciously gleams from deeps of the speakers as tambourines and cymbals crash fervently. It really is beguilingly awesome.
(Bonus track from album, "Bloodsports")
"Howl" is the (second) best Suede have ever been, and yet, still, the track was relegated to bonus track status, lost to owners of the standard release, a meagre afterthought. Which is a tragedy - because it would have vastly improved the album if used on the track listing. The opening melody is obscenely beautiful, crunchily winding in and around the bass that hovers and dances in a display of groovy agility behind. The vocals keep to the same theme of relationships and even remain faithful to the style of "Bloodsports"' second side in demonstrating the down-time in love, furthering the criminality of its exclusion from the album. The vocal shines expressively and with passionate desparation alongside the guitars, especially during the emotionally climactic chorus, and even the percussion graciously gleams from deeps of the speakers as tambourines and cymbals crash fervently. It really is beguilingly awesome.
"Animal Nitrate" (3:12) (1993)
(Single from album, "Suede")
This is not just the best Suede song ever, it's one of the best songs ever full stop. The raspy crunch of the overdriven electric lead launches in to existence within the first 10 seconds, and by the thirty second mark, the brash ringing of Bernard Butler's Brit-Pop genius is in full swing. The chorus is full of crunchy flange pedals, the bridge sounds like the James Bond theme with a beautiful piece of crunchy noodling at the end, and the outro is an eclectic mix of fuzzy chords and a truly superb solo, one which played a huge part in getting me into playing 6 string guitar over bass. Played louder and faster when live in concert, the BBC Maida Vale session recorded in 2013 shows the song on top form. Combined with the nasal shrieks of 'what does it take to turn you on!?' from Anderson, "Animal Nitrate" represents some of the strongest music from the band and lyrics encapsulating their most common themes of sex, drugs and rock 'n' roll under the unique angle of alternative-rock their music has penned. Fantastic.
(Single from album, "Suede")
This is not just the best Suede song ever, it's one of the best songs ever full stop. The raspy crunch of the overdriven electric lead launches in to existence within the first 10 seconds, and by the thirty second mark, the brash ringing of Bernard Butler's Brit-Pop genius is in full swing. The chorus is full of crunchy flange pedals, the bridge sounds like the James Bond theme with a beautiful piece of crunchy noodling at the end, and the outro is an eclectic mix of fuzzy chords and a truly superb solo, one which played a huge part in getting me into playing 6 string guitar over bass. Played louder and faster when live in concert, the BBC Maida Vale session recorded in 2013 shows the song on top form. Combined with the nasal shrieks of 'what does it take to turn you on!?' from Anderson, "Animal Nitrate" represents some of the strongest music from the band and lyrics encapsulating their most common themes of sex, drugs and rock 'n' roll under the unique angle of alternative-rock their music has penned. Fantastic.